#complicated in this particular arc

[pyshcic]

⤳   @subdivines​​​,    𝘢𝘦𝘮𝘰𝘯𝘥 𝘵𝘢𝘳𝘨𝘢𝘳𝘺𝘦𝘯,   asked:     ‹ did you mean it when you said you were okay with this? because it doesn’t really seem like you are. ›

the glance she throws him is sharp, eyes like knives in their own right, sharpened glass at their edges, but accompanied, after only a short beat, by a gentle smile. a stark duality: she sports something at once condemning and welcoming, purposefully offputting. “ i'm not in the habit of saying anything i don't mean. ” here, as these words are spoken, she appears to make effort to soften her features further, though a fervor remains in her stare. it is a balance between comfort and jaw-clenching frustration: no one has listened to her. this makes her livid, but she holds no office to raise any further a stir than she already has. refusing an invitation would be taken as a declaration of some kind, the exact sort house cullen was trying to avoid.

“ vision and prophecy are fickle. i tend to advise against relying on it. but i'll not doubt the king's good wisdom in asking for some foresight. ” she takes a deep breath, heavy and easily discernible to the naked eye. fluttering downwards, her glare is cast towards the stone floor instead, just for a moment. when it returns upwards, she flicks it in aemond's direction with more sincerity to its softness. something more personal, and a little apologetic for her previously cold demeanor. it was quite unlike herself. “ what do you think of it? ” as if instinctively, her voice lowers. the question is asked with an honest interest, a certain care apparent in wishing to hear its answer. “ are you okay with this? ”

[spywhitney]

Me: Fantasizing about posting an extensive Sydney and Carmy meta post on reddit.

Also me: Knowing the bear sub reddit is just a Richie Stan account in (poor) disguise, and it'll get little engagement or the comments will unsurprisingly swerve to the topic of Richie or be straight up dismissive.

[tea-cat-arts]

If I had a nickel for every time Mihoyo set up something excellently entirely through implications and visual story telling, only to insert some bullshit narration/monologue that completely contradicts everything we’ve seen so far and ruin the entire premise- I actually don’t know how many I’d have. Hopefully I’d be able to buy enough vodka to forget those plot lines ever happened though

Seriously though, up until HoD, every Herrscher that had gone violent had done so as the direct result of human cruelty. Siren was a victim of torture, Anna had been isolated to the point she didn’t have the will to resist the Honkai… heck, didn’t PE HoC directly say that it would have just lay dormant if they hadn’t tortured and killed Rin??? Didn’t they make a point to say that Senti was only born because three of the strongest forces against the Honkai decided to turn on each other (heck, wasn’t she also ultimately stopped with love and compassion)? I thought that was supposed to be the significance of the previous era and why they failed- that they were cruel and that they hurt each other, only making their overall situation worse. But no, people just weren’t evolved enough I guess

You know another benefit to making the Honkai just a product of humanity, Mihoyo? Using love and friendship to save the world instead of project stigma would have actually made in-universe sense. As things stand now, our protagonists just seem like a couple of idiots trying to stop what seems like a perfectly reasonable plan just because they personally don’t like it. Why on earth would Kevin, a man who’s watched all his friends and his world die, have any reason to ignore the plans of his world’s leading scientists (who’s work has actually yielded results) for some hair-brained idea that no longer makes sense with the lore and risk the destruction of yet another world??? If they had just stuck with the original premise though, what the protagonists are trying to do would have actually had a precedent within the lore

I don’t know how to conclude this. Idk man, I’m just sick of Mihoyo fucking things up by making them more complicated than they have to be. Anyways, pardon all my ranting today. Here’s a picture of my cat as compensation

[lc-holy]

Thomas Astruc and Sébastien Thibaudeau were interviewed on Catboat's Twitch channel. A 5-hour interview in which they talk about their careers, the 5 seasons of miraculous and a little about the seasons to come. (There are no spoilers about season 6, only a few teasers).

The interview will probably be available with English subtitles.

In the meantime, here's a summary of what was said in the interview about season 6 and other Miraculous projects.

Thomas has always loved SAMG's work, and it was he who strongly suggested working with them on the series. But unfortunately, they will no longer be able to work with SAMG for future seasons of Miraculous. Episode production has changed and is no longer compatible with SAMG. However, he remains open to working with them on other projects.

Miraculous will be produced entirely in France from season 6 onwards.

The interviewer asked Thomas if an OVA project with Toei was still planned. But Thomas didn't want to answer the question.

Sébastien explains that they always plan the scenarios well in advance. For example, what happens in season 6 was already planned when season 3 was written. They've already written two pages of ideas for the Season 7 finale.

Thomas says they have ideas to go to a season 12 but it will all depend on the success of the series.

It's impossible for them to have one season too many, because their work is very emotionally demanding, and if they feel that what they're doing is no longer interesting, they stop.

Sébastien hopes that Season 6 will appeal to new viewers as well as those who have been following the series since the beginning.

