#but I keep her core personality and stuff the same in every series and just alter her background and relationships as needed

[dimiclaudeblaigan]

Three Houses fans, do you have OCs? Do you use them publicly or hide them? Do you pair them with a canon character?

Just curious so I figured I'd ask, since I often see my mutuals interact with each other or their mutuals about their OCs!

[rabbiteclair]

more Girls' Last Tour thoughts, which are admittedly mostly thoughts I had for the first time about five years ago only to resurface today upon having a long conversation about the series with a friend. this one is fully spoiler-y

as far as emotional suckerpunches go, I personally think it's like... [the entire Silence chapter] > [Chito's breakdown after she realizes the Kettenkrad's bricked] > [the end of the Art chapter] > [the end of the Life chapter] > 'the planet will finish life's long work and go to sleep as well' > [the actual end of the series]. This isn't a criticism of it, since I really like the end. I just find it kinda funny.

similarly I find it funny that this series, where every named character is strongly implied to die either during or shortly after its events, which is about 40% ruminations on death, containing the line "currently, you two are the only surviving humans of whom we are aware," is categorized as an Iyashikei. H E A L I N G. I mean I don't even necessarily disagree but goddamn.

One of the core dichotomies of the series, I think, is... it repeatedly makes it clear that people have done horrible things here, and the amount of deliberate destruction that's gone on is absolutely monstrous. They stumble onto nukes and giant war robots that can blow up a city, and there are destroyed tanks and giant craters everywhere. Basically everywhere they go is a former war zone. But it takes a really positive view of humanity. Outside of the attack on their hometown in the flashback, every single person they meet is nice and helpful. Any time it delves into human nature, the message is 'actually humans are pretty cool most of the time, and our basic drive is to take care of each other, not this survival of the fittest bullshit.'

which is one thing that I think sets it apart from a lot of fiction in this space? It never tries any kind of 'humanity is doomed in the long run because we're all violent animals beneath the facade of civilization' message or anything. Humanity rules, and it's a genuine tragedy that things have come to this.

kinda related, the series does a lot to make it clear how all of this is an unfathomably large tragedy. There are tons of background shots of entire abandoned cityscapes, there's the chapter with the mass grave, the gigantic library full of books, and so on. The actual scale of 'no, really, everyone and everything has an end sooner or later' gets driven in repeatedly. At the same time, it spends a lot of time on how something as small as destroying a single diary can be a tragedy in its own right, too. I guess I'm just kinda used to media that takes that kind of grand high-level view dismissing the small stuff as trite and unimportant when we could be putting up another number with lots of zeroes to say how many people died.

there are a lot of different ideas floating around on things like what it all means in the end, and whether it's meaningful to leave anything behind. The AI is overjoyed when she gets her chance for oblivion. The people in the graveyard have a statue to watch over them. Chito's attempt to leave something in the form of her diary is ultimately futile, and while she learns to find other meaning, destroying her diary and the books still isn't portrayed as a good thing. Other people are recorded forever in images and videos, and it's wonderful. Ultimately I don't think there's any one answer or message. Keeping with the general existentialist kinda themes, what matters is what the people involved find meaningful in that context, but that drive to create and preserve meaning for the future is both universal and noble.

while there's a lot to be said about the visuals overall... the fact that basically the only thing on the upper layer is a spiral staircase leading up into the air with no destination sure is some symbolism, huh.

similarly, while it wouldn't change the events any, symbolically I think it's very important that their long, ultimately pointless meandering journey that ends in death was upward, not downward.

on another level, though, it's kinda implied that the higher strata are newer/more recently maintained. So it's also essentially them moving through (and revisiting a lot of) human history to take their position at the very end.

Yuu's gun is never used for anything but target practice, and then she chucks it aside as soon as it's too much effort to carry. They use an old tank for a shower. They find a working military sub with nukes inside, and it's only useful because there's chocolate and a way to look at the storage on a camera. The one time they really fire a weapon, it's horrible, and the one thing they kill is portrayed as a tragedy. Even their helmets are mostly a running joke of 'oh my helmet totally would've stopped that falling building.' For a series that includes a lot of military stuff, it regards military stuff somewhere between 'disdain' and 'indifference.' Very 'the world is ending and you think a rocket launcher is going to be useful? Put that thing down and help me look for food.'

that said, the choice to give them a vehicle from WW2-era Germany is still a pretty damn unfortunate one. Considering the series's consistent stance against violence, disinterest in war, and casually disdainful treatment of weapons and military stuff, I'm comfortable saying that Tsukumizu almost certainly isn't a closet nazi, but still. At best it gives the wrong impression to anybody who hasn't gotten about a dozen chapters in and started thinking about the themes, and there's nothing the themes do with it that wouldn't work basically as well with any other military transport anyway.

the fungus things apparently being the inspiration for the god statues is clear enough, but just what their deal is remains surprisingly undefined. I've always figured they were genetically engineered or something, made specifically to clean up the environment. Which is itself a hell of a thing if so, deifying the creatures that basically symbolize 'maybe we can undo the harm we've done, and if that takes longer than we live, at least we'll leave something behind.'

I really don't know how to feel about the whole Shimeji Simulation connection. (if you aren't familiar) On one hand I feel like it undermines a lot of the series' messages to go 'oh but just kidding, everyone's fine and nobody really dies for good.' On the other hand, as somebody who's read/watched through the series about half a dozen times and really marinated in the despair, my primary immediate reaction is 'oh thank god they absolutely deserve this.' And it isn't like I haven't written multiple stories about characters embracing their imminent demise only to turn out okay against all odds in the epilogue.

Yuu's gay little run. this is still a thought

[best-underrated-anime]

Best Underrated Anime Group J Round 3: #J3 vs #J1

#J3: Cat demon stuck in cat form, gets adopted as a pet

#J1: Two high school girls overcome mommy issues with the power of YURI!

Details and poll under the cut!

#J3: Legend of Luo XiaoHei (series) (Luo XiaoHei Zhan Ji)

Summary:

XiaoHei is a young cat demon training to be an Executor, someone who maintains the balance between humans and demons. His first mission as a trainee was to steal the Sky Pearl. He succeeded, but he also got injured enough to be unable to revert to his human form. Stuck in his cat form, he gets adopted by the human girl XiaoBai as a pet. The story then follows XiaoHei’s adventures as a pet cat in a human home while also evading the pursuit of his enemy, Diting.

Propaganda:

Legend of Luo Xiaohei, at first glance, is a fun kiddy series with cute art. But the more you learn of the story, the more you realize how much thought is put into every little detail. The creator’s worldbuilding is so intricate. It’s like Adventure Time in that you think it’s all fun and games, but there’s actually so much more to it. There’s even a manhua for the side characters featuring their lives from thousands of years ago!

A lot of information will be slowly unfolded, but not once does it feel overwhelming to the viewer. Following XiaoHei’s point of view, we get to see glimpses of the wider lore, piquing our curiosity. 

In the world of LXH, demons and cultivators/immortals exist, but they don’t usually cross paths with ordinary humans because they keep their existence/powers a secret. XiaoHei himself has had little interactions with humans aside from his master. It isn’t until XiaoHei meets XiaoBai that he actually learns more about them and their way of life. Slowly, he gets drawn to the human life and also learns to have fun just like the human kids his age.

Season 1 presents to us XiaoHei’s daily life with his friends, so it’s more slice-of-life with the supernatural simply peppered around. It never gets boring, though, because there’s this ever-present tension of XiaoHei having to keep his identity a secret. We also get to meet a lot of intriguing characters, like XiaoBai’s “brother,” who helps XiaoHei fight against Diting. 

Season 2, on the other hand, is more action-packed. The plot for s2 is the Executors guild seeking humans with talent in cultivation. They screen them through a virtual reality game where they can emulate the use of powers. XiaoHei’s final test as Executor also takes place here.

I personally think the best aspect of this show is its hype fight scenes, but that’s just me craving stimulation. At its core, LXH is really a heartwarming story about a young demon learning that there is more to life than powers and fighting. Sure, the supernatural stuff is interesting, but beyond that, it’s a story of love—It’s about XiaoHei making friends and discovering what it is he really wants to do without fear of losing what he calls his home, for home will always be with him. 

Overall, Legend of Luo Xiaohei is a nice, warm show that you can binge on a slow day without missing out on the excitement a story with an overarching plot brings. Do give it a try.

P.S.: This series takes place about three years after the events in the movie (which has the same title in Chinese, but is more known as simply “Legend of Hei” in English). The series aired first before the movie, though, so it doesn’t matter. 

Trigger Warnings:

Child death in s2 (it’s fake, but the characters’ reactions feel so real)

Not really a trigger, but just in case: Teens/adults bullying children. XiaoHei is a great fighter, and the people that can match with him are only those older than him.

#J1: Flip Flappers

Summary:

Cocona is an average middle schooler living with her grandmother. And she, who has yet to decide a goal to strive for, soon met a strange girl named Papika who invites her to an organization called Flip Flap.

Dragged along by the energetic stranger, Cocona finds herself in the world of Pure Illusion—a bizarre alternate dimension—helping Papika look for crystal shards. Upon completing their mission, Papika and Cocona are sent to yet another world in Pure Illusion. As a dangerous creature besets them, the girls use their crystals to transform into magical girls: Cocona into Pure Blade, and Papika into Pure Barrier. But as they try to defeat the creature before them, three others with powers from a rival organization enter the fray and slay the creature, taking with them a fragment left behind from its body. Afterward, the girls realize that to stand a chance against their rivals and the creatures in Pure Illusion, they must learn to work together and synchronize their feelings in order to transform more effectively.

Propaganda 1:

Flip Flappers is a magical girl show that brings its own unique twist to the genre, while still being reminiscent of older classics. It has incredibly creative visuals, good characters, and an absolute banger soundtrack! The deeper messages of the show are about finding the courage to start making your own decisions and living your life the way you want it, growing up, and the struggle against controlling authority figures that entails. While it is a fun show, the emotional moments it has hit hard! It also has a yuri narrative (seriously, they even get taken to an all-girls Catholic school yuri setting one time), which I’m sure the himejoshis on this webbed site would appreciate if they saw the show!

Propaganda 2:

Look, sometimes Magical Girl Shows have fights that are just kinda… ehh. You ever wanted to see magical girls beat the SNOT out of monsters in amazingly animated, incredibly physical fight scenes? Give Flip Flappers a shot! And if you don’t, that’s fine too, because the shows genre changes every other episode anyways.

Flip Flappers has a little something for everyone. It has amazing characters. It has slick transformation sequences. It has stunning fight scenes. It has horror. It has yuri. It has mommy issues. It’s fun for the whole family!

While one would think the constant tone-shifts would leave the series feeling kinda all over the place, Flip Flappers keeps itself grounded with its amazing character work. The main two characters, Cocona and Papika, bounce off of each other incredibly well. They have so much chemistry, and it’s refreshing to see a show that actually does something romantic with its two main leads instead of just kinda dangling it in front of your face and then chickening out at the last second.

In conclusion, this show is the embodiment what having ADHD and being sapphic feels like. Give it a shot!

Trigger Warnings:

Flashing Lights/Flickering Images, Gender Identity/Sexuality Discrimination, Guns, Kidnapping, Nudity.

Depictions of child and emotional abuse, both at a side character and a main character. Control over children is a common theme in the show.

When reblogging and adding your own propaganda, please tag me @best-underrated-anime so that I’ll be sure to see it.

If you want to criticize one of the shows above to give the one you’re rooting for an advantage, then do so constructively. I do not tolerate groundless hate or slander on this blog. If I catch you doing such a thing in the notes, be it in the tags or reblogs, I will block you.

Know one of the shows above and not satisfied with how it’s presented in this tournament? Just fill up this form, where you can submit revisions for taglines, propaganda, trigger warnings, and/or video.

[the-64th-gamer]

I FINISHED MLP YEAAAAAAAAAAAAAAAAAAAAAAAAAA!!!!!!!!!!

(Started December 3, 2022 - Ended January 1, 2024 - 413 Days)

Am absolutely mindblown to see such an amazing series go through 9 seasons and literally continuously keep getting better and better!!!!!!!

Its been very cool binging it so quickly compared to most old fandom members watching it through syndication. Similar to when I rewatched SU there's such a difference seeing ideas and characters evolve at normal pace than to sit there for years brewing in fandom content that makes you expect them to go a different path. Lots of what I've heard be controversial things like Slice of Life and Starlight in general were some of my favorite parts of the show!!

Fav episode is The Perfect Pear, I was spoiled William Shatner was gonna play someone in the series and was SO FUCKIGN EXCITED when I realized it was him and in such an amazing episode!!!!! The ending was so fucking sweet omg.

Second fav was Slice of Life cause I get it was fanservice but on its own it was a great change of pace in the season to focus on background and side characters!!! After that it feels like they focused on background characters way more and it was very rewarding.

Seeing ***every single shot of Derpy*** was the funnest part of the show, I have personal screenshots of every single time I spotted her and stopping in the middle of songs or big fights just to scream and snapshot them was such a fun scavenger hunt. It made me go NUTS to see them do actual stuff on screen (ESPECIALLY THE SCENE IN BEST GIFT EVER WHEN SHE FINALLY GOT TO SPEAK IN FOREVER). It was also hilarious to see all the error derpies with fucked up colors and hair!!!!! It stopped in the later seasons except a time where she had a purple eye in a single shot, and one where she had big mac's face???? I was having a blast.

Similarly I was also just watching every single background character all the time every time, got to figure out which ponies would be used for which locations, when they'd appear in other places, which special ones could show up anywhere, which ones would do funny stuff, seeing new super cute background characters come in like Sweet Biscuit and Rainbow Stars!!! As someone hyperfocused on stupid stuff this was so fun watching the background nonstop.

Favorite season was season 6 or 7. Starlight was a great link for the episodes and it was the most normal seasons while the writing had gotten really good. Season 8 and 9 are still super good and I love that they were so willing to be bold and change things up a ton to keep interest, but 6 and 7 are closer to the usual baseline episode stuff so they're the best to go back to if I wanna rewatch.

I think the early seasons were still looking for a longterm identity for the show but I think starting season 5 it became this really great constant escalation of things. I really expected the show to just linger around the same ol' topics but it it kept changing the characters lives, the plot, and circumstances a ton while developing old characters and introducing new ones! Out of everything I've watched so far it was like the most masterful way to run a longterm series I've seen. Never felt burnt out or that anything was dragging, but also never felt like it ever lost its core identity!

Season 9 also was just a masterclass on ending a series, every single episode focused on bringing back some side character to give them an interesting spin, or conclude some arcs left behind. There were maybe one or two normal episodes but even those didnt feel like filler! I think the show was at its best throwing new ideas out and then taking a break with a standard friendship problem episode in a normal location. After watching it I don't think there was any missing thread or interesting thing they didn't try out! (Though also the series is formatted well enough they definitely could have continued making tons of standard episodes)

I can't remember if it was season 2 or 3 but I think when they first started introducing like regular songs to non adventure/important episodes it was really off, didn't really mesh well having the show be so musical, but they definitely incorporated it better as they went along and its kinda crazy it worked out well.

BTW I've steered clear from almost all opinions on the show outside of what Ray tells me so I dont know what of my opinions are universal to the fandom, but holy shit the season 8-9 intro sucks so much ass, all of the timing is COMPLETELY lost, theres that stupid school zoom out shot thats just maud hitting a rock in the middle of the road as it slowwwwwly pans, the backgrounds are way too visually noisy in the classrooms and the castle and its just an absolutely horrible nightmare that was thrown together in a day.

But yeah great show favorite show best show!!!!! I now get to see a decade of fan content and reviews and discussions n such!!! I watched some that were time appropriate for the current season I was watching to avoid spoilers but nows time for the floodgates!!!!! I'm glad I'll be able to hold onto my opinions now though and seperate them from anything I'm gonna further see discussed by all the old fans. I'm sure there will be tons of complaints I never considered but as I see it now that was a perfect run of television that I love very dearly!!!! Its certainly changed my life going forward lol.

[sharksa-shivers]

What are…Mers? Part 1

(Old art is old but i love it so here you go lol) --- Mers are one of the 5 types of beings in the Kidnapped universe…And they are exactly what you think they are.

Mers=Mermaids, mermen, merpeople. Mers is the term used most often though because it's gender neutral and quicker in general.

(NOTE TO BE AWARE OF: Not every single mer we see in series is good…Mers as a species are neutral until proven good or bad. Just because alot of mers we see are good DOES NOT MEAN every single mer is a good person...)

If you somehow are not aware as to what a mermaid is (first how'd you get this far into my stuff without knowing lololol) BUT; a mermaid is half human, half fish.

They're thought of as mythical beings, magical and powerful…And in the Kidnapped universe, they are all of those things.