Miraculous will never evolve into an adult series, it will remain a children's series. But they will always try to satisfy the fans who have been following the series for years.

They also wrote the series to appeal to parents who watch Miraculous with their children.

Sebastien teased us that there will be a song in season 6.

Thomas sincerely believes that season 6 is better than season 5, which was off to a bad start because he wondered how they were going to do better than season 5.

They had a lot of fun writing this new season, and the new writers who joined the series brought a lot of good ideas.

As season 6 begins a new arc, they consider it a season 1.

And with the new animation style, season 6 will bring a lot of new storytelling. It will be different. The stories won't be like the other seasons.

Some people will probably complain that it's different, that it's not like before. It's a question of adaptation.

Sebastien says we'll appreciate season 6 even more when season 7 comes out.

They don't know yet whether the theme song will change. Thomas would like to change, but he knows the fans love the theme song so they don't know yet.

Thomas hints that he didn't write the Shadybug and Claw noir universe to exploit it in a single special. But he remains very vague.

Thomas explains that there are many details in previous seasons that fans didn't understand, but which will make sense in later seasons.

There's a reason why Lila is a mythomaniac, and they'll tell it one day in the series. Thomas even says they've already told it in the series, but we haven't figured it out yet.

Thomas says that Chloe will remain an important character in the coming seasons, as she has always been in the series.

They have clarified that the new animation for the new seasons will have nothing in common with that of the Miraculous movie. Because the movie and the series are not linked.

They will soon be meeting to decide whether Miraculous will be made into a live-action series or not. It will be different from the series. Thomas mentions kwamis in particular, which are complicated to integrate into live action. Thomas has already written the concept. For the series to see the light of day, it will mainly be a question of budget.

[ryankingdomart]

To celebrate the digital release of Triangle Agency, I wanted to talk about some of the art that helped shape the core rulebook! Today I'm going to talk about the ARCs - the Anomalies, Realities and Competencies that make up the characters in Triangle Agency.

All of the Anomaly illustrations were done by @theveryworstthing, one of the most inventive character and monster designers I have ever met, and an extremely kind and hard-working person. Her fluid and expressive figures really capture a whole story in a single creature, and it was so much fun seeing the monsters she would bring us.

The Realities were a collaboration between G.C. Houle and myself, which was just a joy. I love getting to build characters and a scene with another artist, and G.C. is always wonderful to work with. I love in particular their ability to capture everyday people, which felt crucial for the agents’ Reality scenes.

@darksunradiance’s work covered all of the Competencies, and was also integral to defining how the Agency presents itself, how it makes itself felt and known, and its internal documents. I love Nate’s evocative gestures, the contorted and contradictory figures - and the use of sharp red on white in the minimalist space provided a simple and dramatic foundation on which we could build a strange and complicated world.

[tobiasdrake]

FUN FACT: Did you know that Vegeta wasn't blowing smoke on Namek when he claimed to have become a Super Saiyan?

Well. Not entirely, anyway.

And also the process of becoming a Super Saiyan is kind of complicated, and Goku is an enlightened martial arts master.

The process of becoming a Super Saiyan is complicated. The English dub got a bit confused on this point while they were frantically erasing as much spirituality and also martial arts and general power levels talk as they could from the series.

The dub was bad. I don't think that's a surprise to anyone. It was a 90's anime dub. It scrubbed the source material of a lot of stuff.

But specifically here, the dub confused matters when it said that to become a Super Saiyan, you have to be pure of heart. This confused matters, because being purehearted is a thing in Dragon Ball. You have to be purehearted to ride the Nimbus.

This concept of pureheartedness exists in Dragon Ball. But it has nothing to do with the Super Saiyan.

This isn't the same as that. To become a Super Saiyan, you need something else. Notably, the Viz manga also translates this idea as "pure of heart"....

But the idea being translated here is more along the lines of tranquility than innocent goodness.

Becoming a Super Saiyan is a bit of a process. To understand the Super Saiyan, we need to talk about limit-breaking. This is a concept that's expressed repeatedly throughout Dragon Ball. In order to become Dragon Ball Powerful, you have to break your limits. You hit a ceiling and that's as far as you can go, until you find some new way to push through and break that ceiling. The series is big on this idea.

As an example, Mr. Satan is an incredibly formidable martial artist. He is peak. Top-tier fighter. ...within human limits. But he doesn't hold a candle to Krillin because Krillin broke the human limit in childhood.

Mr. Satan is basically Panput from the 22nd Tenkaichi Budokai.

Saiyans are in a different league from humans, and they have different set limits. Different norms, different standards, and different potentials. But, like humans, there's a ceiling. The first step to becoming a Super Saiyan is breaking the Saiyan limit.

Goku, as a low-class Saiyan trained on Earth in martial arts, was able to break through the Saiyan limit during his gravity training in space. This wasn't the goal of his training, mind; Goku had a particular goal in mind. He was subjecting himself to intense gravity so that he could acclimate his body to withstanding higher levels of Kaioken.

Not even realizing that was what he was doing, Goku was the first to shatter his Saiyan boundary and take the first step to becoming a Super Saiyan.

That Goku has transcended Saiyan abilities isn't lost on either Vegeta or Captain Ginyu, both of whom peg him as a Super Saiyan... before walking it back because Goku lacks the overwhelming bloodthirst and battle hunger that characterizes the legend.

Poor Goku has no idea what any of these people are on about. He might as well be listening to Game of Thrones fans infodump about the Lannisters.

But he wasn't alone. During his fight with Jeice following his third Zenkai of the arc, Vegeta finds himself trashing Jeice. Vegeta's as surprised as Jeice is, to be honest. Even with a Zenkai, he should not be doing this well.

Vegeta's last Zenkai wasn't just a Zenkai. It pushed him through the Saiyan limit.

You see, something happens to a Saiyan as they cross that boundary. Their ki begins to swell astronomically in preparation for becoming a Super Saiyan. Both Goku and Vegeta at this point have entered a sort of proto-Super Saiyan state. Their powers are passively being inflated.

Goku, too, eventually realizes that his power is growing at an astronomical rate that cannot be explained by his training or his Zenkai boosts or any phenomenon he's aware of. He's just. Swelling with power for reasons he can't fathom.

Neither of them are Super Saiyans yet. They still need the right spark to ignite it - and, despite knowing more about the Super Saiyan legend than Goku, Vegeta has no idea what that spark is. But they're both inflating like balloons in preparation for ignition.

Vegeta brings up the proto-Super Saiyan again in his first showdown with Frieza.

He recognizes that he is not yet the Super Saiyan. But he is a proto-Super Saiyan. He still feels it, still feels his power inflating within himself. He just. Needs. That. Spark.

But he won't find it. He said it himself: He doesn't think Goku and his "soft heart" can become the Super Saiyan. The Super Saiyan is supposed to be filled with rage and battle hunger.

But breaking the Saiyan limit isn't enough. You need the spark: A tranquil heart awakened by rage.

There are two pieces to that. The first is a tranquil heart. What does that mean? It means tranquility. Stillness. Peace. Becoming one with yourself and the cosmic universe.

During his training in space, with nothing to concern himself with and no distractions, Goku found tranquility. Alone in the void of space with only his beloved art, he achieved a measure of serenity and peace that he's never known before.

When Goku steps off that ship, he's different. He's entirely focused on the task at hand. He doesn't even want to fight the Ginyus, which is a stark departure for his character. He has no interest in the joy of battle; Only in doing what he came for and going home.

Goku asks the Ginyu Force multiple times to just go away. He does not care about this. He is thoroughly disinterested in fighting.

He's not even mad. They beat up his son and his best friend, and Goku does not care. Also, he can read minds now. Because he is the Heavenly Buddha, I guess.

This is a super weird moment, but its main purpose is to demonstrate that Goku has become... something else. He's not just "Goku but stronger"; he's changed on a fundamental level.

Goku is no longer a rash, impulsive student. He has become a master of his art. Do you see that kanji on his back? Kaio presented Goku with this new dogi after he got out of the hospital... uh... somehow.

You. Uh. You gonna elaborate on where the fuck that came from, Goku? No? Okay, man. You do you.

In any case, Goku's new dogi is distinctive because it erases the sigils of both the Kame school and Kaio. Originally, he would wear the Kame sigils on both front and back to reflect his status as a student of Kame-senryu.

Even if he did only technically study Kame-senryu for less than a year. It's fine; the Muten-Roshi filled him with a lot of philosophy that's guided him over the years so it still counts.

After he trained under Kaio, the sigil on his back was replaced with Kaio's sigil, to reflect that he is Kaio's student now as much as he is the Muten-Roshi's. Though he left the Kame-senryu sigil on Goku's front, because he is a student of both.

But from the moment Goku steps off that ship, both Kaio and the Kame sigils have been replaced by this new one.

This new sigil serves two purposes. First is that it's the first kanji of Goku's name. Both of his masters are now gone from Goku's expression, replaced by Goku himself; This symbolizes that Goku has, himself, become the master. His art is now fully his own.

Goku is at the peak of his journey. There is nothing more for him to learn. It falls to him now to cultivate, develop, and evolve his art for himself, using the knowledge and mastery he's acquired. And, as we'll see in the next arc, to ultimately pass it on to the next generation to come.

But, bringing this back to the tranquil heart thing: The kanji for 'Go' also represents enlightenment. Goku has found peace with himself and his place in the cosmic universe. That is why he, and not Vegeta, is ready to have his spark ignited.

He's broken the Saiyan limit. He has a tranquil heart. All he needs now is to snap, and have his tranquil heart awakened by rage.

But Vegeta still has a ways to go. Because his heart is far from tranquil.