Magical and powerful on average and humans/landies think mers are…A myth, something that doesn't exist. However…They absolutely do in this world…And they're alllllllll over the place…I'm talking worldwide, i'm talkin there's several billion of em, like…They absolutely exist lololol… --- So basic biology stuff:

Mers have several forms, similar to shadowdemons. - Their basic merform (tail, their watery appearance basically) - "Human" forms (Trading their tails for legs via magic/being out of water basically lol) - And usually, most mers have a powerform (a form made from their magic type…As an example, a water mer can transform parts of themselves into water or they can fully become water or ice. NOTE THO, NOT EVERY MER HAS A POWER FORM. Most do tho) More basic biology things, mers have: -Brighter colored hair colors, usually 'unnatural' bright colors like blues, greens, purples, ect. These appear alot brighter and oddly never fade like dyed hair would but most humans assume these people must have really amazing hair stylists or something lol -Oddly neon/rainbow colored eyes (unnatural shades of green, blue, purples, pinks, ect) -Sharp pointed fingers (this was a hunting adaptation and is still helpful but less so in modern day) -Natural swimming abilities/ability to breath underwater -Mers all have levitation/telekinesis/ability to move stuff with magic as a default power. EVERY MER HAS THIS POWER... Back in olden days, mers used to have a siren call, used as a mating call. Mers WOULD actually sing potential mates/people to death but usually this wasn't on purpose. (alot of mers didn't realize humans/landies cannot breath underwater and thus would drown, whoopsies) Mers as such could sing and attract the gender they were aiming for and it would hypnotize the person pretty much...Didn't matter the genre of music either, if the mer liked screamo music or whatever, that absolutely could hypnotize a potential mate lol In modern day, this has kind of evolved out but mers usually on average are naturally amazing singers. This is mer history though so yep... --- Magic shiz? Yeah, let's do that lol. So an important note to begin with: A mers magic comes from a core in their heart and a mer CANNOT live without magic (vital bit of their body and dna system) MAGIC CAN BE STOLEN WITH CERTAIN METHODS AND IT IS 100% FATAL TO THE MER... Ok, we got that rule? Ok, COOL. Now then... Suffice to say mer magic is vital to them, their culture, ways of life and their lives themselves... Mer magic runs on energy thus a mer cannot use it if they are sleep deprived, starving or greatly injured. The body will shut off the magic to save energy for keeping them conscious and alive. As an add on, mers typically have different power levels then each other. It varys and depends on the mer type, how much they practice their magic, if their klutzy or skilled. It greatly varys from mer to mer. This applies to Kristy as well. If she's hurt or exhausted or starving, that magic WILL NOT WORK. Her magic can be stolen via the amulet being taken but since she's human and her magic comes from the amulet, she's not in danger of death in the same way a mer is...Kristy just won't have magic at that point, she'll just be her normal human self. Mers just die without magic after a period of time. Powerful mers die faster without magic while weaker mers have a bit longer until they croak... Examps: Strong mer- OH Weaker powered mer- Nucleo We'll get more into this in more entry points buttttttt here are the mer types (mixed power mers not included here but for ref, mers are typically born with one type of magic HOWEVER you can be born with 2 types of magic, genetics depending...This is more rare though...)

Mer types:

-Water mers -Fire mers -Plant mers -Healing mers -Weather mers -Acid Radiation mers -Cloud Radiation mers -Magic mers/Mixed Bag mers -Mind mers -Rainbow mers (more rare) (pictured below is OH/Orange Hair, one of the most powerful fire mers) We'll get into actual magic shiz in part 2 lol, only got so much room here...

--- Nowwwwww here's the bit ik everybody ALWAYS wants to know...Reproduction shiz so i shall...Answer... Do not make me regret this lmaooooo

Mers that have the equipment(usually females but not always, AFAB people too) are the ones that get pregnant and give birth. It usually takes a mer about a year or so to form and to be born. The magic aspect is what takes those extra few months...Takes more time to form...Mers are mammals also btw. Mers start life as babies and grow from that point. (Baby-->Child-->Teenager-->Adult) ……..So basically, mers age like humans, they are INSANELY similar to humans in alot of ways…But not every way obviously…

Mers are born with magic but their magic isn't able to use until they hit a certain age (4-6 for the much more powerful mers, 7-9 for average mers and usually 10-13 for weak powered mers on average…)

Mers can live up to 10,000+ years (needa figure that cap off point but uhhhhhhhhh a longass fucking time lmao...And they don't show physical aging for a longggggggg while...Like gotta be in the thousands before wrinkles even start to show up...) Mers can have mental issues considering this ENORMOUS lifespan but there are resources for such issues...

Next part we'll talk about actual mer powers/what powers each type of mer has lol. Idk when i'll get to that but i'll try and do it soon lol.

[discet]

So yet another TOH/Amphibia ask, but hypothetically if Luz was a part of Anne, Marcy, and Sasha's rather toxic friend group from the start, how do you think she'd fit in and potentially change they're dynamic for better or worse?

Ooooh. This is interesting.

Okay so to keep it simple premise wise, Camila and Manny move to LA to relocate to a better hospital like Luz suspects they did in Thanks to Them. Lets same timeline wise, Anne and Marcy become friends in kindergarten. Sasha becomes their friend at the beginning of the following summer, Luz transfers in to St. James Elementary in first grade. Manny dies partway through that year.

I think what happens is that Marcy gets hurt, lets go with a broken leg for old times sake, something that keeps her in a cast for a while. Anne and Sasha stick with her for the first few recesses, but eventually Marcy feels bad and insists they don't have to stick by her every recess period. Which is why Marcy notices that the friendless new girl who usually was rooting around in the bushes for bugs and critters one day comes looking totally defeated sitting under the big oaktree on the playground near Marcy with a book. Curious, Marcy borrows the book from the library and brings it to recess the next day. Luz of course asks about it and where Marcy is, and the two of them end up starting what amounts to an impromptu bookclub. Both agreeing to read up to a certain place each day and then talking about it during recess.

Some shitty kids crash one of these meetings and of course Sasha and Anne come to the rescue when they see Marcy in trouble. Marcy introduces Luz, and the trio becomes a quartet.

What's fascinating, cause it would drastically alter both Luz and Marcy's core character motivations.

Luz was up to series start was friendless, with no one who she could relate to. Marcy felt unappreciated with Anne and Sasha never sharing or trying her interests.

So these two basically solve that problem for each other. It's still a bummer Anne and Sasha are kind of dismissive of her interests, but Luz is there to pick up the slack.

As for how this effects the friend group longterm, I think it goes one of two ways. Either Luz fixes everything, or the friendship is broken up into duos.

Cause the interesting thing here is Luz does not have a follower personality. If she could swallow up the lest conventional parts of herself to make friends, she would have done that in canon. She is a person who makes stuff happen. And I think that personality coming up against Sasha as she teters more and more towards toxicity is a flashpoint. Ultimately I think it would come down to Anne.

As Sasha's controlling streak hits a breaking point for Luz at the start of middle school, I think Luz tries to talk to Anne and Marcy into confront her about it.

Option A: Anne Backs The Plan

Best case, if all three of her friends confront her about it, Sasha is forced to temper herself or risk losing them. Maybe they dig to find what the source of her damage is and help her through it. Things get healthier and the next real crisis is Marcy having to move a few years later.

Alternatively Sasha refuses to compromise, does lose the three as friends and Luz, Anne, and Marcy have a healthier friendship. Maybe they all reconnect later once Sasha realizes they were serious about it.

Option B: Anne Backs Out [This one is probably the more interesting for conflict]

Anne feels guilty about what feels like conspiring behind Sasha's back and goes and tries to be honest with her alone. Sasha uses her natural aptitude in manipulation to get Anne to get back in line, and goes to confront Luz.

Luz and Marcy are waiting to meet up with Anne and Sasha outside the thrift store, and spot the music box in the window and I think go and check it out just cause cool frog box? It has a fourth gem, cause that's always fun. Luz is holding it when Sasha and Anne arrive.

Sasha storms in raring to pick a fight with Luz. Luz and Marcy both feel a little betrayed by Anne for breaking their confidence. Anne tries to keep the peace, but that works as well as you'd expect. Sasha tears the box from Luz's grasp and hurls it to the ground. Cracking it open and teleporting them all on over to Amphibia.

From there man there's a lot of ways that plays out.

I don't want to outline the whole adventure from there cause I've been at this for almost 2 hours, but I'll finish up these loose ends.

To complete the quadrent, Luz ends up with an Axolotl. If I'm gonna be indulgent I would choose Dia Mond from my own fanfic. Most cause I really like Luz's being a seafaring dork in Separate Tides and want more of it. Also cause man when Marcy and Yunan attack the ship like we see in her themesong takeover, talk about natural drama.

Not sure what Luz's gem would represent? Might have to totally revamp the gem system so that it doesn't feel tacked on.

[edoro]

2, 6a and 17?

oh anon, i'm so glad someone finally asked me about number 17

anyway all of these go under the cut for csa, incest, and also number 17 is about teen pregnancy as a result of csa

2) aladric blightcest - this one takes place in the same continuity as my fic Daddy's Girl. Alador asks Amity to come to his lab with him, and she doesn't want to; Edric ends up finding her being upset about it and convinces her to let him take her place using an illusion, only to find some stuff out about the 'quality time' Mittens has been spending with their dad.

excerpt:

When he was little, Edric snuck down into his dad’s lab all the time. It was bigger then, a cavernous hall of shadows and corners, tables and benches to hide under and behind, the air heavy with the wet and earthy scent of abomination goo. He and Emira would play hide and seek or duel each other across the workbenches with scavenged bits of piping and metal, or else he’d simply come down there by himself and wander, touch things, look at things and try to imagine what they were for. 

Alador never forbade him from the lab. There’s nothing stopping Edric from coming down whenever he wants; if he did, his dad wouldn’t bat an eye - probably wouldn’t even notice him. That’s the problem, of course. At a certain point, it just hurt too much to hover in rapt silence, waiting to be seen, knowing he wouldn’t be.

And besides, once she began showing her aptitude for Alador’s chosen track, Amity was down here all the time. Edric had better things to do.

Wearing Amity’s face, Edric walks slowly down the steps into the lab, looking around like he’s never seen it before. It’s every bit as dim and damp as he remembers. Although the room itself looks smaller, Alador doesn’t. Bent over his worktable, he’s still as tall and broad as the memory of him from Edric’s childhood, still the same looming and unattainable figure.

6a) Doll Witch N - god okay. don't judge me. N(atural Harmonia Gropius) has similarly immense levels of molested energy as Hunter Theowlhouse, and his relationship with his father figure is similarly batshit, so my friend Nova and i came up with a series of elaborate crossover aus.

THIS one involves the Harmonias being witches who live on the Boiling Isles, and N being born a powerless witch who is kept inside and raised as his dad's personal little pet boywife. for Various Reasons he ends up sort of knowing both Hunter and Amity, and when Hunter runs away, N's sisters end up sort of smuggling him out of the house to go stay with his friends and get away from their dad.

N and Hunter proceed to develop a relationship based largely on their mutual Experiencing Of The Horrors (Amity is also sort of their semi-queerplatonic third here) and this particular fic is about the two of them snuggling and fooling around with each other while Hunter describes one of his personal favorite guilty incest fantasies.

it's fun smut and also a fun exploration of the way trauma affects sexuality and kind of a meta commentary on the role fiction and fantasy play in processing trauma. here's an excerpt:

Silence is second-nature to Hunter. Sometimes he feels made of secrets, stuffed so full of them - his own and everyone else’s - that there’s no room in there for a boy to live. There’s no substance to him, just layers of things he carefully keeps and never shares. This one, at least, is wholly his own. So maybe that’s why he feels the urge to clutch it so defensively close and keep it safe inside himself.

But he’s shown Natural so many other ugly emotional wounds and trusted him not to stick his fingers in nor recoil from the sight. Compared to some of the things he’s said, some of the barbed knots he’s forced up bloody out of his throat, this is nothing - it’s just a little shame, a private perversion.

“Okay,” he whispers, tingling nervous heat radiating out from his core to his fingertips. “Well.” Now that he’s decided to share, he’s not sure how to put it into words. In his mind, it’s a sort of sensory movie, all flowing impressions and feelings. He’s never tried to put it into any kind of order someone else might understand before, and the idea of giving voice to his own desires frightens him.

In the end, he just goes with blunt and to the point. That’s how Natural is, anyway, and it’s what comes most easily to him as well. “I like to imagine that we’re brothers.”

17) pregnant! in the human realm - so this one is a little bit involved, because i am who i am. so!

we start with the transfem Caleb headcanon - Philip has been performing various unethical grimwalker gender experiments to try to end up with the same flavor of Puritan farmbutch eldest daughter that his sister was, and largely failing at this because 1) gender is not genetic 2) none of the grimwalkers are being raised the way Caleb was exactly.

when it comes to Hunter, he decides to make this one dfab just to see if maybe this results in a girl, since a lot of the other ones have in fact been boys. he is therefore extremely exasperated when Hunter comes out to him as transmasc, but fine, whatever, he’ll let the kid transition, he’s not a monster.

however, because he is a Puritan and a dipshit, he thinks testosterone is a form of birth control, and that once Hunter’s been on it long enough to stop having a period, that means he can’t get pregnant anymore, and therefore Philip doesn’t have to even bother with pulling out.

somehow it takes a couple of years for the inevitable to happen here, but Hunter does end up pregnant, and when Philip finds out he loses his goddamn mind. he never realized this was an option before, but now that it’s happened, it seems absolutely perfect! it’s the family he never got to have with Caleb, and since Hunter is made from human genetic material, the baby’s obviously going to come out more or less human!

(and now he can just raise this child, a human born the natural way rather than a creation of magic like the other grimwalkers, instead of making a new grimwalker! it’s perfect!)

so he’s extremely happy about it. insists that Hunter carry to term, and what’s Hunter going to do, tell the Emperor no? oh, the brainwashing - Philip just starts in on how this is the Titan’s plan for him in fact, it’s his divine and sacred duty to Carry The Emperor’s Heir, no one else could be trusted with it, but he knows Hunter will do an excellent job - basically just telling him God wants him to be an incubator.

so Hunter, being Hunter, takes this incredibly seriously. he’s going to do the best job of gestating the Emperor’s heir. it’s important! his uncle has never been so pleased with him in his life!

(he has some... complicated feelings about the way nothing he ever did on purpose seems to make Philip as happy as this random happenstance of fertility, but shh he’s not thinking about that)

so Philip puts him on light duty and keeps him in the castle, and after s2e6 just refuses to let him out on any missions at all in case something happens. after Eclipse Lake, Hunter gets in a lot of trouble, and only manages to sneak out one more time for the whole flyer derby incident (and he better be glad Philip doesn’t find out about him going to play contact sports.)

Hollow Mind happens differently - it’s Luz and King in there instead, so they still find stuff out and end up having to skedaddle from the Owl House, and meanwhile Luz is desperate to break into the castle and get Hunter out before he gets mulched, but Eda puts the kibosh on that because it’s just not practical, although eventually she relents and gets Raine and Darius to tell Luz that they’ll do their best to get Hunter away from Belos during/after the Day of Unity.

when Luz gets taken to the Head (Philip put it out that he wanted her, specifically), Hunter’s there, and she is so relieved to see that he’s alive. she tries to get him to help her, Philip gets annoyed she isn’t paying attention to him, their confrontation goes p similarly to in canon.

when the shit hits the fan, Hunter starts trying to play interference. he doesn’t want Luz or her friends to get hurt, so he’s trying to keep transformed Belos from going after them, but he’s still on the Emperor’s side, so he’s keeping them from hurting Belos either while trying to calm Belos down, and basically just getting in everyone’s way and pissing everyone off

this actually works pretty okay for a bit - none of the kids want to hurt him and Philip is aware enough of what he’s doing to hold back because he cares very much about the fetus Hunter is carrying - until Philip sees Flapjack, at which point he loses it and swats Hunter away

blah blah blah, Collector gets released, Philip gets splatted, the kids drag Hunter through the portal because they’re not about to let him die in there, but it’s a very different attitude on the other side - he’s furious and traumatized and grieving and doesn’t want to be there, none of them really trust him, etc

they all go to Camila’s house, where eventually Hunter takes her aside to sort of nervously ask her, hey, she’s a healer and was pregnant with Luz, right? so does she know, if someone gets hurt and they’re pregnant, how they know if they should be worried or if something’s wrong if they can’t go to the healers?

at which point Camila looks at him, looks at the way he’s carrying himself, looks at the gashes across the front of his shirt where it looks like somebody tried to fucking disembowel him, tries out mentally readjusting her image of his overall body shape from “stocky” to “moderately pregnant”, and goes Oh No

and it goes from there! but that’s the setup

[disasterghaster-moved]

💸 📘 🔋

Question about the muse—send a symbol!

💸  = Has your muse written their will yet? If yes, what have they decided to give to people? If no, why not?

So, Devang has a weird thing going on with her 'will'.

I don't know if it's legally binding in any country so much as held by certain persons capable of ensuring the enactment of it. And it's got a whole preface to it that involves...times and circumstances.

It's not really built to be activated, per say, by her death so much as by a specific period of Total Absence. She had it drawn up with help from several Contractual Beings to hammer it out into very specific wording and a careful placement of words.

She has died A LOT. But never fully moved on spirit wise. It's part of the whole reason she's a 'Ghaster' now. So! With that in mind she'd rigged the will special.

Every so often she updates the testament.

At this point, the will is just what is to be done with her assets and possessions should one of two things happen:

The Impossible Due To Death Curs: Die.

Or

More Likely Due To Death Curse: Disappearance Without Return.

Option two is the idea that something also common to Devang's life until fairly recently is that Devang will fucking DISAPPEAR at random to some other universe or reality at the whim of who the fuck knows what at any given time. And with that in mind it's always possible that, unlike in the past, she will never find her way back.

That's primarily what the will is for.

She has a lot of Hidden Wealth in the form of money, estate, and resources that will be give to mostly her children that are alive at the time. With some wordage about the money just moving down the line if they have children. Some does got to people like Charlie and Worth, but they get a smaller hashout just because she knows they won't be comfortable getting that many digits to stuff in their couch cushions.

The pizzeria is going to Maya unless Maya gives it to someone else.

Sentimental items are more directly named inheritors.

Remaining stuff is to be liquidated into cash and either separated to previous survivors or funneled into carefully curated charities--like Rook's and Miles'. (People she's already anonymously depositing random unsuspicious sums to when they take such things.)

However, if and when this Will is every activated remains to be seen.

📘  = Describe an AU verse/story that you have written out for your muse that you’d love to roleplay. Why did you choose to make them that way?

SCREAMS ALL OF THEM MOTHERFUCKER ALL OF THEM ALL THE TIME I LOVE ME A GOOD AU!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! I LOVE ME A GOOD OLD "FLING THIS-VERSE DEVANG INTO ANOTHER FUCKING UNIVERSE PLOT"! I LOVE!!!!!!!!! AUS?????????????? YESSSS.

None of them are written out. Earlier today I thought about updating the AUs pages in this site's about...

I've also continued to think about Well-Adjusted-Crown-Royal-Devang!!!

I just never...get to...do the Thing!

Oh! I also forgot that I was working on a The Last of Us!Devang series of fanfictions, but I just...had a hard time thinking anyone liked them so I lost the gumption to continue it--but it was kinda fun for a minute, I guess. I have no doubt I'd do it a little different each time if I kept picking it up to redo it, though.

I try to keep true to the character, always, but I do love mixing and matching experiences to the character to see how they're the same quintessential self while they behave differently due to their very different life influences. It's fun as heck!

Devang, especially, for me is a character I have a fairly easy time adapting to anything and anywhere. I think because she's the longest standing and the one I know the best to keep those Core-Devangy-Traits no matter where she ends up or becomes some-where/place else.

🔋  = Who or what drains your muse the most? Who or what helps to revitalize that energy?

I don't think people drain Devang. I think circumstances drain Devang. I'm not sure how to word this in the way of how much her Life Events generally take their toll. You probably know what I mean.

I do know that aside from that, there's a drain that comes with her being in public spaces. Her mind kind of overworks itself into a tense anxious type of paranoid frenzy.

And that sounds like those people in highschool that are always like 'yeah, dude, I ONLY sit in CORNER booths with my BACK TO A WALL'--but that's kind of how she lives a lot of her life. She might not always put her back to a wall, but she's always counting doors and windows and peering into reflective surfaces. Things like that.

That's very exhausting. Especially if she doesn't get the payoff of a Paranoia Well-Founded.

Her recharges tend to be Box Time. Which--she has to do different now after the Boo Box and now the Graveyard Hole. But just somewhere quiet, small, dim, and ostensibly Safe is enough. What she does in the box can vary. Snoozing with partners or family, reading a book, playing a handheld game, playing something on her phone, a movie--whatever.

If she whirls into a bottle of alcohol and takes to sitting on her porch then she's doing the opposite while making it look like she's let her guard down. She hasn't.

[jdrizzle15]

Her Second Return

Just like all of you, and especially my fellow Penny fans, I am absolutely devastated by the Volume 8 finale. I had been in quite a state these last few days, utterly heartbroken, and actually nauseous at times. It feels strange to me to be legitimately grieving a fictional character, but it’s not a bad thing to feel this way. To me, this just shows that CRWBY loves her just as much as us to have written her so well that we connect so completely with her, that it feels like we lost an actual piece of ourselves when she’s gone.

But as you can probably tell by the title, this mega post isn’t gonna be about accepting this end, not in the slightest! Today I want to share canon evidence that can point towards another return of our beloved quirky red headed cinnamon bun! I’m here to spread this hope that I and others in the Nuts & Dolts dolts Discord server have!

I have this separated into many different sections to keep these thoughts organized. With that said, here goes…

A Father’s Words:

In Episode 7 of Volume 7, ‘Worst Case Scenario’ we learn the origins of Penny’s aura, and thus her soul. We also learn that it takes more aura each time she’s brought back. This leaves open an option that could be used at a later point.

Many people theorized that Pietro could indeed revive Penny one more time, which he would absolutely do. But there also lies the possibility that someone else could donate some of theirs, I’m not sure about this as I feel like it’s akin to blood donation where compatibility matters or there's a high risk of altering her, but the possibility is definitely there.

Now, the conversation in Chapter 5 of Volume 8, ‘Amity’ that Pietro and Penny have is an important moment for both Father and Daughter. It was there to show how her death in PvP all that time ago really did have a heavy impact on him and is still affecting him to this day.

Instead of continuing to pretend that everything is A-okay, like he had done for most of Volume 7, he finally lets his true feelings about how it come out to Penny for what is quite likely the first time. Even going so far as to say "Are you asking me to go through that again?" when she offers to take the risk of trying to lift Amity with her power. He wants Penny to be able to live her life.

This entire scene with Pietro established “this is what will likely happen” even if circumstances are much different now, it doesn’t negate the fact that this is a key part of Penny’s story. Scenes like these have a purpose beyond simply making an eventual death all the more heart wrenching. Her never actually getting to live her life makes those scenes basically moot. It makes them effectively pointless from narrative point of view. Unless there's more to it.

Building Relationship:

The build up between Ruby and Penny the last two volumes has been absolutely phenomenal with a definite destination in mind, and this doesn’t feel like that destination. So much of the arc of this season was to help Penny. This girl that our main protagonist absolutely adores and treasures, it would just be awful to throw all of that out for what amounts to an avoidable end. Why use so much of their precious and very limited runtime on deliberately building up this relationship only to end it abruptly, and permanently, when they’re separated?

In my opinion, RT is definitely smarter now than to intentionally set up what was really looking like a budding gay relationship only to kill one of them for good. If N&D wasn't actually going in a romantic direction, why would they leave in all of the romance-adjacent stuff that they got, that's not how ‘just friends’ act. And that is not something you use such valuable time building up for absolutely no pay off whatsoever...

Representation of Hope:

At its core, RWBY has always been about hope. It’s not at the forefront the whole time, but there's been an underlying theme of hopefulness that has persisted since it began. Some describe the show as a Hopepunk, I personally find this to describe RWBY really well. This genre of storytelling is about caring for things deeply and the courage and strength it takes to do so. It’s about never submitting or accepting the way things are. Fighting for what you believe in and standing up for others. RWBY fits all of this extremely well. How does this relate to Penny? She has been shown to be a sign of hope for everyone, but especially for Ruby, the main main protagonist. A prerequisite for a Hopepunk story is the hope.

Her first death in V3 was something that fundamentally changed Ruby. For the first time in the series, we see our main character all but broken by this event. With the loss of Penny, immediately afterwards, Ruby’s hope followed. She made up for it through determination and force of will. We see it affect her multiple times throughout the journey to Volume 7. But upon her return in V7, Hope reached a high point for everyone, the sheer relief on Ruby’s face is plain to see!

In V8 chapter 5 ‘Amity’, Penny literally raises hope by lifting the arena into the sky so Ruby could spread her message. And when she falls, and Amity with her, the connection is lost and hope plummets again. From there things take a very negative turn with the hack begins to take Penny’s agency.

In chapter 11 ’Risk’ is the point in the arc where everyone is reunited for the moment, so two separate hero stories are no longer a thing at that point in time. For the time being focus seemed to be shifted to care about the characters and how they’re going to solve the current problems. This is also where Ruby reaches her lowest emotional point in the season.

It’s not huge, but it’s interesting how connected this is. Before Ruby and Yang share a good cry over learning the possible fate of Summer, Yang brings up restoring optimism and hope to Ruby after the younger sister storms out of the room in frustration. This is where Penny’s scenes take up the rest of the episode. Getting Penny back in control of her own body and safe again is what makes the ending of the episode much brighter, when just 5 minutes before Ruby had been distraught and scared. This then spills over into the group coming up with the plan to use the staff, putting the main group in a much better mood. Of all the things to go right, it’s interesting that it’s Penny.

Things go wrong with the plan in the end and Penny dies. I find it interesting that once again, Penny got them hopeful in their chances of doing something right. Given said plan succeeded but at the cost of Penny of all people, Penny is shown to be the beginning and end of hope for them

The highest and lowest points for hope seem to directly correlate to when Penny’s around. When she comes back again, hope will return too, just like it had before. And because she’ll likely be back for good this time, the second return will probably be close to when Ruby is nearing the complete abandonment of hope. This would be pretty par for the course of the show honestly.

A little aside, but in a sense, Penny also represents Unity. The CCT in Vale fell after her first death, knocking out global communications and the unifying connection it gave. When it was restored for the briefest moment, she was there. Her body connected so she could allow for its launch, her soul lighting the night to hold up Amity with every ounce of her strength. So of course when the Hack succeeds and she falls, she takes global comms down again with her. At a smaller scale - even at the Hack's second last attempt to control her, she draws everyone in the Schnee Manor together. At the start of the volume, Yang states the one thing that they all agree on is not surrendering Penny.

Unity seems appropriate for one whose first song and wish was for but one friend, who would go on to find so many more in the process, and permit for a moment the possibility of all Remnant becoming friends once more. Where she first died, the name of the episode devoted to her story - Amity, "friendship", from the Latin root amicus, "friend" - she almost lives and dies with the very possibility of a united Remnant. It's no wonder she's a priority target for Salem, the great divider, and it seems natural that her next restoration may very well allow the next bid to bring the world together.

The Void Screams:

Moments after Penny's death, we hear a weird scream in the void space. It was a guttural, pained, angry scream, almost like the void space itself was crying out. All the portals shuddered and flickered when it happened.

Some think that this scream was Salem returning, but that happens earlier than Penny’s death, her return is signaled with cinder's arm acting up. We know this because after the arm finished flailing uncontrollably, Cinder said triumphantly "she's back." If it were Salem screaming, it would have happened after she fixed herself, but it didn't.

And I doubt Cinder would have been surprised or unsettled by it considering she was happy Salem returned not long before it. And why would a Salem scream affect the portals anyway, she has no connection to the staff or it's magic.

Another thing to consider is the fact sound is not transmitted through the portals. Otherwise, they would've heard Oscar and the rest calling for them, or the screams of the citizens of Mantle and Atlas. This lowers the possibility of that scream being from Salem even further.

The sound really seems to be coming from something else entirely within the void, and that something is not at all happy. There’s also the fact that Penny was the only person who died in the void space, everyone else was just thrown out of it like Ruby and Co. The only logical cause to me is Penny. Her body was a product (or byproduct) of the same creation magic that made the void space, her blood seems to have been a trigger.

Now I can't be sure about it, but this makes me feel like Penny is almost a part of creation itself? For whatever this thing is to be so angry, that is the only explanation I can think of currently. But all of this could possibly relate to the Narnia allusion of 'the willing victim killed in a traitor's stead' that others have brought up, which will be covered next.

Narnia Parallels:

Atlas has several parallels and references to fictional places (putting aside real world ones like the United States). One of those is that of Narnia, both on the surface and on a deeper level. It is a land of winter year round, where people struggle to survive and there is a present divide between those loyal to the current Monarch and those who are not. James is a parallel to Jadis, the White Witch, a ruler whose thoughts and cares aren’t exactly centered around the actual well being of the people. The hologram table in Ironwood’s office is designed to look like stone, like the Stone Table which features prominently in the Lion, the Witch, and the Wardrobe. He has a handpicked cadre of special agents/secret police, like how Maugrim and his wolves served Jadis. Another key parallel is how Jadis’s winter sets in to oppress and kill everyone in Narnia, but the Witch provides aid and protection to her loyal followers. She has all the power to spare harm to others, and uses it only for the loyal. As soon as Mantle splits from James and Atlas, no care is taken to protect them from the cold of Solitas even though he has every ability to turn the heating grid back on. His protection is only for the loyal.

Now that the parallel is established, let's look into the details. Starting with how James plays the role of Jadis.

"I had forgotten that you are only a common boy. How should you understand reasons of State? You must learn, child, that what would be wrong for you or for any of the common people is not wrong in a great Queen such as I. The weight of the world is on our shoulders. We must be freed from all rules. Ours is a high and lonely destiny." These are the words Jadis says in the Magician’s Nephew to justify the blood civil war she and her sister had waged for rulership of Charn, before she came to Narnia. She won that war, technically, but only after the last battle had been lost and her sister had marched right up to her so that they were face to face. Jadis’s troops were dead, her followers had surrendered, and the capital was under full control of her sister. But, she still had one card, one ultimate play to win and prove the throne of Charn was rightfully her. The Deplorable Word, a piece of old magic that killed everyone and everything except for her on Charn. It was monstrous, senseless, cruel beyond measure. But it got her that hollow victory. This mindset, the disregard for the people except as tools for her own will, the ultimate ‘aoe’ destructive move that no one had even considered her using, the unwillingness to stop even when by all practical measures the war is over, is a shocking parallel to James. In many ways, he is Jadis in mindset and deed.

Then there is the shared desire for A Thing that both James and Jadis have. For James it’s the Winter Maiden and control over her. For Jadis it’s the Silver Apples from the Tree of Youth. And funnily enough, the Maiden Powers parallel the Apples quiet well. These apples grant power and a life of eternal beauty, but should not be taken or eaten on one’s own initiative. They must be given, a gift granted by another, or only suffering will come from obtaining them. "For the fruit always works — it must work — but it does not work happily for any who pluck it at their own will. If any Narnian, unbidden, had stolen an apple and planted it here to protect Narnia, it would have protected Narnia. But it would have done so by making Narnia into another strong and cruel empire like Charn, not the kindly land I mean it to be.” Jadis’s immortality, and some of her power, come from the fact that she ate an Apple of her own will after stealing her way into the garden where the Tree of Youth had been planted. She gained the eternal life she had wanted and the power along with it, but she did so by taking it and was cursed because of it. Her skin turned pale and her lips blackened as if she were a frozen corpse given life. She will be trapped in a life of misery and hate according to Aslan- oh hey Cinder, how’s having stolen the Power you always wanted working out for you? Cinder had the power she wanted, but she only got hungrier, eager to claim more and increase her might. But in her pursuit she was defeated and humiliated by Raven, had to steal her way out of Mistral, and then suffered defeat after defeat while in Atlas. Only in the end, when she didn’t keep pursuing the Maiden Power, did she get any kind of victory.

The reason these parallels to Narnia are so important is one of the most famous events of the series. The cracking of the Stone Table and the rebirth of Aslan after his death. ‘When a willing victim who had committed no treachery was killed in a traitor's stead, the Table would crack and Death itself would start working backward.’ Well, the ‘Stone Table’ in James’s office has cracked, and Penny strikes me as a pretty willing victim. She has never actually committed any actual treachery or harm, as she was the Protector of Mantle, and fought for its and Atlas’s people until the very end. And because of her death, the actual traitor, Winter, who loyally served James until he had gone too far, was saved. Through Penny’s self sacrifice, Winter was saved. So now Death itself will start working backward.

(Major props to my friend @catontheweb for writing this section, I was getting nowhere with it, if they weren't there this part wouldn't exist!)

Norse Mythology:

The tree we see in the post credit scene gives off some serious Yggdrasil vibes. Also called the World Tree, it is essentially all of creation in Norse Mythology. It connects all nine realms, including the God realms of Asgard, the human realm of Midgard, and the underworld of Hel.

Humans are born from the branches of Yggdrasil. The web of Wyrd is woven for every person once they're born, and their path is set from there regardless of how many times the souls cycle over. But at the end, they're destined to end up in one of the worlds, for a myriad of reasons.

I believe Penny landed closest to this giant tree. She was on the center platform in the void space, so if that space is directly above the island(?) the tree is on, it makes sense for her to fall by the center nearest to the tree. This would not only open up all kinds of possibilities for the volume in general, but it would also create options for Penny.