The best he can come up with is "I Zenkai'd into this, I can Zenkai out of it!" Vegeta is very fettered, especially in conflict with Frieza. He is not one with the cosmic universe. He is a nervous wreck of emotions and wants and distractions. He was so close, but he could never have ignited here. Not under these circumstances.

No, Vegeta would only find his tranquility after becoming stranded on Earth. (No, anime, Vegeta did not have a spare spaceship on hand to leave immediately.)

Three years, living at Capsule Corp until he moved out and got his own place. Free from the yoke of Frieza and able to pursue nothing more than his own self-improvement. Driven by a desire to surpass Goku but in a low-stress environment...

...and apparently hanging out with Bulma in his downtime.

That's where Vegeta found his tranquility. And the spark of rage that ignited his tranquil heart? His own inadequacies, of course.

Never change, Vegeta. XD

[graciereadshannigram]

hey fam, welcome to the April 2024 roundup of the best hannigram fics i've read this past month! i read over 100 fics total, and these were the cream of the crop.

as a reminder: the ingredients for a five star rating typically (but not always!!) include some combination of a.) believable characterizations of both Hannibal and Will, b.) compelling plot and/or character arcs, and c.) high quality smut.

that being said, my judgment of the aforementioned ingredients is powered almost exclusively by vibes and as such, is incredibly subjective.

you can find past recs below:

February March

and if you have any recs of your own for me, PLEASE SHARE.

anyway, in no particular order, let's go!

~

A place you can never go by det395

Word Count: 84,596 Summary: When things don’t go according to plan, Hannibal makes a wish. He finds himself a year-and-a-half in the past and seemingly given another chance with Will. His feelings about the situation only get more complicated when he realizes he may not have completely lost access to his old timeline after all. A Digestivo canon divergence.

If you follow me, you probably saw me already raving about this fic. This was so fucking good, holy fucking shit. And also heartbreaking. Made me think a lot about the nature of reality and what does it mean for something to be "real." Plus, I really love fics that explore their shared mind palace because I genuinely think that is one of the more underexplored aspects of their relationship. Definitely heavy on the angst, but there is a happy ending!

even though our love is doomed by bleakmidwinter

Word Count: 82,427 Summary: Hannibal solves the mystery of time travel and he and Will decide to go into the past and take opportunities previously missed along with rewriting the regrets they each hold. Changing the past does not effect the future and they have free reign to play as the please.

GIVE ME MORE THAN FIVE STARS PLEASE. I am obsessed with this fic. I've mostly stayed clear of time travel fics (aside from, you know, the one right above this) because the execution can be hit or miss, but let me fucking tell you. This was a god damn home run. There's a little bit of angst, but then there's also a chapter where Will challenges Hannibal that he wouldn't have been able to seduce him while Will was still working in Louisiana fixing boat motors. And obviously Hannibal decides to take that challenge.

Railroad Romance by OneWhoSitsWithTurtles

Word Count: 12,400 Summary: Hannibal is still Hannibal, and Will is still Will. Except Will is not part of the FBI and they meet on a two day train trip from New Orleans to Baltimore.

Dirty. Talk. In. FRENCH. Holy shit. Okay this was excellent. EXCELLENT. Perfect characterizations, and wonderful dialogue. Wow. Also, I love trains. Who doesn't love trains?

patroclus in furs by bleakmidwinter

Word Count: 130,185 Summary: If Will and Hannibal hadn't gone into their respective careers, they would have become porn stars.

I had my doubts about a pornstar AU, but I've really enjoyed everything else by this author and it was over 100k, so I gave it a shot! And WOW. The characterizations of both Will and Hannibal were spot on and believable. A good mix of fluff and angst, and the author clearly put a lot of thought into the porn scenes. Tbh I'm probably going to reread this shortly.

Pavlova by nbcravenstag

Word Count: 33,369 Summary: It’s not like Hannibal didn’t know that Will was hiding something. It was after the third body drop a week ago that it became clear that Will had a secret that somehow involved the case, one he wasn’t willing to share yet, not even with Hannibal. At 6:43 AM, Will had texted Hannibal that a fourth body had been found and that he was on his way to the scene with Jack. At 8:06 PM, Will had stepped into Hannibal’s office, thirty-six minutes past his appointment time, and practically shouted “I used to be a stripper!” as loudly as his hoarse voice would allow him to. Hannibal Lecter, though not phased by much in life, has never been entirely able to predict Will Graham, but this is just… getting out of control. Alternatively, the FBI is hunting a serial killer targeting male strippers, and Will decides to throw himself into the fray. Hannibal is beyond pleased.

An AU where Will was a stripper in college and now he's working a case where he can be live bait as a stripper? Shut the fuck up. Mostly told from Hannibal's perspective, and it's just *chefs kiss*. Who knew Will giving Hannibal a lap dance would be so HOT. (I could have guessed.)

Lessons In Submission by wyldefire

Word Count: 5,173 Summary: Hannibal was stubborn, independent, and Will had always loved that about him, but there were times, times like these, in the midst of heat, in the midst of such a thorough breeding, when lessons in submission were necessary.

My only thought at the end of this was, "Shut the whole fuck up" in the best way possible. Smut. Just all smut.

A Very Special Guest by LesBeanBurrito

Word Count: 56,660 Summary: Season 1 AU in which Will stays for Hannibal’s dinner party after bringing the bottle of wine at the end of 1X07 Sorbet. Embarrassed and Sassy Will Graham meets Smitten Hannibal Lecter.

I LOVE a good season 1 AU and this was checking all of the boxes for me! There's a secret relationship, Hannibal actually gets Will treated for his encephalitis, Will finds out about Hannibal, etc. Very much loved the plot, and the characterizations were spot on.

lover to your nightmare (look what you made of me) by merrythoughts and ReallyMissCoffee

Word Count: 123,367 Summary: Driving back home, it’s then he reflects on Hannibal asking him to run away that night. To forgo their plans altogether, to slip away. [Canon divergent. Will confesses his betrayal and asks Hannibal to run away with him, but Will has a plan of his own...]

You want dark!Will mixed in with some incredibly jealous and possessive Hannigram? Hooo boy do I have a fic for you! The ending was a little abrupt, but it was the perfect mix of gut-wrenching angst and toxicity + smoking hot smut. I genuinely had to stop and focus on my breathing more than once.

On the Lam by shotgun_sinner

Word Count: 63,992 Summary: Post-Fall (Hannibal)season 4Crack Treated SeriouslyOn the RunWill Graham Discovers FanfictionExplicit Sexual Contentsexual identity crisisThat's Not Really A CrisisWill Graham is HannisexualMurder HusbandsHomophobiaMurder of a HomophobeHannibal Lecter Loves Will GrahamWill Graham Loves Hannibal LecterPower Bottom Will Grahamthey love each other your honorvery meta

This was such a fun read – I love the implication that hannigram fanfiction exists and it's all there for Will to accidentally discover. I adore this author and just thoroughly enjoyed how Will learned a thing or two about himself by reading smutty fics (same dude).

Golden Promises by shotgun_sinner

Word Count: 68,488 Summary: Hannibal (TV) Season/Series 01Alternate Universe - Canon DivergenceEpisode: s01e07 SorbetHallucinations?Will Hopes SoLELOplugSexuality CrisisThat Ends Up Not Being A CrisisWill Graham Has EncephalitisHannibal Gets Will TreatmentDeveloping RelationshipWill Graham's Dogs - FreeformBonding over fooddoting hannibalEventual SmutHannibal Lecter Loves Will GrahamWill Graham Loves Hannibal LecterAlana DisapprovesRimmingOral SexBottom Hannibal LecterTop Will GrahamBottom Will GrahamTop Hannibal LecterWill Graham KnowsNon-Consensual Drug UseWill Gives Him Shit For ItMurder HusbandsCannibalismis that tag even necessary?Hannibal Lecter Loves Max

This was fluffier than I typically read, but I told y'all I love this author. Pretty much no angst, and the smut, as always, was next level. Also, the idea that Hannibal would wear a solid gold butt plug to his dinner parties had me laughing before I even started reading.

What Hatches by HotMolasses (@snazzymolasses here on tumblr)

Word Count: 107,847 Summary: There is a village, nestled on the edge of an ancient forest where it is always winter. Few of the townsfolk ever venture into it, except for one lonely hunter named Will Graham. A loner who makes his living selling stag meat and spends more time with dogs than people, he finds his life changing when he comes face-to-face with a magical beast, one that he cannot get away from, and isn’t even sure he really wants to.

What started out as a curiosity about the monsterfucking tag on AO3 brought me to one of the most unique and interesting hannigram AUs I've read??? I'm as surprised as you are, if not more. I adored this fic and I loved how both Will and Hannibal were characterized and the plot and the smut (oh my god, the smut) and the ending? Phew. Go read this.

lay like a flood spills away by bleakmidwinter

Word Count: 35,733 Summary: Will starts going to a nude beach that happens to be for gay men, even though he considers himself straight.

This was highly enjoyable. I LOVE AUs that manage to keep the characters true to canon. Also nude beaches. Hannigram and nude beaches. Eating ass and public sex with some actual plot sprinkled in. Say LESS.

Now, What Should We Do Next? by HigherMagic

Word Count: 51,116 Summary: Kinktober 2018

Smut. All smut. I showed this fic to a friend who has literally never read fanfiction, let alone Hannigram, before and she is now hooked. So. Do with that what you will. And it's so clear that this author has actual, real-life experience with kink and it comes across so well! Bonus point: there is also an equally good sequel.

To Mend With Gold by beforethedawn, ConstructFairytales, Destinyawakened

Word Count: 98,863 Summary: Will and Hannibal have been living as a gay married couple for three years, but they haven't slept in the same room let alone the same bed. Will Graham has a reckoning, one way or another.