The whole of Yggdrasil’s representations fit well into Penny’s story. Birth, growth, death and rebirth. We can count Penny’s appearance in V7 as birth for now, her growth is all her development in leaving =the military and becoming a Maiden, her death just happened, and her rebirth would be her revival. And this is a cycle she’s gone through before.

The Norse god Odin and Yggdrasil have quite a connection. In one story, Odin cut out one of his own eyes to gain knowledge from a pool underneath Yggdrasil. The only one that fell whose eyes alone are incredibly significant to the story was Ruby. So, they could choose to have her allude to Odin by having Ruby make some kind of deal with whatever entity likely rules over this magical place. An eye for Penny’s life.

There’s another story about Odin, Yggdrasil and the pursuit of knowledge. Odin so loved knowledge, that he sacrificed himself in a quest to learn the deeper magic of runes. It was believed one could only learn the magic spells from runes in death. So, Odin hung himself on Yggdrasil for nine days as an offering, and teetered between life and death. After he mastered the last spell on the ninth night, he ritually died and all light was extinguished from the world. Odin’s death lasted until midnight, when he was reborn and light returned to the world.

This story doesn’t fit Penny perfectly, but allusions often don’t. So If she really did land near the tree, she could be another loose representation of Odin’s story here. What she did wasn’t for knowledge, but to save her friends and keep Cinder from getting the Winter Maiden power. She believed it necessary that she sacrifice herself to achieve this end. As we established, Penny represents Hope, so her death means the loss of hope. This parallels Odin’s story of his death meaning the loss of light itself. So if this theory holds up, it would make this death temporary, until her rebirth and the return of Hope with her once again.

Alternatively, Ruby has the potential of loosely representing Odin in this story as well. Odin later uses the knowledge of the runes to do many things, but the most relevant one right now is awakening the dead. Both of these stories are about making a personal sacrifice to gain something that is desired. Ruby would absolutely make such sacrifices if it meant saving Penny.

It is said that Odin lived “according to his highest will unconditionally, accepting whatever hardships arise from that pursuit, and allowing nothing, not even death, to stand between him and the attainment of his goals." This sounds like Penny's arc of accepting the WM powers. This is more just a general connection between Penny and Odin, but I found it interesting.

Side Note: I encourage anyone who’s interested to look into RWBY connections to Norse Myth, there’s a surprising amount of things that feel eerily similar to the show. Likely just coincidental, but it’s fun to think about!

(If I got any of this wrong, I sincerely apologize by the way. I researched as best I could, but I admit it could have been lacking.)

Ambrosius and the Staff:

Ruby told Ambrosius "we kinda wanna keep her around longer than that" as part of her very specific instructions. Then Penny died about ten to fifteen minutes, at the absolute most thirty minutes later in-universe. I don’t know about you, but to me that seems very short to be considered ‘longer than that’. Technically it is, but when writing a story and a character says something like that, you typically don’t just kill the character they were referring to basically right away. It makes sense for a week-by-week watch, but in a volume binge, which many viewers do, it becomes ironic how fast Penny dies after being removed from her robotic body.

The first time we see the staff of creation being used, it's to save Penny. Using the staff of creation to help Penny is a sign of how incredibly important she is.

They’ve even got this entire transformation sequence for her, so it wouldn’t make sense for them to throw all that away two episodes later. In a meta context, it’s a massive waste of time and budget considering the asset creation for Penny.

Penny is a character who has already hopped bodies two times. And now we're supposed to just believe that this time it really is a final death? Just two episodes after we were explicitly told her body isn't what matters, that "Her soul is who she is" and that "the mechanical parts are just extra"? From a writing perspective, it feels strange, like your breaking a promise right after making it. And frankly, CRWBY is better than that, which makes me think this is not the actual end for her.

A possible connection between Penny, Ruby, and the Staff (thus Creation) can be seen in the intro. As Ruby is falling and being dragged down into the darkness, she is shown reaching for the staff. In the void space, Penny is the one with the relic. So with Penny having this strong connection to Creation, and the lyrics “fight for every life” playing as Ruby reaches for the staff, it’s a safe assumption to make, with the knowledge we now have, that the Staff of Creation represents Penny in this particular moment. Which could mean that V9 will be about, at least partially, fighting for Penny’s life.

Musical Hints:

In terms of music, Friend, as a song for Penny, is very dissonant from the episode itself. The song is oddly cheerful for Penny’s recent untimely death, and it overall highlights the wrong parts of death. It’s simply too happy to be a song about losing one of the most, if not the most joyous characters in the entire show. The song also abruptly ends. There’s no outro, and while this could symbolize the fact that Penny died young, it could be that the song itself is unfinished in a story sense.

What do we hear just before the song finishes, though? A progression of notes that sounds eerily similar to the last line of the opening of Volume 8. The notes for “Fight for ev’ry life” and “Who fin’lly felt alive'' share a similar melodic structure, they aren’t perfect clones of each other, but they are incredibly similar, to the point where it seems intentional. Penny may very well be the life that the opening song is fighting for. It is also worth noting that the line “Fight for every life” comes just after “Sometimes it’s worth it all to risk the fall,” which is the exact wording used for the description in the Volume 8 finale. Team RWBY risked the fall, yet, strangely the opposite of fighting for every life happened with Penny’s sacrifice. Perhaps the time to fight for every life has yet to happen, and we will see it come Volume 9.

For another thing, the lyrics for Friend are entirely centered on Penny’s feelings for Ruby, to the point where they read very much like a bittersweet love song. The music itself is incredibly cheerful, as mentioned previously, creating a mood whiplash with the end of the volume. Why would we hear a song about Penny’s feelings for Ruby, sounding like a love song, if her death is supposed to be a tragic sacrifice akin to Pyrrha’s? The song may very well be giving a clue into its future use in the show proper.

If this was meant to be a good bye song, why make it so cheerful and romantic sounding? There's only one part about her dying and even then, it's just too accepting and goes right back into cheerfulness. The song is also pretty hopeful, telling Penny's story in a fairly chronological order. And the part where she talks about sacrifice is quite pointedly followed up by one about feeling alive. It also ends with the super cheerful chorus, the word "alive" being the last... (Remember the episode title: The Final Word)

(I want to thank my friend @shadow-0f-x for writing the majority of this section! I was struggling to choose how to tackle it as I am not well versed in music theory.)

What We Didn’t See:

It is likely that Penny understood Jaune's semblance better than him and figured something out about it’s abilities in the same way that she understood Ruby's semblance better than her. She had plenty of time to observe his semblance up close as he boosted her aura to stave off the virus. Because of that intentionally timed cutaway in the finale, we don’t get to hear her explain herself after her strained “Trust me.” All of that seems really suspicious to me.

Pyrrha Parallel:

Pyrrha and Penny both sacrificed themselves to stop or stall Cinder. Jaune tried to convince the both of them to stop. With Pyrrha, he failed, while with Penny he actively helped her sacrifice herself. Doesn’t make sense for the guy who was determined not to let anyone else do what Pyrrha did, unless of course Penny assured him she’d be alright.

The Moment:

RT including the suicide hotline in the description shows that they're aware that Penny basically committed assisted suicide, seeing it as a noble sacrifice worth doing to save her friends. They're aware, and I believe they're smart enough to condemn that decision to hell and back.

The best way to do that in my opinion is to pull her back into the land of the living and let her witness first hand the consequences of throwing her life away so freely. This would show Penny how her actions affected others so maybe she could learn to truly value herself. To not think herself expendable. It would be bold and unwise to portray this choice as something good, unless it was going to be called upon later and be pointed out for how horrible it really is.

On top of this, Penny was way too content with her death, happy even. There's no way team RWBY is letting her stay content with it. It’s almost as though we're supposed to join Ruby and Co. in calling bullshit on what Penny is saying and doing because no, Penny, this is not how things are meant to work. It's as if Penny was basically saying "I want to die for my friends" because most of the volume had been about everyone else making sure she didn't die. She knows it will hurt them. She knows.

At the peak of it all, a choice like this will totally destroy Ruby. It may very well be her breaking point for Volume 9. Curiously, the moment itself is written like it’s the first choice Penny’s ever made, yet the entire Volume shows this isn’t the case. However, this is the first choice that Penny’s made solely independently and it’s rather pertinent that the choice she makes is a mistake. Outside of giving Winter the Maiden gift and saving the day temporarily, this sacrifice will not have any lasting positive effects. Jaune will be saddled with the grief of killing Penny. Ruby will have to live with losing her best friend and not being able to protect her a second time, and Winter now has the burden of the Winter Maiden abilities, making her a target of Cinder. This is a bad thing, and Penny needs to see the long term consequences.

Transfer of Power:

As we all know, colors in RWBY are really important and get a lot of focus in the show. That means the yellow we see as Penny gives Winter the Maiden Powers was intentional and likely important, no matter how insignificant it may seem. It’s possible that the transfer effect being yellow could have something to do with Jaune’s semblance. When Fria gave the power to Penny, the effect was very much blue, so this transfer should have been green since she was the one giving it this time. The weirdness of this transfer and the focus on color in RWBY really makes it look like something’s up with how that went down.

A little off topic, but Penny saying "I won't be gone, I'll be part of you." makes me think... Winter is smart, so when she gets time to think about what Penny said, maybe she'll arrive at the same question many in the audience came to; if she's literally part of Winter, can they be separated again? If Winter starts questioning that, the possibility of Penny coming back just skyrockets.

Fria actually tells Penny "I'll be gone" before giving her powers up, which is an interesting contrast to Penny telling Winter "I won't be gone". She may have gotten that line from Winter be all philosophical in V7, saying Fria was now a part of Penny, but it hits differently coming from an actual Maiden. S5o it’s possible that Maidens usually actually will be gone, but Jaune's semblance did something to change that.

This could go well with the theory that they won't need to find an aura transfer machine, or build another one, because Jaune will have a semblance evolution allowing him to do the transfer instead. It might actually be that this evolution already happened and the golden light we saw was Jaune transferring penny's aura to Winter in some way?

An observation that I find interesting is when Penny gives winter the powers, not only is the aura yellow but penny completely glows yellow too, and she obviously starts to disappear, but she doesn’t seem to fully disappear, she just glows.

It's possibly a fading out effect and she does fully fade but animation makes bright light easier, and so we don't actually see her disappear because she's dead and not gone. But it does once again emphasize the color yellow here!

And the color is coming from Penny, it does go up Winter's arm a bit, but Penny is clearly the source. This transfer is so weird and I’m not really sure how to interpret it. There's just actually no reason that we are aware of to make the effect yellow here is the thing. Unless it has something to do with either Jaune or Ambrosius, or potentially a combination of both...

Jaune’s Aura:

The way we see Jaune's aura break in the finale is strange. His aura shouldn't be breaking here. It had been long enough since he was boosting Penny, he's had time to recharge, and it didn't look like it was a strain on him at all. Plus, we know he has a lot of aura, so there probably wasn't too much to recharge in the first place.

He has a massive amount of aura, it has never broken before as far as I remember. Even if it has though, that doesn’t make this occurrence any less odd. It should absolutely never be a one-hit KO. We didn't see anything that would've drained it, that should not have been enough to break his aura. Unless he did something - something that would require a huge amount of aura - that we just didn't see. That amount of aura drain is far more than just an attempt at healing would do, Jaune absolutely did something with his semblance that took up almost all of his aura.

Pinocchio Allusion:

As any Penny fan knows, her character allusion is Pinocchio, the puppet who became a real boy. Penny deviates from the allusion by having always been a real girl, as Ruby is quick to point out, but she shares many story beats with her original story including multiple deaths. In the original story, Pinocchio dies from being hung by his own strings due to his poor decision making and he dies. Sounds a little familiar, does it not? This is where his tale originally ended. Readers were unsatisfied with this ending however, so the author decided to change the story by reviving Pinocchio and teaching him to be more careful.

Unlike Pinocchio making all the wrong decisions, Penny often makes the right ones, or ones she thinks is right, when concerning others. While usually a good thing, this has meant Penny almost giving herself up multiple times during V8, her last attempt being successful. This is where Penny and Pinocchio begin to share similarities again. They are both very reckless when it concerns themselves. This carelessness comes from different places, but it ends with the same result of them endangering their lives and even sometimes losing them.

In the Disney movie, Pinocchio dies by drowning after going to rescue Geppetto and washes up on the shore (like the beach in V8’s post credit scene). His father is devastated and takes him home to grieve, but as a reward for his selflessness in rescuing his father, the Blue Fairy returns and brings him back to life, as well as granting him humanity. Penny sacrificed her life as well, and it stands to reason that she should be rewarded for it, much like her allusion was.

Penny got her maiden powers from someone with blue aura and then gave her powers to someone with blue aura. So it could be that not only Ambrosius, but Fria and Winter as well represent the Blue Fairy. It could be set up for Winter helping to bring Penny back to life once more. It’s an out there theory I admit, but it’s not outright impossible either. The Blue Fairy in Pinocchio saved him three times that I know of, so RWBY having three representations does make sense.

Geppetto wished for him to live as a real boy, but it depended on what path Pinocchio took. This is very reminiscent of Penny and Pietro. Pietro wants to see her live her life, and surely with him absent in V8C14 that didn't work, despite Penny choosing. Her father did not see her happy enough to live her life, and will only be able to learn her death through others. But Pinocchio's themes were life and being alive. So the likelihood that this is not her end yet is quite high!

A Girl That Fell Through the World:

Penny could be the girl who fell through the world. The girl in the story fled the consequences of a choice. The only person who chose her ultimate fate was Penny. The others were pushed into the void, but she chose to die. The consequence of her choice is Ruby’s grief first and foremost, which Penny won’t see. The girl who fell through the world does come back though, and the world will be changed severely with Penny’s absence. Alternatively, it could also be Penny coming back to Wonderland or wherever they currently are, as long as it’s unrecognizable to her.

What Returning Brings:

Others might say another return would have no story relevant purpose, but I wholeheartedly disagree. Penny gives a profoundly youthful, joyous, and wondrous outlook on the world and story that we hadn't seen since Ruby in Volumes 1-3(not the end), Penny returning would bring a much needed levity back in after the despair they will undoubtedly be going through. While not necessarily a huge thing in most other shows, for RWBY, a show largely about keeping up hope, an ounce of such relief is a necessity.

As much as I hate saying it, Penny’s death does actually make some narrative sense because she had to pass on the Maiden powers. (They could have done this in a number of ways, and I personally think they chose rather poorly, but I digress.) Throughout this whole volume, we can see Penny seemingly being set up to join the main cast, but would have been too strong with the powers. This also accomplishes ridding her of the burden of responsibility that comes with being a Maiden and lets her obtain the freedom that’s so important to her character.

Once she returns, seeing this grief that her actions caused, particularly to Ruby, will get her to realize more that her actions can have serious repercussions. She made a choice, but that choice hurt the people she loves. She must have known that it would but I’m not sure she ever realized just how much.

I didn’t want this post to be heavy in the shipping department, so I largely left it out, but I am going to say this one thing that could have an impact. If Nuts & Dolts is on its way to being canon, which this volume makes it feel highly likely, this could be a catalyst.

It could prompt an arc for the both of them in which Penny learns to live her life fighting for her loved ones, rather than sacrificing it for them. A relationship could potentially start from there. And Ruby seeing Penny learn these things may also help her to stop doing the occasional but very dangerous and reckless things she does. Ruby witnessing Penny coming to terms with what she did to the people that care about her would actually make her stop to think “wait, is this how everyone else would feel if I got myself killed?” That would be a very important moment of character growth for her.

I’m certain there are other significant things that Penny returning can bring to the show. And there are definitely more sections I could add to this. At this point though, assuming anyone even made it this far, I think I’ve been going long enough already. So let’s just roll into the outro!

As painful and hopeless as it seems, I'm choosing to trust them with this because there is absolutely no way they didn't see backlash coming. The way this finale went makes me think that they calculated for backlash and aren’t jumping into something they don’t have a plan to recover from. Whether this trust is unfounded or not remains to be seen, but I don’t think it is currently. I do think, however, that the cause of this backlash was a major misstep. Now that it has happened though, they have a chance to do something good with it.

I know for a lot of you, trust in CRWBY has been damaged, some even irreparably so. And for those that feel this way, I don’t blame you. My trust in them took a hit too, but isn’t broken completely yet. There are many ways that they can bring her back that would make sense with the narrative, they have the ability to make it right, and after going over all of the hints and general weirdness of things many times, I think they will.

I'm feeling pretty confident now and I really didn't expect that to happen at all to be honest. But discussing and theorizing with the discord server seriously helped get my hopes back up surprisingly fast! It’s actually thanks to all of them that this gigantic post even happened! So thanks a ton my fellow Dolts! And a special thanks to!!

@arcana-amicus

@catontheweb

@cosmokyrin

@gaydontmesswithme224

@jammatown919

@shadow-0f-x

They really helped get this thing across the finish line!

And thank YOU for reading all~ of this! I sincerely wish it gave you some of the hope and confidence that I now have!