THIS WAS TENDER. Fluffy, angsty, smutty, I loved it. Molly showed up with Will's dogs and decided she wasn't going to turn them in, which was a little weird, but I really loved this fic. Just them learning how to be with each other. Also EXCELLENT marathon smut scenes. Like yesssss, of course they can each cum like three times in a row.

A Clutch at Balance by Deverauxs_Disease

Word Count: 25,466 Summary: When Will Graham storms into Hannibal's house muttering about kissing Alana Bloom, the good doctor makes Will an offer: Pretend to date Hannibal in order to prove to Alana that Will is not only stable but capable of being in a relationship. When Alana is convinced Will is the man of her dreams, Hannibal will step aside and Will can get his girl.

Y'all know I love fake dating that all of a sudden, whoops! Isn't so fake anymore! Sprinkle in some jealous and possessive Hanni and Will? I'm sold. Say less.

~

And that's a wrap on this month! See ya next time!!!

[rawliverandgoronspice]

I think what particularly annoys me with the "zelda was always gameplay before story" is that... it's not true? At least I don't think it's true in the way people mean it.

Zelda games were always kind of integrating story based on the standards of the time. When game stories were in game pamphlets, Zelda's stories was in the pamphlets. ALTTP tried to tell a pretty complicated stories with the limitations of the time. OoT was actively trying to tell an epic, cinematic tale packed with ambiance and expand what 3D could offer that 2D games struggled with. Majora's Mask is deeply character-driven in many, many ways. Wind Waker and Twilight Princess are both pretty concerned about their stories, down to the point that some people were bored by TP's cutscenes in particular. Skyward Sword, from what little I have played it, is very very invested in its characters and their journey (and 2D Zeldas have Link's Awakening, Minish Cap... None of them are visual novels, but they are concerned with emotional journeys, character arcs, mysteries about their own world...)

What is true is that the narrative wraps around the mechanics, and not the other way around. The mechanics drive themes, aesthetics, emotional beats and character journeys; and that's great. The world is a puzzle, and the world is delightfully absurd when it needs to be, full of heart when it calls for it, dark and oppressive when it suits the player experience.

That does not mean the games aren't invested in their stories. Even BotW has a pretty complicated story to tell about an entire world rather than one specific tale or legend --all of it at the service of the gameplay, which is exploration and mastery of your environment.

So. Yes, none of the Zelda games are million-words long visual novels that care deeply about consistency and nuance; but stories don't need consistency or deep lore to be meaningful and serve an emotional journey. Again: gameplay is story. The two cannot be so easily parsed from each other.

And Zelda as a franchise obviously care deeply about story, characters and setting (and still does right now --otherwise there wouldn't be a movie), even if it doesn't try to imitate prestige narrative-driven games, which is great and part of why I love this series so much. Doesn't mean it couldn't have done better in the past, it obviously could have, but I feel like pretending that nobody ever cared about story or character is just... false? It's a huge disservice to the devs too. Some of them obviously cared immensely.

The "gameplay above story", at least in the extent to which it is paraded today to defend TotK, mostly, is a really recent development. And I think it's one that deserves to receive some pushback.

[sadbenedict]

If Geto did manage to escape, would Gojo just drag him back? Would he 'punish' him for leaving?

and question from: @tug-tries-to-draw

Does Gojo ever abuse Geto? Like, if Geto refused to eat, would Gojo resort to physical violence to force him to?

I don't think Satoru would harm him physically, but psychologically for sure. Reminding him that he can't do anything. I think he will remind him time after time that he is here forever and that he can do something about the twins

from: @yukiotacon

This had to be asked because of morbid curiosity. What is your spin in the shibuya arc in your basement au?

uhhh it's a complicated question, and I don't think there's any particular answer.

Too many factors have changed. Kenjaku didn't get Geto's body, so he wouldn't have been able to get Gojo out of standing to seal him. Would he have found another body and been able to pull off what he did in canon? If Gojo wasn't sealed, would he have been able to reduce the damage in Shibuya? What would have happened to Yuji and Sukuna then?

from: @hydeway 

Hi! I love you art, i think is beautiful, and i just discovered you Basement AU! It gave me so many ideas! Last night, i had a dream with this AU, in which Yuuji goes downstairs and sees Geto without the chain, cuz he released himself a long time ago, but he likes to play this game with Gojo. When he sees that Yuuji is there, he smiles at him, and with his finger in his lips goes: shh ;)

AHAHA OMG I just imagined this, I'm crying. I imagine Satoru's all trying to be all sinister and Suguru's like, god, he's such an idiot XD I won't say that's in my version, but it's interesting

from: @du44my

GGHHHHH I LOVE YOUR AU ITS SO INTERESTING,I LOVE THE IDEA OF GOJO BECOMING SO MENTALLY INSANE AND SO DAMN IN LOVE THAT HE LITERALLY TRAPS GETO IN THE BASEMENT (also some questions I have who would be the most likely to free Geto from the basement and how will Yaga react to Gojo after he finds out that he trapped Geto in the basement :3)

THANK YOU SM!!! I'm sure he's very tired of the behaviour of those two XD Maybe they'd find Satoru so dangerous and unpredictable that they'd seal him up themselves.