[cblgblog]

I know I’m probably beating a dead horse at this point but I feel like it isn’t talked about enough how the accord do not and will never affect Tony the same way they’ll affect those like Steve & Wanda. Tony can always just blow up all of his suits again & go back to a fully normal life if he wants to. He doesn’t have to wear a tracking bracelet, or submit dna samples, or fear getting shoved into a straight jacket or electroshock collar if he gets arrested. I’ll I just don’t think it’s addressed enough how blatantly privileged Tony & other normal humans like rhodey & nat would be under the accords compared to their other teammates. No wonder they were so supportive of them from the beginning.

Ah, but what is fandom for if not the beating of dead horses?

I agree with you. I generally prefer the film over the comic event (granted I haven’t read it in a few years now), but I do like that the Civil War comic had more time to discuss those civil liberties issues. Like, the damn thing, as with most comics events, is annoyingly massive. Not if you just read the core 6 books of the main CW storyline, but the tie-ins, oh my God the tie-ins. Comic events and their damn tie-ins…

For the sake of telling a fuller story though, I do like that the comics had so damn much. There was much more room for side content, for lesser characters who aren’t in the MCU, or weren’t, at the time. There’s a fuller picture of why various people are taking the sides they do. Some of those reasons make more sense than others, but yeah.

There’s a bit from the comics that I’ve posted before where Tony and Peter (mid 20’s, his own hero Peter, not Frankenstein, Tonky Jesus fanboy Peter) are arguing about the Registration Act—as it’s called in the comics—and talking about the civil liberties being violated. Being a 2006 book, it’s got a very post 9/ll, Guantanamo Bay theme going. The lack of trial, of legal representation, the prison that’s even worse than The Raft. There are several scenes like this as I recall, and yeah, the film is sorely missing them in places. You kind of see it with Team Cap in The Raft, but it’s very much a quick thing in the larger narrative of the film, and that’s annoying.

I’m not exactly advocating for this, because the film version with it’s smaller focus works a lot better in many respects, but I do sometimes think of the alternate reality where Disney Plus existed sooner, and Civil War was turned into a series instead of a film. Say six episodes, match the number of installments in the main comic event, eight eps if you wanted to push it. Then we could get something that delved deeper into what these documents actually say, what the public’s reaction to them is, how they would affect people besides our core Avengers group.

Show some kid like Peter who has abilities but doesn’t want to go out and fight bad guys, just wants to live a normal life. Show someone who can’t reveal their Enhanced nature to friends or family because it wouldn’t be safe for that person. Show the every day or every day-ish people (ala the Netflix shows) and where they stand on this. Wanda talks about people being scared of her after the Lagos incident and you kind of see that, but not really. Actually show that. Show the fears that people have of these Enhanced people, the legit and less legit ones, and show the other side too, the regular, every day people who still look at this and say hey, no, hang on, this is wrong.

Again, not necessarily saying I’d want this over the film, but if the Mouse overlords ever wanted to revisit that storyline and expand on it, I wouldn’t complain.

And yeah, people have talked about this too, but it kind of sucks the way the film handled everyone and their reasons for siding how they did. Steve is all about choice and keeping the government from abusing its citizens ala Hydra, Tony’s got his whole, we need to be kept in check thing, but very few of our other players land where they land because of the actual Accords. Nat doesn’t want her Avengers family to fall apart, and wants to maintain some control over the situation rather than none. Rhodey’s the career military man who (generally) follows orders and hey, if this is what most people want, we don’t get to just decide eh, no thanks. Panther doesn’t care about any of this, dude just picks the team that’s going after Bucky. Peter doesn’t know what the fuck he is actually fighting for, Tony didn’t tell him, Scott and Clint are there because Cap asked, and also, presumably, because of the danger the Accords would put their family in, but that second point is never explicitly stated.

And Sam…I feel like we really got fucking robbed with Sam, especially in light of what we’ve learned about his character in Falcon and WS. The film doesn’t much go into his reasoning, beyond the fact he believes in Cap, he’s Cap’s ride or die, etc. But given the history he has in Falcon and WS, again, we were robbed. Dude is all about making sure minorities aren’t oppressed, aren’t punished for existing. Dude is very much aware of the double-standards in this country. I know that stuff was written in later, but my God did we miss out on a Sam monologue about this in CW. Sam, who’s like Nat and Tony in that he can theoretically hang up the wings and be free of the Accords, but still takes the other side. Would’ve been hella interesting to see Sam and Rhodey’s little argument they have about it be an actual scene, an actual debate. Sam who knows of the US government and it’s unjust laws and abuse of power, knows it long before he hears of Isiah Bradley. Who has those nephews that will have to grow up in a post-Accords world. It just would’ve been super interesting to see Rhodey and Sam, both Black men who joined the military, one who left, one who didn’t, have an actual discussion on why they feel what they feel. Even discounting the finer details of the Sam stuff, the stuff that wasn’t written yet, it would’ve been cool.

And, of course it would’ve been awesome to see Tony and the non-powered on Team Iron Man (but mostly Tony) get called out on their privilege with this issue, but that of course couldn’t happen, because Tony has plot immunity. Let fire and lightning pour forth and destroy all who dare to question the wisdom of Tonky Jesus, praise be to Tonky and all he has given us.

[daltonacademia]

There’s A Time For Daring - 1

charlie dalton x fem!reader [post events of the movie]

word count: 1.7k

warning: allusions to sex / slight sexual harrassment? drinking, mentions of neil’s suicide, horrible parents 

Charlie couldn’t help but emit a low growl as his vomit-inducing, picture-perfect, high-society mother and father, whom he despised, prodded him towards the expansive front entrance of Nealson Preparatory School located in southern Vermont. His fuschia-lipped, cakey-faced mother, Cynthia Dalton, was a well-dressed, dignified housewife by day and charming socialite by night; she was particularly harsh as she trampled his pen-stained oxfords with her spearish kitten heels. His eyes shot daggers at the snow-strewn path below, a familiar fire burning in his core.

There were many things Charlie was tempted to furiously spit out at his parents, but instead, he managed to keep his jaw clamped shut, his pearly whites digging into the light pink of his lips hard enough to draw blood. No matter what he shouted, cried, pleaded, they wouldn’t budge. They never would. And it was infuriating.

“Charles! Being expelled from such a prestigious school is no laughing matter, young man. That school cost us quite the pretty penny! How dare you defy the rules to the extent of expulsion. It’s disgraceful, and I will tolerate it no longer!” Charlie’s mother shrieked, furious tears smudging the thick mascara that coated her eyelashes.

“You’ll be shipped off to Nealson Preparatory School in February, and if I hear so much as a single mention of your name not followed with overwhelming compliments, you can expect nasty, nasty consequences! Go pack your things, you’ll be staying with Aunt Barbara until the first of February finally arrives!” The rims of Charlie’s brown eyes stung with anger, frustration, and furthest down, sadness. He was diminished to nothing but an image-ruiner to his mother. The person who was supposed to love him, protect him, save him from the horrors of this hell called Earth.

Mr. Dalton silently observed the boisterous outburst from his expensive leather armchair across the den, a glass of strong, half-drunk whiskey in his palm. Charlie couldn’t bear to see their despicable faces any longer, and as his body felt no longer under his control, stomped up the stairs in a huff, rapidly swiping away the glassy tears spilling from his eyes. Thoughts of running away, escaping it all, flooded his unstable mind. ‘I get why you did it, Neil. I really do. But did you have to go so soon?’ 

But instead of lingering on the image of Neil any longer, he hastily threw his bare necessities into his suitcase, which was still covered in an array of Welton Academy stickers.

The grounds of Nealson were unsurprisingly well-maintained; it reminded him a lot of Welton. The impeccably manicured lawns, gleaming, icy blue lake, the gothic stone arches and pillars. It was eerily similar to Hellton, even down to the ice-cold blanket of snow coating the distant rolling hills. It’s beautiful, Charlie thought, surveying the slow sprinkling of snow, No, it’s hideous. 

Before he could fully vomit at the vile grounds of his new school, his parents fiercely shoved him inside the Headmaster’s dingy office, politely taking the vacant mahogany seats beside him. Charlie couldn’t be bothered to listen to a word his parents said with pearly white smiles, which were no doubt tooth-rotting, sugar-coated lies about the real reason he was expelled over a month prior. 

He knew that they couldn’t just be transparent and tell the Headmaster that he had socked the utterly vile Richard Cameron’s face in (rightfully so, in his opinion), or that he was a star member of the infamous Dead Poets Society, or that he had gone to the extreme lengths to stage a phone call from none other than God himself. It didn’t work like that. 

His mother’s cheeky, artificial voice sounded precisely the same as it always had: carefully rehearsed and slathered with naivety. Seemingly without hesitation, the catty woman could deflect any less-than-pleasant questions or insinuations about her “golden role-model” son, who’s admittedly “a little misguided at times”. 

The new headmaster seated across from him appeared to be around the same age as Mr. Nolan, which, as far as Charlie was concerned, was older than the Cretaceous period at least. His pale-as-a-ghost skin was wrinkled and paper-thin; his patchy, gelled side-swept hair was (very obviously) dyed a deep, midnight black, reminiscent of an off-brand Elvis. 

Charlie’s ears continued to mute the awkward conversation happening amongst him, his focus instead shifting around to the various awards and certificates lining the ivory walls. They all seemed so phony; ‘Best Headmaster- 1947-1959’, ‘Nealson Academy: Exceeds Expectations’. The Headmaster had even framed his high school superlative: ‘Voted Most Likely to Succeed’. What a pathetic-

In a swift blur, his parents rose from their seats, his mother clutching her magenta purse with matching pursed lips. Charlie was handed a hefty, stapled packet packed full of school rules and guidelines with a denture-toothed smile from Headmaster ‘Campbell’. This’d make some decent kindling, he thought as he yanked the packet from his clammy clutches, leafing through its pages with a smirk, this garbage’s almost laughable.

A syncopated rhythm of raps on the door, followed by a gravelly, ‘come in', presented his new dorm escort. His chauffeur just so happened to be you, the accomplished and universally admired student body president in the same grade as the newcomer. You were dutifully donning Nealson’s horrendous uniform: a crisp, white button-up accented with a blue and silver tie was topped with a depressing grey sweater vest. An equally loathsome pleated skirt concealed your thighs, and your ankles were shielded from the chilly February air with black crew socks. 

You extended your perfectly manicured, soft hand out to your brand-new peer with a yearbook-worthy smile, introducing, “Hi. Welcome to Nealson, I’m Y/N Y/L/N.” You swore you heard the brunette mutter something disrespectful under his breath, but nonetheless, he, rather unprofessionally, shook your hand with an eye roll. Things between the two of you were not starting off the way you hoped, but you were determined to make a good impression. The best impression possible.

“Charlie Dalton,” he replied with a mischievous smirk. The brunette standing in front of you reeked of cigarettes, and there was the slightest smell of cheap beer clinging to his clothes. His brown hair was messy, springing out in every direction, despite the water furiously combed through it. His eyes glinted with rebellion, a look so alluring yet dangerous.

“I’ll be showing you to your dorm, which you’ll sleep in for the remainder of the year.” Since Dalton was starting in February, he only had five months of studying before long-awaited senior year. Mr. Campbell waved the two of you off, and with that, you trekked towards the Boys’ wing, Dalton sauntering at your side. 

The walk through the main corridor was silent and awkward. You had tried to enchant him with fun facts about Nealson and its (extensively selective) history, much to his obvious boredom and dismay. His umber eyes glazed the walls, uninterested in the decor. His mind seemed to be elsewhere, but for all you knew, it could be on the bottom of the Pacific Ocean. 

After a while of treading through the high-ceilinged corridors illuminated with fleeting pale rays of sunlight, the boy next to you made no attempt to hide him drawing designs up and down your body. 

“I’ve never been to a school with both boys and girls,” he drawled with a smirk. “Do things ever get exciting around here?”

You shook your head no while indiscreetly tugging down the hem of your skirt uncomfortably, and he said, “Do you think you’d maybe wanna spend the night with me in my dorm? Make sure I’m all settled in?”

Your whole body, from head to toe, froze. The audacity of this… creep! Your tongue poked, nearly stabbed, the back of your teeth, wanting to unleash a select few words to the disgusting Dalton beside you. But alas, if he were to tell anyone of your fiery wrath, you’d be demoted from class president faster than you could explain what really happened. It’s a corrupt system, sure, but even with the power that comes with such a title, there was no way to mend it.

Eventually, while you were wrapped up in the furies of your mind, Dalton revealed a small, autographed golf ball from his trousers pocket and began throwing it up and down above his head casually with every step. 

“Can you not?” you snapped at the chestnut-haired boy after he tossed the sphere up and down again in an arch. “Don’t wanna get in trouble on your first day, do you?”  

“You think this’ll get me in trouble? Have a little fun, it won’t kill you. I promise.” Dalton turned his gaze towards you, an annoyed but smug grin painted on his lips. He slowly tossed the golf ball to your hands, intending for you to catch it. However, the small ball evaded your grasp, instead bouncing around the hardwood floors below you, creating a series of loud, reverberating thunks.

“You were supposed to catch it, you know,” Dalton teased, nonchalantly watching you chase after the rogue orb. After it was finally safe in your clutches, you stomped over to the no-good newbie, irritated. 

“Nealson’s strict. They don’t let stuff like creating an awful lot of racket go unreprimanded.” You were seething; red-hot blood pumped through your veins. Dalton didn’t look anything but utterly amused.

“Wow, you’re just about one of the biggest suck-ups I’ve seen in a while.”

“A what?” you growled.

“A suck-up. A rule-following poster child of excellence? A bratty, know-it-all? Anything along those lines?” He sputtered insults so nonchalantly, it made your blood boil and eyes sting.

“You better watch it, Dalton. I don’t know who you think you are-”

“I’m the best thing that’s happened to this school, by the looks of it.” 

You had nothing left to say to this conceited shuck of a boy who really thought that he was all that and a side of fries. Well he wasn’t! Not in the slightest! And if his first day of classes wouldn’t drill it into him, you would.

The rest of the walk was pin-drop silent and tense. No more fun facts about Nealson escaped your downturned lips, just the light patting of his beat-up oxfords and your pristine mary-janes on the polished wood floor. The hallways seemed more depressing than usual, their framed portraits and condensated windows didn’t fill you with the motivation that you came to expect.

After finally arriving at the boys’ dormitories, you grumbled, “well, this is it. Have a swell life, Dalton.”

“Right back at ya, Y/L/N. Let’s hope this isn’t the last time we meet.” He gave you a cheeky wink before slamming the door in your face.

[lokiondisneyplus]

A review of “Journey Into Mystery,” the penultimate Loki Season One episode on Disney+, coming up just as soon as I paper cut a giant cloud to death…

Journey Into Mystery was the title of the first Marvel comic to feature either Thor or Loki. It began as an anthology series featuring monsters and aliens, but Jack Kirby, Stan Lee, and Larry Lieber were so smitten with their adaptation of the characters of Norse myth that the Asgardians gradually took over the whole book, which was renamed after its hammer-wielding hero(*).

(*) The early Journey Into Mystery stories treated Thor’s alter ego, disabled Dr. Donald Blake, as the “real” character, while Thor was just someone Blake could magically transform into, while retaining his memories and personality. It wasn’t even clear whether Asgard itself was meant to exist at first, until Loki turned up on Earth in an early issue, caused trouble, and Blake/Thor somehow knew exactly how to get to Asgard to drop him off. Soon, the lines between Thor and Blake began to blur, and eventually Thor became the real guy, and Blake a fiction invented by Odin to humble his arrogant son. It’s a mark of just how instantly charismatic Loki was that the entire title quickly steered towards him and the other gods.

But once upon a time, anything was possible in Journey Into Mystery, which makes it an apt moniker for an absolutely wonderful episode of Loki where the same holds true. Our title characters are trapped in the Void, a place at the end of time where the TVA’s victims are banished to be devoured by a cloud monster named Alioth. And mostly they are surrounded by the wreckage of many dead timelines. Classic Loki insists that his group’s only goal is survival, and any kind of planning and scheming is doomed to kill the Loki who tries. But this ruined, hopeless world instead feels bursting with imagination and possibility.

There are the many Loki variants we see, with President Loki, among others, joining Classic, Kid, Boastful, and Alligator Loki. There are the metric ton of Easter Eggs just waiting to be screencapped by Marvel obsessives (I discuss a few of them down below), but which still suggest a much larger and weirder MCU even if you don’t immediately scream out “Is that… THROG?!?!?” at the appropriate moment. And all of that stuff is tons of fun, to be sure. But what makes this episode — and, increasingly, this series — feel so special is the way that it explores the untapped potential of Loki himself, in his many, many variations.

This is an episode that owes more than a small stylistic and thematic debt to Lost. It’s not just that Alioth looks and sounds so much like the Smoke Monster(*), that it makes a shared Wizard of Oz reference to “the man behind the curtain” (also the title of one of the very best Lost episodes), or even that the core group of Lokis are hiding in a bunker accessible via a hatch and a ladder that’s filled with recreational equipment (in this case, bowling alley lanes). It’s also that Loki, Sylvie, their counterparts, and Mobius have all been transported to a strange place that has disturbing echoes from their own lives, that operates according to strange new rules they have to learn while fleeing danger, and their presence there allows them to reflect on the many mistakes of their past and consider whether they want to, or can, transcend them.

(*) Yes, Alioth technically predates Smokey by a decade (see the notes below for more), but his look has been tweaked a bit here to seem more like smoke than a cloud, and the sounds he makes when he roars sound a lot like Smokey’s telltale taxi cab meter clicks. Given the other Lost hat tips in the episode, I have to believe Alioth was chosen specifically to evoke Smokey.

Classic Loki is aptly named. He wears the Sixties Jack Kirby costume, and he is a far more powerful magician than either Sylvie or our Loki have allowed themselves to be. He calls our Loki’s knives worthless compared to his sorcery, which feels like the show acknowledging that the movies depowered Loki a fair amount to make him seem cooler. But if Classic Loki can conjure up illusions bigger and more potent than his younger peers, he is a fundamentally weak and defeated man, convinced, like the others, that the only way to win the game into which he was born is not to play. “We cannot change,” he insists. “We’re broken. Every version of ourselves. Forever.” It is not only his sentiment — Kid Loki adds that any Loki who tries to improve inevitably winds up in the Void for their troubles — but it seems to have weighed on him longer and harder than most.

But Classic Loki takes inspiration from Loki and Sylvie to stand and fight rather than turn and run, magicking up a vision of their homeland to distract Alioth at a crucial moment in Sylvie’s plan, and getting eaten for his trouble. He was wrong: Lokis can change. (Though Kid Loki might once again argue that Classic Loki’s death is more evidence that the universe has no interest in any of them doing so.) And both Loki and Sylvie have been changing throughout their time together. Like most Lokis, they seem cursed to a life of loneliness. Sylvie learned as a child that a higher power believed she should not exist, and has spent a lifetime hiding out in places where any friends she might make will soon die in an apocalypse. Our Loki’s past isn’t quite so stark, but the knowledge that his birth father abandoned him, while his adoptive father never much liked him, have left permanent scars that govern a lot of his behavior. The defining element of Classic Loki’s backstory is that he spent a long time alone on a planet, and only got busted by the TVA when he attempted to reconnect with his brother and anyone else he once knew. This is a hard existence, for all of them. And while it does not forgive them their many sins(*), it helps contextualize them, and give them the knowledge to try to be better versions of themselves.

(*) Loki at one point even acknowledges that, for him, it’s probably only been a few days since he led an alien invasion of New York that left many dead, though due to TVA shenanigans, far more time may have passed.

For that matter, Mobius is not the stainless hero he once thought of himself as. While he and Sylvie are tooling around the Void in a pizza delivery car (because of course they are), he admits that he committed a lot of sins by believing that the ends justified the means, and was wrong. He doesn’t know who he is before the TVA stole and factory rebooted him, but he knows that he wants something better for himself and the universe, and takes the stolen TemPad to open up a portal to his own workplace in hopes of tearing down the TVA once and for all. Before he goes, though, he and Loki share a hug that feels a lot more poignant than it should, given that these characters have only spent parts of four episodes of TV together. It’s a testament to Hiddleston, Wilson, Waldron, and company (Tom Kauffman wrote this week’s script) that their friendship felt so alive and important in such a short amount of time.

The same can be said for Loki and Sylvie’s relationship, however we’re choosing to define it. Though they briefly cuddle together under a blanket that Loki conjures, they move no closer to romance than they were already. If anything, Mobius’ accusations of narcissism in last week’s episode seem to have made both of them pull back a bit from where they seemed to be heading back on Lamentis. But the connection between them is real, whatever exactly it is. And their ability to take down Alioth — to tap into the magic that Classic Loki always had, and to fulfill Loki’s belief that “I think we’re stronger than we realize” — by working together is inspiring and joyful. Without all this nuanced and engaging character work, Loki would still be an entertaining ride, but it’s the marriage of wild ideas with the human element that’s made it so great.

Of course, now comes the hard part. Endings have rarely been an MCU strength, give or take something like the climax of Endgame, and the finales of the two previous Disney+ shows were easily their weakest episodes. The strange, glorious, beautiful machine that Waldron and Herron have built doesn’t seem like it’s heading for another generic hero/villain slugfest, but then, neither did WandaVision before we got exactly that. This one feels different so far, though. The command of the story, the characters, and the tone are incredibly strong right now. There is a mystery to be solved about who is in the big castle beyond the Void (another Loki makes the most narrative and thematic sense to me, but we’ll see), and a lot to be resolved about what happens to the TVA and our heroes. And maybe there’s some heavy lifting that has to be done in service to the upcoming Dr. Strange or Ant-Man films.

It’s complicated, but on a show that has handled complexity well. Though even if the finale winds up keeping things simpler, that might work. As Loki notes while discussing his initial plan to take down Alioth, “Just because it’s not complicated doesn’t mean it’s bad.” Though as Kid Loki retorts, “It also doesn’t mean it’s good.”

Please be good, Loki finale. Everything up to this point deserves that.

Some other thoughts:

* Most of this week’s most interesting material happens in the Void. But the scenes back at the TVA clarify a few things. First, Ravonna is not the mastermind of all this, and she was very much suckered in by the Time-Keeper robots. But unlike Mobius or Hunter B-15, she’s so conditioned to the mission that even knowing it’s a lie hasn’t really swayed her from her mission. She has Miss Minutes (who herself is much craftier this week) looking into files about the creation of the TVA, but for the most part comes across as someone very happy with a status quo where she gets to be special and pass judgment on the rest of the multiverse.

* Alioth first appeared in 1993’s Avengers: The Terminatrix Objective, a miniseries (written by Mobius inspiration Mark Gruenwald, and with some extremely kewl Nineties art full of shoulder pads, studded collars, and the like) involving Ravonna, Kang, and the off-brand versions of Captain America, Iron Man, and Thor (aka U.S. Agent, War Machine, and Thunderstrike, the latter of whom has yet to appear in the MCU). It’s a sequel to a Nineties crossover event called Citizen Kang. And no, I still don’t buy that Kang will be the one pulling the strings here, if only because it’s really bad storytelling for the big bad of the season to have never appeared or even been mentioned prior to the finale.

* Rather than try to identify every Easter egg visible in the Void’s terrain, I’ll instead highlight three of the most interesting. Right before the Lokis arrive at the hatch, we see a helicopter with Thanos’ name on it. This is a hat tip to an infamous — and often memed — out-of-continuity story where Thanos flies this chopper while trying to steal the Cosmic Cube (aka the Tesseract) from Hellcat. (A little kid gets his hands on it instead and, of course, uses the Cube to conjure up free ice cream.) James Gunn has been agitating for years for the Thanos Copter to be in the MCU. He finally got his wish.

* The other funny one: When the camera pans down the tunnel into Kid Loki’s headquarters, we see Mjolnir buried in the ground, and right below it is a jar containing a very annoyed frog in a Thor costume. This is either Thor himself — whom Loki cursed into amphibianhood in a memorable Walt Simonson storyline — or another character named Simon Walterston (note the backwards tribute to Walt) who later assumed the tiny mantle.

* Also, in one scene you can spot Yellowjacket’s helmet littering the landscape. This might support the theory that the TVA, the Void, etc., all exist in the Quantum Realm, since that’s where the MCU version of Yellowjacket probably went when his suit shorted out and he was crushed to subatomic size. Or it might be more trolling of the fanbase from the company that had WandaVision fans convinced that Mephisto, the X-Men, and/or Reed Richards would be appearing by the season finale.

* Honestly, I would have watched an entire episode that was just Loki, Mobius, and the others arguing about whether Alligator Loki was actually a Loki, or just a gator who ended up with the crown, presumably after eating a real Loki. The suggestion that the gator might be lying — and that this actually supports, rather than undermines, the case for him being a Loki — was just delightful. And hey, if Throg exists in the MCU now, why not Alligator Loki?

* Finally, the MCU films in general are not exactly known for their visual flair, though a few directors like Taika Waititi and Ryan Coogler have been able to craft distinctive images within the franchise’s usual template. Loki, though, is so often wonderful to look at, and particularly when our heroes are stuck in strange environments like Lamentis or the Void. Director Kate Herron and the VFX team work very well together to create dynamic and weird imagery like Sylvie running from Alioth, or the chaotic Loki battle in the bowling alley. Between this show and WandaVision, it appears the Disney+ corner of the MCU has a bit more room to expand its palette. (Falcon and the Winter Soldier, much less so.)

[definitelynotshouting]