Thank you all sm for the questions and activity!!! Sorry for not replying immediately, I sometimes need a break from this au sometimes so I don't get tired of it :''D

[sneezypeasy]

Why I Deliberately Avoided the "Colonizer" Argument in my Zutara Thesis - and Why I'll Continue to Avoid it Forever

This is a question that occasionally comes up under my Zutara video essay, because somehow in 2 hours worth of content I still didn't manage to address everything (lol.) But this argument specifically is one I made a point of avoiding entirely, and there are some slightly complicated reasons behind that. I figure I'll write them all out here.

From a surface-level perspective, Zuko's whole arc, his raison d'etre, is to be a de-colonizer. Zuko's redemption arc is kinda all about being a de-colonizer, and his redemption arc is probably like the most talked about plot point of ATLA, so from a basic media literacy standpoint, the whole argument is unsound in the first place, and on that basis alone I find it childish to even entertain as an argument worth engaging with, to be honest.

(At least one person in my comments pointed out that if any ship's "political implications" are problematic in some way, it really ought to be Maiko, as Mai herself is never shown or suggested to be a strong candidate for being a de-colonizing co-ruler alongside Zuko. If anything her attitudes towards lording over servants/underlings would make her… a less than suitable choice for this role, but I digress.)

But the reason I avoided rebutting this particular argument in my video goes deeper than that. From what I've observed of fandom discourse, I find that the colonizer argument is usually an attempt to smear the ship as "problematic" - i.e., this ship is an immoral dynamic, which would make it problematic to depict as canon (and by extension, if you ship it regardless, you're probably problematic yourself.)

And here is where I end up taking a stand that differentiates me from the more authoritarian sectors of fandom.

I'm not here to be the fandom morality police. When it comes to lit crit, I'm really just here to talk about good vs. bad writing. (And when I say "good", I mean structurally sound, thematically cohesive, etc; works that are well-written - I don't mean works that are morally virtuous. More on this in a minute.) So the whole colonizer angle isn't something I'm interested in discussing, for the same reason that I actually avoided discussing Katara "mothering" Aang or the "problematic" aspects of the Kataang ship (such as how he kissed her twice without her consent). My whole entire sections on "Kataang bad" or "Maiko bad" in my 2 hour video was specifically, "how are they written in a way that did a disservice to the story", and "how making them false leads would have created valuable meaning". I deliberately avoided making an argument that consisted purely of, "here's how Kataang/Maiko toxic and Zutara wholesome, hence Zutara superiority, the end".

Why am I not willing to be the fandom morality police? Two reasons:

I don't really have a refined take on these subjects anyway. Unless a piece of literature or art happens to touch on a particular issue that resonates with me personally, the moral value of art is something that doesn't usually spark my interest, so I rarely have much to say on it to begin with. On the whole "colonizer ship" subject specifically, other people who have more passion and knowledge than me on the topic can (and have) put their arguments into words far better than I ever could. I'm more than happy to defer to their take(s), because honestly, they can do these subjects justice in a way I can't. Passing the mic over to someone else is the most responsible thing I can do here, lol. But more importantly:

I reject the conflation of literary merit with moral virtue. It is my opinion that a good story well-told is not always, and does not have to be, a story free from moral vices/questionable themes. In my opinion, there are good problematic stories and bad "pure" stories and literally everything in between. To go one step further, I believe that there are ways that a romance can come off "icky", and then there are ways that it might actually be bad for the story, and meming/shitposting aside, the fact that these two things don't always neatly align is not only a truth I recognise about art but also one of those truths that makes art incredibly interesting to me! So on the one hand, I don't think it is either fair or accurate to conflate literary "goodness" with moral "goodness". On a more serious note, I not only find this type of conflation unfair/inaccurate, I also find it potentially dangerous - and this is why I am really critical of this mindset beyond just disagreeing with it factually. What I see is that people who espouse this rhetoric tend to encourage (or even personally engage in) wilful blindness one way or the other, because ultimately, viewing art through these lens ends up boxing all art into either "morally permissible" or "morally impermissible" categories, and shames anyone enjoying art in the "morally impermissible" box. Unfortunately, I see a lot of people responding to this by A) making excuses for art that they guiltily love despite its problematic elements and/or B) denying the value of any art that they are unable to defend as free from moral wickedness.

Now, I'm not saying that media shouldn't be critiqued on its moral virtue. I actually think morally critiquing art has its place, and assuming it's being done in good faith, it absolutely should be done, and probably even more often than it is now.