tma discord made a joke about martin bringing jon's stuff to his flat post s3 for safekeeping, so ofc i had to make it sad. enjoy the marto angst!!

~~~

He doesn’t mean to open up Jon’s yearbook, in the same way he doesn’t mean to pick up all of Jon’s things from his flat, or tell Jon's landlord that he’s the next of kin, smile stretched too tight over trembling his lips. He doesn’t mean to garner the old woman’s sympathy, either, but he receives it anyway in the form of a half-hearted pat to the shoulder as her brows crumple together-- like it's her first time trying on the expression.

“Terribly sorry for your loss,” she murmurs, eyes downcast. Proper respect for the dead, and all. Martin doesn’t bother correcting her-- it’s true, isn’t it? Dead is dead, and maybe Jon wasn’t his, but--

But he could’ve been. Martin had been so sure, just before the Unknowing. They could’ve been something.

Not that it matters anymore.

Martin reaches deep for his inner well of strength and patience, and cobbles together another fixed smile. “Thanks.”

“Right proper tenant, he was,” she continues, brows furrowing further. “Didn’t see him for a while, mind you, but I--”

She stops with such abruptness that Martin’s ears ring. At some indeterminate point his facial muscles had started moving of their own accord, freezing in a series of strained, rigid lines.

Whatever Jon’s landlord sees in them, it unnerves her. “I. Um. That is-- ah… you, you take all the time you need.” She fumbles another pat to his shoulder, before fleeing out the way she came. Jon's front door shuts with finality; the click reverberates through his head long after the sound dissipates.

Alone at last, Martin’s polite grimace slips.

It’s so cold here. Jon has curtains over the blinds-- thick, dark things, meant to block out everything from sunlight to prying eyes. Martin chokes on a hysterical laugh; there’s on the nose, and then there’s on the nose, and it’s so pathetically not-funny that he has to cover his face with his hands, biting down on the hiccups that keep tearing out of him.

There’s more, of course. Jon was-- was, god-- a living person, and it’s astonishing just how much people accumulate over the years. The procession of cheap tchotchkes lining the mantle surprises him, the mountain of books less so. Tapes, mugs, and discarded take-out receipts litter every surface of the sitting room; endearing, if circumstances were different. And when Martin moves further into the flat, he discovers a stack of cardboard boxes in the corner of Jon’s bedroom, still filled with whatever contents Jon had been too busy to unload.

The utter normalcy of it punches a gaping hole in the center of Martin’s chest. Deep, vicious grief pours out of it, claws at the tatters of his heart with oily, ink-stained fingers. Martin’s next breath takes the form of a rattling inhale-- just a week ago, Jon had walked these floors. Had pulled things out of those dusty boxes. Had, had, had. Things he’ll never do again. That’s the important part.

“Right," Martin tries, but his voice strangles, falls harsh and reedy in the dusty flat. Wrong. He cringes; silence is what reigns here, thick and impenetrable as stone.

The thought floats up unbidden: This isn’t a place. This is a tomb.

It knocks his knees out from under him. “No, nono--” Martin claps a hand over his mouth too late, stifling the sob that trips from his throat. The vice around his chest squeezes; he can’t breathe around the pressure, lungs fluttering for air. This-- and, god, Tim too-- it’s too much. The wall between himself and the emotions he's been holding back shatters, pooling onto the floor in a storm of frenzied weeping.

When he comes back to himself, he’s sitting cross-legged on the floor, propped up against one of the boxes. “Alright,” Martin croaks at it. Anything for a distraction-- at least these won't need packing up. “Let’s, uh. Let’s see what-- l-let’s see what we’ve got, yeah?”

The box’s flaps are arranged in a square, overlapping so they can hold themselves shut without tape. Martin digs a finger under one of them, prying it loose-- the others unfold without encouragement, blooming outward like a flower.

Strictly speaking, it doesn’t hold anything special. Just Oxford paraphernalia: Jon's folded dress robe, a leather-bound folder containing his degree, the black square cap with its equally black tassel. And a book. Slim, resting on top of everything else, the imprint of Jon’s fingers lingering against its glossy cover.

Martin thumbs its corner without thinking, his other fingers curling to hover over each print. They’re too big, blocking out the whorls of Jon’s fingers; Martin sniffs, wipes his nose on the back of his sleeve as fresh tears dribble down his cheeks.

He doesn’t mean to open the book. But somewhere in the haze of tears, his thumb slips beneath the cover, lifts it, and he finds himself staring at the inside cover of a yearbook.

“Oh.” Breathed out on the softest exhale, gently ruffling the pages. Martin sucks in another quick breath, but this one doesn’t hurt so much. His own curiosity overshadows the grief for a few precious moments; Martin sinks into it, flipping each page with that curious detachment that comes after a long crying jag.

None of the names and faces are familiar-- and why would they be? Martin never went to uni, much less Oxford. Each stranger’s features slide away when his eyes move on to the next. These are people he'll never meet; people whose lives are, with any luck, untouched by the horrors that have dominated his own.

Martin skips over the entire S section. Best not to risk it.

After the parade of portraits are other pictures, professional candids of student organizations at work, social clubs meeting up after class, interviews with some of the students. Standard fare, really. Everything drifts past without actually sticking, the accompanying text blurring as he skims over it.

He flips to a new page at random, and freezes.

That’s Jon. Younger, yes, face unlined, without a grey hair in sight-- but undeniably Jon. The picture is as crisp as the rest of them, catching the bronze highlights in Jon’s skin, the delicate bones of his wrist as he gesticulates on a stage. Theater Club, Martin reads. Bold, underlined. He reads it again, some itching, crawling thing at the back of his mind suddenly desperate to drink in this new information. Theater Club.

He’s so young. Locked in time, frozen on the page. For once he resembles his age; his posture is looser here, eyes trained on someone off camera. The hint of a smile poises on his lips, softening the jagged cut of his cheekbones with a dash of warmth.

Martin stares. He shouldn’t be looking at this-- it’s private, something Jon must’ve come back to many times, judging by the fingerprints. But in his mind’s eye, he can’t help but compare this picture to the last time he saw Jon: ashen, unmoving, and lifeless under tons of whirring machinery.

They don’t match up. One is vivacious, thrumming with energy. And the other is--

Is--

A drop splashes against the page, wrinkling Jon's image. It’s joined by another, then a third-- hot tears carving the skin of his cheeks, dripping from his chin onto the paper.

Did Jon ever know how numbered those happier days were? Could a part of him sense, back then, how long he had until his life cut short? The tragedy of this image, its bittersweetness, sends a bone-deep ache rippling inside of him. He’d give anything to go back in time and warn this Jon away from the Institute. Christ, he’d do anything right now just to have him back.

When the sob comes, it comes from deep in the core of him. Shreds something vital on its way out; Martin chokes on a great, heaving cry, breath punching from his lungs.

He doesn’t bother putting the book back. Just hugs it tight to his chest, clutching it with the same desperation that a drowning man would a life preserver. “I’m sorry,” he sobs, folding to press his forehead against the cover. “I’m so, so sorry.”

The Jon inside the yearbook, with his fond smile and glittering eyes, never responds.

[ghostietea]

On Tohru and Akito: a long overdue analysis

As some may know, Tohru Honda and Akito Sohma from the manga Fruits Basket are pretty much my all time favorite protagonist/antagonist pair. They just work incredibly well as thematic pieces and driving forces of the story in relation to eachother. And beyond even the surface level they have a rich and layered goldmine of parallels that make them fascinating to think about. While it may make many a newbie raise an eyebrow, I think this is a fact that is to some level pretty widely acknowledged in the fandom proper. However, there is another level of their relationship that is often mostly left out of analytical conversations about them and their parallels: their eventual friendship. Something which, partly due to screentime, is often somewhat simplified down and misinterpreted. Which I think is a shame because, when you look at it, their eleventh hour friendship is deeply interwoven with their parallels and the very thematics and ending of the story. So then, what’s really going on with the girls that stand as part of the thematic core of Furuba? Beyond (most of, true analytical objectivity is impossible in interpretation) my personal sentimental feelings, let’s talk Akito and Tohru: their parallels, relationship, and role in the story overal. Read more present, this is going to be a long one but I hope you stick around 😊

One facet of Akito and Tohru’s role in relationship to eachother that I think is both interesting and imperative to understanding their purpose is their nature as eachother’s foils, especially their parallels. See, the two girls are both opposite and the same. Takaya sets them up as foils before we even properly meet Akito, as you can see in these panels: 

However, their foil relationship becomes a lot more intriguing once their similarities become more apparent later in the story. Just think about it: two girls with boy’s names whose fathers died when they were young, leaving them alone with their mothers, who both developed behavior that, according to the environment that they grew up in, would keep them from being abandoned. Akito, coming from the cultish Sohma clan where she was treated as a God to the point that she thinks she can do no wrong and has tied all of her self worth to the role, plays the part of a male ruler who must uphold tradition and keep the zodiac with her by any means. Akito is terrified of being abandoned, especially since she has no idea how to have relationships outside of the context of the bond, only exacerbated by the fact that Ren, one of the only people that openly questions her role, has constantly told her that she’s useless and will be abandoned. This is something that informs all of her (many, terrible) decisions and leads her to try desperately to keep the curse together, something which puts her in direct conflict with Tohru, who actually wants the curse broken in part so that she won’t be abandoned. Tohru may not be as obvious with her abandonment issues as miss screeches-at-people-not-to-leave-her, but they still inform a good deal of her character. Like Akito, she develops behavior around the time of her father’s passing to try to keep herself from being abandoned, mirroring her father’s proper speech because she was worried that she was losing Kyoko.  But, as she grew older in her much warmer environment, Tohru turned to kindness instead of fear to capture others, maintaining a facade of extreme positivity, politeness, and determination so as to not bother anyone. And, while she hides it, Tohru just gets worse after losing her mother. She becomes dedicated to preserving her feelings about her mother as is, refusing to move on much as Akito also refuses to move on from the curse and what her father wanted. Then comes the beach house reveal, where Tohru learns that Akito plans to take away her new family, even locking up the one most precious to her. Tohru tells herself that she’s going to break the curse for the freedom of the zodiac and cat, but she is also, in a way, doing it to keep herself from being abandoned. Later this feeling changes to become more focused on preventing the loss of Kyo himself, something which Tohru doesn’t want to admit. Tohru is a truly good and kind person and does want to help, yes, but also some part of her is doing this to keep the ones she loves by her side, understandably as she is a teen that recently lost the person she revolved her whole life around. But it comes to a point that you have to realize: Akito and Tohru are both motivated by the same thing, they just present it in wildly different ways. I don’t think that I have to explain how exactly their behavior foils eachother, the more worldly and modern Tohru acting on radical kindness and acceptance and thinking she deserves nothing while the sheltered, traditional Akito uses manipulation and fear to get what she thinks she is entitled to. It’s very apparent, but just gets even spicier in the context of how similar they are. Another parallel is in Tohru’s mom picture vs Akito’s father box, both relics of their dead and favorite parent that they are extremely protective of and treat almost like it is their deceased parent. Early in the series Tohru is seen carrying around a photo of her mom which she talks to, something which seems pretty harmless, until we consider how terrified she is every time she thinks she’s lost it, even going as far as to refer to it as if it were her mother.  Notably, it barely shows up in the second half of the series, as she reluctantly drifts away from her mom and towards Kyo. In this later part of the series, we are introduced to Akito’s box, which she (semi, it’s complicated) thinks contains her father’s soul. Akito’s box is shown in a much darker light, from how the reveal of what it us to her is framed to how cruelly she reacts when it’s being stolen. Akito’s box is to Tohru’s photo what their owners narratively are to eachother: a dark mirror.

Ok, and now for the reason that I think it was important to bring all these parallels up first: because as you cannot understand Tohru and Akito as enemies without understanding their differences, you cannot understand them as friends without knowing their similarities. While it is easy to write off Tohru reaching out to Akito as just another case of Tohru being Tohru, that does a disservice to the full picture. I’ve seen around in the fandom that a good deal of people seem to think Tohru trying to befriend her is just Tohru being overly kind and forgiving, and this is something I think ties back a bit to some early fandom misconceptions about Tohru. Bear with me for a second, this is going to be a bit of a tangent but it ties back. It’s died down some now, but in the early Furuba fandom it was very common to just think of Tohru as a pretty flat nice girl doormat character, which besides misogyny is probably partially the fault of the 01 anime, which cuts off before we get to see more of Tohru’s insecurities and tones down what we do see (also, in the case of the relationship I’m talking about, 01 ads in that God awful end confrontation that I despise for being everything that I’m about to argue the ACTUAL confrontation that I like is not). Manga Tohru is a very subtle character, she hides a lot of her feelings behind a perpetually happy front which doesn’t start to let slip until later. And, since it’s later on in the manga which went unadapted for years and is mixed in with a bunch of crazy stuff, I think Tohru’s quiet development is often somewhat overlooked. For example, early series Tohru is very well known for the speeches she gives to the zodiac when she first meets them, speeches that, importantly, always tie back to things that her mom said. Tohru’s worldview back then revolved completely around Kyoko, so it’s probably a bit of a thing that in the later story, when Tohru draws ever nearer to the realization that she must move on, she does not give her mom speeches anymore? As opposed to the early story, when it was pretty much back to back character intros, in the late story Tohru notably only gets to befriend two new Sohmas: Isuzu and Akito. Notably, she doesn’t quote her mom either time, these are both people that she can relate to on some of her more hidden issues, and she shows a more personal side of her emotions in her turning point confrontations with them than she did earlier. It is especially important to realize that, in her confrontation on the cliff, Tohru is deciding that she is willing to go against her mom. Early series Tohru was a front anyways, and is a different Tohru from the one that finally gets through to Akito. I was using it as an example, but the evolution of Tohru’s befriending confrontations will be important later. Furthermore, there is the perception of Tohru as a doormat. Listen, Tohru may be very kind and polite, but one of her defining characteristics is being very determined and strong willed when need be. This is something that is especially relevant to her interactions with Akito. From the first meeting outside the school, Tohru knows to be wary of Akito and even breaks politeness and shoves her when she senses that Akito is making Yuki uncomfortable. This sets up immediately that Tohru can and will stand up to Akito. This is driven in even farther at the beach house, when Tohru, after again physically getting between Akito and a zodiac, decides that she will directly go against all of the Sohma family’s centuries of tradition and Akito herself to break the curse.  There’s even a cute moment when, upon remembering Akito telling her not to, Tohru just decides to meddle even harder. Tohru, while polite about it, does not like Akito and puts herself in direct opposition to her. Tohru does not originally want to be Akito’s friend, or to have anything to do with her. The cliff scene is not just Tohru befriending someone because she just is over forgiving and loves everyone (an argument can be made that she still goes to easy on Akito, but it’s in line with how the narrative treats her too so that’s another conversation), there was a specific reason both that she chose to try to get through to Akito and that it actually worked. Up until their big confrontation, Tohru still thinks of Akito as a threat, and while she has gotten more information that shakes up her view of Akito, she still doesn’t understand her well enough to see her as much more than an obstacle. Then Akito barges into her yard when she’s just been rejected, crying and confessing how terrified she is of being abandoned, of things changing, and Tohru just goes still, eyes wide in shock. And she realizes: her and Akito have been afraid of the same thing the whole time.  This is when Tohru decides to try to reach out to her. Because Tohru, on a deep level, sees Akito because of their similarities.  She calls Akito out on her insecurities, and Akito reacts badly, accusing Tohru of being “dirty” and trying to condescend.  Tohru partially rebukes this, not trying to hold herself above Akito as pure and righteous, but instead confessing her own fears of abandonment and change in an attempt to empathize with Akito.

At this part of the story, Tohru is fully coming into the realization that, in order to live her life, she needs to stop clinging to this idea of an “unchanging” relationship with her mom, something that scares her quite a bit. She realizes that, while she saw the flaws in Akito’s “eternity” and tried to destroy it, she had not been as perceptive with herself, clinging to that same notion. Tohru is an incredibly repressed character, especially in regards to emotions she thinks of as “dirty,” and she is showing a remarkable amount of vulnerability in this scene. Another thing to note about Tohru is that she, in her immense repression, will often process her own issues through other people. We see this throughout the story, from her showing grief over her mom by crying for Momiji and his mom to her projecting her fear of losing Kyo onto Kureno and Arisa. So then, it’s quite something to consider that the last Sohma she befriends is the one most emblematic of the issues she keeps locked up tightest? That as she’s speaking to her she’s deciding to move forward from her own fears? In a way, could accepting Akito be a symbol of Tohru accepting what she thinks are the darker parts of herself? Akito is also coming to a realization about moving on, acknowledging that the zodiac curse is coming to an end and that everything she believes is a lie, and she is absolutely distraught about it. But Tohru, in a way that nobody else does, understands Akito, and wants Akito to be her friend. Not out of pity or reverence, but a desire for solidarity. And this is the very reason why Tohru was actually able to get through to Akito. As we see with Kureno before he gets stabbed and Momiji at the beach house and when his curse breaks, it’s not like people haven’t kindly tried to get through to her before.

Of course, the reason it worked for Tohru can also be partially chalked up to the fact that Akito herself has come a long ways in personal realizations to the point that there’s just some things she can’t deny anymore, but that’s not all. Akito tends to react very negatively to what she sees as condescension, she thinks people want to try to pick her apart and see how she ticks just so they can look down on her, so they can see her as lesser. She thinks Tohru is trying to condescend too at first, especially since she perceives Tohru as this holier than thou saint wannabe. Fascinatingly, Akito’s view of Tohru is incredibly similar to that early fandom idea of Tohru as an angelic mary sue, and she hates her for it. She thinks that Tohru is trying to be like this and is seen as such, and that she (Akito) is the only who can see that Tohru is wrong somehow.

But Tohru rejects this notion of a pure her that both the fandom and her early self tried to project, presenting herself as flawed and human and purposefully trying to not put herself on a pedestal above Akito. She makes it very clear that she’s not trying to condescend, she is the same way (well, sorta) and she gets it. Notably, after this point Akito doesn’t accuse her of looking down on her, instead freaking out temporarily because of how much Tohru called her out before venting about her fears to her. And, while, partially due to outside circumstances, it does take Akito a bit longer to accept her offer of friendship, she legitimately manages to get through to her very soon after this point. If Tohru had tried one of her early series mom speeches on Akito, or just tried to blindly accept her without understanding, it would not have worked. Akito would have just written it off or reacted badly and left it there. But because Tohru tried to befriend Akito out of understanding as an equal it actually worked. You can’t separate Akito and Tohru’s parallels and their eventual friendship because one aspect is integral to the other.

A connected aspect of their relationship that I see talked of very little but is actually a pretty strong undercurrent is that of equality and power. To explain this, we have to look at Akito for a bit. Throughout her life, pretty much everyone around Akito has either put her on a pedestal or looked down on her. This is something that not only greatly damaged the way she thinks of herself and others, but has given her an intensely hierarchical view of relationships. We even see this notion clearly take form for her in the black paint scene, where she decides that Yuki, who she’d previously seen as the same as her, has to be lesser or else she will become useless.  From the moment Akito was born she was “God,” an existence above everyone else. Even her own father only seems to give her affection for being God, and when he dies and she takes his place as the head of the family she is just elevated even farther at an extremely young age. The only people (she thinks) she’s close to are the zodiac, and the curse itself puts an inherent power dynamic into that relationship that can only be overcome with its undoing. Akito clings to her power, to her rank in the hierarchy, all the while the very thing she desperately upholds has made her the real outsider. Akito, who does everything in the name of belonging, was always alone from the start. As Tohru points out, as long as she is above the group she cannot be a part of it.

Simultaneously, and almost contradictory to the pedestalization and power dynamic aspect, Akito is extensively coddled and pitied. A lot of the older adults around her treat her almost like a crotchety, spoiled child. A child who is coddled to the point of never being given any reprimand or instruction on just how to behave like a functional human being until things have gone far too far. Then you have cases like Kureno, who seems to still see Akito like a kid, pretty much just coddles her as a job, and only stays because he pities her. This leads to a strange dual sided dynamic in multiple cases, where Akito is seen as someone’s better and has more power but is also being looked down upon in a way too. Akito has never in her life been seen and treated as an equal, so it’s pretty important when it is made clear that Tohru tries to befriend her as an equal. After all this time, Tohru, an outsider that is not under Akito’s control, who can hold her ground in a challenge against her, is finally the one to meet her on the same level. There’s this page that I adore that symbolizes this idea really nicely. It opens on a panel of Akito sitting a distance away from the zodiac who are all having fun together, a motif we’ve already seen a few times, but this time Tohru sits down right next to her.

This page comes at a critical moment, when Tohru is offering her hand in friendship to Tohru, it’s Akito realization of what Tohru is trying to do. Later on, we get Akito narrating what this page was showing, which I think I just need to put in:

We also see a bit of their conversation after they reunite in the hospital later, where Tohru again denies that she is better than Akito. Now, I think both the Tokyopop and Yen Press translations of this scene are a bit weird, the Tokyopop version uses the word “pretty” (confusing) while the Yen Press uses “kind” (don’t think that’s the best word). However one time I saw like a Malaysian english release in the half price books that used “pretty on the inside” and I like that best so I’ll just pretend that’s it.

I think this scene is interesting because it could seem like they’re just talking about morality but that’s not it. This is, once again, Tohru pretty explicitly trying to stop the creation of any sort of hierarchy between her and Akito. It’s not about right or wrong, Tohru know very well that Akito’s done things wrong and actively worked to stop her, it’s about not wanting them to be put on some sort of different rank based on morality and Tohru understanding Akito enough to empathize with the fact that (wrong or no) Akito was really hurt by Tohru and they won’t get anywhere if they don’t acknowledge that. Furthermore, I’ve already talked a bit about it already, but I think the way that Tohru asserts that she gets what Akito’s feeling and thinks she herself is “dirty” during their confrontation is relevant here too. She is, again, presenting herself as someone on the same level who understands Akito and is not being nice out of pity. This then leads to the page I talked about before which is again, Akito realizing this! This is a huge moment for her, someone who has had all of her relationships messed up by inequality and has no idea how to have a normal relationship, who is having a breakdown because she thinks that because of this it’s too late for anyone to love her, to have someone who understands her and wants to meet her on the same level. Even if she tries to deny it and shift blame, at this point Akito has realized that the zodiac bond is not what she thought and that she has been acting horribly. The groundwork is already there for Akito to have a change of heart, especially considering that a lot of her horribleness stems from legitimate extreme ignorance and her obsession with the bond so once she’s snapped out of that… The main thing that’s holding her back past that is that she’s panicking and cannot see a way forward. So then when there’s someone who actually gets where she’s coming from instead of just tolerating her and is offering her the sort of friendship that she’s never gotten to have of course she’d go for it! Tohru Honda has proven Akito wrong in ever way and, in the end, she even proves her wrong on her greatest fear: that she can only be wanted because she’s God. Because of Akito’s specific issues, nothing could have been more powerful for her than someone coming to her as an equal. Again, the piece about why Tohru could get through to her. It just wouldn’t be the same if Tohru didn’t have a reason to want Akito around or if she somehow saw Akito as below her, the very core of their relationship is the destruction of hierarchies. From the beginning Tohru has been trying to destroy the hierarchy of the zodiac, and when it comes down to it she does not take Akito’s spot at the top, but decides to stand beside her and the zodiac instead. Early in the series we see Akito trying to have some power over Tohru through fear, but when the time comes and Akito is pretty much defeated Tohru does not take power as the victor, hoping that Akito joins her instead of being somehow defeated. And at the end of it all this works, and Akito dissolves the zodiac and with it most of her power and her godhood of her own accord. 

Despite their relative lack of page time, Tohru and Akito’s relationship has always been something that I come back to. Sure, a lot of that is just sentiment as they meant a lot to me when I was younger, but I think there’s something there. They work amazingly as protagonist and antagonist, contrasting nicely and working as symbols of both sides of the thematic conflict. There’s a palpable tension to their early interactions that makes you both scared and interested to see what happens when these two inevitably have to go head to head. But then, as the story goes on, it seems more and more like they are a tragedy, so similar yet on different sides of the story, fated to have one of them stuck with an unhappy ending brought on by the other.

But, even as dark as it gets, that wouldn’t really be Fruits Basket, would it? In the end, Tohru and Akito’s similarities win out, not their differences. I think it would have been so easy to just make this a story where the sweet heroine “saves” the villain just because, but that is so blatantly not what’s going on. Tohru simply sees herself in Akito, she’s not trying to somehow fix her and nor should she have to, she just wants to be her friend. And then the two manage to overcome their driving fear of moving on, forging new bonds and inspired by their interaction with the other. It’s not like Tohru somehow fixes Akito’s problems, Akito has to do things herself and in fact independence is a big theme of her endgame arc. Tohru simply offered her friendship, and that was enough. There’s a distinction to be made between how Tohru inspires Akito and Tohru somehow “saving” her, because Akito very much has to learn to save herself in the end after a lifetime of pushing her issues onto others. And, as a side note, all this is sort of why it bugs me when people act like Tohru would be like a mom to Akito. First off, Tohru shouldn’t have to be the mom to everyone. And, kind as she is, Tohru is also not a Kureno, she sees and interacts with Akito in a completely different way and their relationships with Akito are one of the big points were Tohru and Kureno differ. Second off, Akito has spent her life coddled and clinging onto anything that she can hold onto as a resemblance of parental affection to a toxic degree. Part of her arc is that she needs to grow out of this, become more independent, and have more balanced relationships. Akito at this point does not want or need to make a mommy figure out of one of her peers, and doing so may in fact be regressive. Sure, she will definitely need a level of guidance going forward, but it would be more beneficial for her to learn from example and under more of a friendly, balanced context coming from multiple people, not one person holding her hand. For all the reasons I’ve gone over in this entire post, I think it is much more meaningful for Akito to have Tohru as what she was canonically presented as in text: someone who sees her as an equal. The whole point of their relationship is, again, the defiance of hierarchies, something which I think is often sorely overlooked even though it is very openly there in text. And that, in part, is why I think their relationship is so powerful to me. Beyond hero and villain, right or wrong, or any story roles, it’s about two girls finding solidarity and friendship on a very personal, human level. This is Akito for the first time being seen not as this distant, untouchable male deity or some pitiful being, but as a flawed, hurt human girl who is nonetheless capable of change and being loved. This is Tohru coming out of hiding, presenting her flawed, terrified human self to someone she saw as an enemy. Fruits basket is, in part, a story about friendship and defeating systems of power and abuse. Even in a messy third act that muddles its themes at times by weighing character endings too heavily on het romantic love, especially in regards to the women (Hello Rin, Machi, Uo, ect.), Tohru and Akito stand out as a friendship that is given a huge amount of narrative weight. It just feels nice that, in a story that often focused on the power of relationships between women only to ditch all that and focus primarily on their relationships with men, these two girls are one of the driving forces of the endgame. The curse didn’t get broken by romantic love, but by the friendships everyone made along the way, including Tohru and Akito. Tohru has gotten it to this point, and now Akito just needs to bring it to a close and finally end things. At the very beggining, before this all started, all the cat wanted was for the God was to move forward and live as a person among the humans, and, finally, a long time later that wish was granted. The tale of the zodiac gets its happy ending not by a villain being defeated, but by the power of friendship and solidarity between women.

[queenlilith43]

The Eldest Curses

So we know of the eldest curses. We know they are the oldest child of a Prince of Hell. But what do they do? What powers do they hold? And how far do they have to fall?

In this post I'll go over some theories and all the information we know about them, confirmed eldest curses, and their respective parents.

I'm sorry if my hate for Asmodeus comes out, but as my friend @patalliumapples said, "You hate Asmodeus so much and it’s so funny to me. Like I hate him too but it seems like he personally murdered your family and it’s so funny."

Tags: @apple-bottom-jeansx @the-blackdale @murderbabies @unorganisedbookshelf @revati3008 @patalliumapples @tenacioushubb @hardlymatters @pjo-tsc-trc-otherthingstoo if you gave me a theory idea you'll be tagged later in the post.

What We Know

Eldest curses are the oldest children of any given Prince of Hell at a moment. So if a Prince of Hell has seven kids alive, the oldest one will be his eldest curse. However, this is unlikely, because they die easily. The magic is too much for them to handle.

There are two confirmed eldest curses living right now: Magnus Bane and Tessa Gray.

Magnus Bane

Age: Anywhere between 380-400 years old

Parent: Asmodeus

Powers: He's very powerful, but any specific powers based on his demon parent? Not really. Unless you count sexy as a power.

Contact with Demon Parent: Magnus has met Asmodeus several times. He summoned him when he was very young, and the regretted it. Then there was the Crimson Hand, his little demon-worshipping cult. Magnus ran into Asmodeus again in The Red Scrolls of Magic and City of Heavenly Fire, but hasn't been under his sway . . . Yet.

Tessa Gray

Age: 147-ish, born in 1862

Parent: Belial

Powers: Tessa, being half Shadowhunter, is special. She doesn't have many regular warlock powers, but she can shapeshift into anyone she likes. However, after absorbing the power of the angel Ithuriel, it's harder for her to change. It's also not a good idea for her to shapeshift when she's pregnant, as found out in Ghosts of the Shadow Market.

Contact with Demon Parent: She has not talked with Belial. Her children, James and Lucie, have had contact several times throughout the Last Hours, but she herself has not talked to Belial. Belial did consider possessing her, but between Ithuriel protecting her and his sexism, it's unlikely.

The Other Stuff

Eldest curses are supposed to be powerful. They're literally demon royalty, and Magnus and Tessa's uncle is Lucifer. Just think on that.

So I'm just gonna talk about some stuff Asmodeus brought up in The Red Scrolls of Magic. I was going to analyze some quotes but it just was taking me too long and I was getting too angry at Asmodeus. My solution is to just do a brief summary of what he said.

Eldest curses have some powers. We don't what, but I can gather they were made to rule. (On iron thrones as Asmodeus said, which is very specific)

And Asmodeus sure loves his. Why? Because he's a manipulative son of a bitch that's why. (The hate is strong right now.)

Asmodeus has had a lot of kids, because he's the demon of lust, but Magnus is very powerful. He's strong, and Asmodeus wants to mess with him to take control of him.

And now onto the theories!

Theories

And the crackpot clowning starts here.

@the-blackdale came up with the theory that some ✨ necromancy ✨ will be in order and Magnus dies at some point, but comes back to life in TBVOTD.

@murderbabies suggested that to summon Lucifer needs blood to be summoned. Blood of an eldest curse, most likely, because we know warlock blood has some powers. I really don't think it would rivers of blood, but enough to draw a small sigil. (As we know from Chain of Iron all the Princes have a sigil that might be used to summon them.)

@patalliumapples and I have the headcanon Raynor is actually Sammael's son, but it's unlikely to actually be canon. Still, a nice thought.

I think Aldous Nix, the warlock from The Bane Chronicles who making a Portal to Pandemonium, is an eldest curse. Maybe Belphegor. He is dead now, but before that, he was at least 1000 years old. That was before Sammael did his little Incursion thing, and that means there had to be a very powerful demon to get to the surface to be his father. So possibly an eldest curse.

Basically assume every warlock is an eldest curse unless confirmed otherwise.

So combining the two theories from @the-blackdale and @murderbabies is that maybe the death or at least one eldest curse would be needed to get Luci back into this world. They paint a sigil with that blood, and bring Lucifer in through it. Not sure when necromancy would be in order, but maybe Asmodeus would bring his son back to show him what they had done.

@revati3008 brought up that maybe Max is an eldest curse who was placed strategically so Magnus would adopt him. And who did this? Asmodeus. Because he wanted to manipulate his child.

Just imagine that. Asmodeus holding the knowledge of their child's parentage over Magnus and Alec's heads. Sounds like something he would do. This would also be even more causally cruel if Max is an eldest curse, because most of those die under the weight of their own power.

But that's super-likely because of a vision Magnus had in TLBOW and also based solely on vibes.

And then the good ol' key theory. @tenacioushubb is the mastermind of this one.

The core idea of this theory is that the eldest curses are analogous to keys. And these keys are needed to unchain Lucifer from a prison. This theory does require Luci to be chained up, but this could explain why demons are coming from Pandemonium in the first place. Lucifer being chained up (probably in Pandemonium) would be the source of all the demon energy. Him coming to our world would be the "wicked powers" aspect of that series.

Also, as @patalliumapples pointed out to me, maybe this how Asmodeus is going to use Magnus. Though this stems from something I noticed before, and ties into something I call the "Castle Theory" which is legit just based off some lyrics from Halsey's Castle.

Sit down and grab some popcorn this one's complicated and very crack pot.

So here are the lyrics that inspired me:

I'm headed straight for the castle

They wanna make me their queen

And there's an old man sitting on the throne

That's saying that I probably shouldn't be so mean

I'm headed straight for the castle

They've got the kingdom locked up

And there's an old man sitting on the throne

That's saying I should probably keep my pretty mouth shut

Straight for the castle

I've said before this song has the same vibes as Clary going into Edom to rescue Jocelyn and the others. This will come up later.

Focusing on Magnus-he already was going to be made to be a king. In one of his dreams in TLBOW, Magnus dreamt of ruling a ruined world. Those chains on his arms from the thorn were there, too.

In The Red Scrolls of Magic while Asmodeus was info-dumping on us, he mentioned the eldest curses were "meant for thrones of iron." Which was so random. Why specify iron? We all know it's deadly to faeries, what does he want?

So I looked up what iron is supposed to do in the Shadowhunters Codex because I didn't know if there was anything else it did. Whelp, turns out a nickel-iron alloy called meteoric iron (normally found in meteors) is a good magic conductor, along with most iron being toxic to the fae.

And my mind was spinning. Rushing to check the Bane Chronicles, I looked at what the Hotel Dumort was built of. It actually was demonic metal, but I'd you had enough iron that can conduct magic,

So if Magnus sits on a throne of iron with enough demonic magic in him, it could unlock Lucifer down there.

Another theory that a few people have brought up is Magnus being possessed by a demon. I feel like it would be a demon Asmodeus sent to posses Magnus, not himself, but at least Asmodeus is smart. He has some sort of brain, unlike Belial, who just acts like he does, and then fails.

Last theory is something I'll do another post on because it needs a LOT of research to back it up.

This theory is that the eldest curses are similar to the Nephilim from the Bible.

These Nephilim were the children of fallen angels on earth. Same as the eldest curses. Though these Nephilim were giants, hundreds of feet tall.

But in one of Magnus's many visions, he dreamt he was tall. And this was after sitting on that throne, after ruling his own world.

Again, more research needed, but I think it could explain their power.

Feel free to add your own theories and thoughts! If I missed any canon info that could be helpful also tell me and I'll edit the post so it's included.

[hellacioushag]

tw: abuse/sexual assault

the hypocrisy of people using faux outrage about others drawing parallels between tamlin and azriel’s stories when they didn’t bat an eye about someone drawing similarities between a rapist and a sexual assault survivor to justify their shipping needs is astounding. if you read the post no one was saying tamlin and azriel are the same. i’m gonna detail my own thoughts on why these two mirror each others narrative, but with key differences. 

abusive childhoods:

i feel like people forget that both tamlin and azriel were victims of an abusive household. the key difference is azriel’s history has made him want to defend those who cannot defend themselves/punish those who are the perpetrators of violence while tamlin gave into his anger and violence at the world. it’s a classic tale of being an abuse victim. you either grow up to separate yourself from your past and do better than your parents or you become just like them. 

tamlin’s brothers would have murdered him as a babe in his bassinet if they suspected he had potential or desire for the high lord position. we also know tamlin’s father held slaves and was aligned with others who shared his view of the world in the war. pair these bits together and we can assume tamlin’s father was a more aggressive and violent father than even beron is. tamlin grew up in a home where he did not feel safe. and when his father tasked tamlin with finding out his enemy’s secrets tamlin obliged. 

he was present and possibly participated in the butcher and murder of rhys’ family. this was a significant moment for tamlin’s turn into becoming an abuser like his father. he could have lied, he could have denied knowing the information about rhys’ mother and sister, but instead he gave that information over to his father knowing he was signing a death warrant. some could argue that he may have done this because of his own father’s abusive tendencies toward him, but this was the moment imo that tamlin went from a victim to a predator. 

as for azriel we all know the abuse he suffered by his family. how his brothers tortured him and tried to have him killed. how he was denied any affection or love growing up and was taught that his existence was a stain on his family’s reputation. azriel could have easily turned into an abuser himself the way tamlin did, but being dumped into the illyrian camps and finding cassian and rhys saved him from that fate. his brotherhood with them was the turning point for azriel to no longer be a victim, but a survivor. 

anger issues:

you can’t deny that both tamlin and azriel suffer with anger and control issues. it’s clear in the text they both have a barely contained, deep-seated anger that could be deathly when let loose. the key difference is tamlin has no one to reign him in, no one of his equal to calm that rage. azriel has this support system and has been shown to have utilized it when needed. i’m not going to go into a full analysis on all the examples, but I will point out the main ones I think we all know.

tamlin’s explosive anger was shown when he blew apart the library when feyre and he disagreed about her safety measures in acomaf. he could have easily hurt her had she not had magic to protect her (as seen when this same moment was repeated in acowar). tamlin let his rage and helplessness consume his every thought about protecting the person he loved and instead became the very threat he sought to protect her from. he let his paranoia about her being in danger prevent him from listening to her needs and locked her in a cage. this in itself was abusive, there’s no arguing this point. the part to note is that he as a high lord had no one of equal measure to talk him down, to help him see reason. when lucien tried to step in he was dismissed and abused himself. when feyre tried to speak up on her own behalf tamlin refused to listen and as high lord his word/wants/needs were law in his lands. he had no one who could provide a healthy perspective and so left unchecked he continued his abusive behavior.

azriel’s cold, lethal anger was shown when he exploded at the meeting with the high lords in acowar and attacked eris for a slight against mor. he was inches from letting the rage take hold of him and ending eris’s life. feyre, his high lady and friend, was able to calm him down and make him see reason. azriel is a trained spy and torture master, he’s supposed to be able to keep a cool head in high stressed situations, to act unemotionally to get his job done. however reliving the trauma of seeing a broken mor and imagining eris leaving her there consumed him with rage he could no longer contain. i’m not here to justify his actions. mor’s own trauma of seeing azriel fly off the deep end is enough for me to condemn his behavior. i am however pointing out that i think his reaction was not just about mor, but about reliving his own helplessness and loss of control and letting it consume him into a lethal rage. 

the key difference with tamlin and azriel’s moments of all consuming rage is that azriel had someone to talk him down and let him see reason. tamlin refused the help of his own support system (lucien/feyre) and instead gave into his abusive and volatile tendencies. azriel could have easily done that same, but because of his brotherhood and friendships he has people to pull him back from the edge. 

desire for love and acceptance:

both tamlin and azriel (and all characters in this series tbh) have a strong desire to love and be loved in return. the problem is when that desire for love becomes an obsession and entitlement. it becomes harmful when you think you’re owed something. 

tamlin let his desire for feyre become obsessive. he had his soldiers hunt her down to drag her back to his home. he refused to accept that she was happy and healing away from him because he was in despair without her. he couldn’t fathom that she could be finding peace when he was being torn apart. he allied himself with monsters because he convinced himself that his love for feyre was the stuff of legend and that he was acting in a heroic manner. and even when he found out that she had a mate, something that is considered a sacred bond above all things to their people, he refused to accept that the cauldron/the mother/fate could be so cruel to deny him his happily ever after. feyre was his and he would reclaim her no matter what. he would defy the mother herself for his love. the problem with this is that he did not take into account feyre’s needs. when you love someone you put their needs above your own. he didn’t care that feyre was mated, that she loved rhys, because his obsession for her and belief that she belonged to him outweighed all reason. his love for her turned toxic if you can even call it love to begin with. 

azriel is a bit different, but the parallels are there. he’s not at the obsessive point yet (masturbating to pain killers notwithstanding) and he may never get there. one could argue he spent 500+ years being obsessed with mor, but his support system held him in check. that when he saw mor flirting and sleeping with others he leaned on his brothers, on cassian, to distract him and help him through the pain of knowing the person he loved didn’t love him back. and regarding elain i think whatever is between them is entirely too new to relate it to his feelings for mor, but it’s also looking to be just as unhealthy. he didn’t bat an eye about fighting lucien in a blood duel and seemed to welcome the challenge. he knows that if lucien were to die that pain could destroy elain. even if she doesn’t love lucien, has not accepted the mating bond, she and he are soulbound. if he were to die it could shatter her, but he didn’t seem to think of that consequence at all. 

when he questioned the wisdom of making them mates in the first place, when he claimed “what if the cauldron was wrong?” and then rationalized his thoughts by saying 3 sisters for 3 brothers.... this is a callback to tamlin refusing to believe the cauldron would deny him love by mating feyre to rhys. questioning why he doesn’t have a mate of his own isn’t inherently bad, but implying that because his brothers found mates with 2 of 3 sisters so lucien doesn’t deserve the 3rd is. when he doesn’t talk to his brother about why he desires elain and instead talks about why fate has robbed him of a sister it stands to reason why rhys would take exception to this way of thinking. it’s bordering on toxic and i’m glad rhys was there to pull rank on azriel. 

are tamlin and azriel the same?

no, didn’t you listen to anything said? they are not the same and the key difference as to why is because azriel has a support system of brothers and friends that he can rely on to keep him in check. tamlin has pushed away any form of support and has embraced his beastly abusive behavior. saying that their story parallels is not saying azriel is an abuser like tamlin. it’s pointing out why tamlin’s story is a cautionary tale for azriel’s future journey. it’s outlining that while they may share similar aspects of an abusive past, anger issues, and longing for love and affection they are not the same people at their core because of the way they deal with their trauma.