Because here's the truth: Sometimes, a story can be really good. Sometimes, you can have a genuinely amazing story with well developed characters and powerful themes that resonate deeply with anyone who reads it. Sometimes, a story can be all of these things - and still be problematic.*

(Or, sometimes a story can be all of those things, and still be written by a problematic author.)

That's why I say, when people conflate moral art with good art, they become blind to the possibility that the art they like being potentially immoral (or vice versa). If only "bad art" is immoral, how can the art that tells the story hitting all the right beats and with perfect rhythm and emotional depth, be ever problematic?

(And how can the art I love, be ever problematic?)

This is why I reject the idea that literary merit = moral virtue (or vice versa) - because I do care about holding art accountable. Even the art that is "good art". Actually, especially the art that is "good art". Especially the art that is well loved and respected and appreciated. The failure to distinguish literary critique from moral critique bothers me on a personal level because I think that conflating the two results in the detriment of both - the latter being the most concerning to me, actually.

So while I respect the inherent value of moral criticism, I'm really not a fan of any argument that presents moral criticism as equivalent to literary criticism, and I will call that out when I see it. And from what I've observed, a lot of the "but Zutara is a colonizer ship" tries to do exactly that, which is why I find it a dishonest and frankly harmful media analysis framework to begin with.

But even when it is done in good faith, moral criticism of art is also just something I personally am neither interested nor good at talking about, and I prefer to talk about the things that I am interested and good at talking about.

(And some people are genuinely good at tackling the moral side of things! I mean, I for one really enjoyed Lindsay Ellis's take on Rent contextualising it within the broader political landscape at the time to show how it's not the progressive queer story it might otherwise appear to be. Moral critique has value, and has its place, and there are definitely circumstances where it can lead to societal progress. Just because I'm not personally interested in addressing it doesn't mean nobody else can do it let alone that nobody else should do it, but also, just because it can and should be done, doesn't mean that it's the only "one true way" to approach lit crit by anyone ever. You know, sometimes... two things… can be true… at once?)

Anyway, if anyone reading this far has recognised that this is basically a variant of the proship vs. antiship debate, you're right, it is. And on that note, I'm just going to leave some links here. I've said about as much as I'm willing/able to say on this subject, but in case anyone is interested in delving deeper into the philosophy behind my convictions, including why I believe leftist authoritarian rhetoric is harmful, and why the whole "but it would be problematic in real life" is an anti-ship argument that doesn't always hold up to scrutiny, I highly recommend these posts/threads:

In general this blog is pretty solid; I agree with almost all of their takes - though they focus more specifically on fanfic/fanart than mainstream media, and I think quite a lot of their arguments are at least somewhat appropriate to extrapolate to mainstream media as well.

I also strongly recommend Bob Altemeyer's book "The Authoritarians" which the author, a verified giga chad, actually made free to download as a pdf, here. His work focuses primarily on right-wing authoritarians, but a lot of his research and conclusions are, you guessed it, applicable to left-wing authoritarians also.

And if you're an anti yourself, welp, you won't find support from me here. This is not an anti-ship safe space, sorrynotsorry 👆

In conclusion, honestly any "but Zutara is problematic" argument is one I'm likely to consider unsound to begin with, let alone the "Zutara is a colonizer ship" argument - but even if it wasn't, it's not something I'm interested in discussing, even if I recognise there are contexts where these discussions have value. I resent the idea that just because I have refined opinions on one aspect of a discussion means I must have (and be willing to preach) refined opinions on all aspects of said discussion. (I don't mean to sound reproachful here - actually the vast majority of the comments I get on my video/tumblr are really sweet and respectful, but I do get a handful of silly comments here and there and I'm at the point where I do feel like this is something worth saying.) Anyway, I'm quite happy to defer to other analysts who have the passion and knowledge to give complicated topics the justice they deserve. All I request is that care is taken not to conflate literary criticism with moral criticism to the detriment of both - and I think it's important to acknowledge when that is indeed happening. And respectfully, don't expect me to give my own take on the matter when other people are already willing and able to put their thoughts into words so much better than me. Peace ✌

*P.S. This works for real life too, by the way. There are people out there who are genuinely not only charming and likeable, but also generous, charitable and warm to the vast majority of the people they know. They may also be amazing at their work, and if they have a job that involves saving lives like firefighting or surgery or w.e, they may even be the reason dozens of people are still alive today. They may honestly do a lot of things you'd have to concede are "good" deeds.

They may be all of these things, and still be someone's abuser. 🙃

Two things can be true at once. It's important never to forget that.

[hothammies]

mad max, the party's zoomer - apoc au character details under the cut!

---

max's role in the party:

a runner - fast and quiet, tends to be the one who makes out with the most supplies

mechanic - knows best about cars and is one of the party's designated drivers (the other being mike)

medic - not as skilled with plants and medicine like will, but is good with first aid and physical treatment!

thief - who the party sends out if they need to "borrow" from other groups (second nature to her)

skills + hobbies:

incredible with melee weapons and hand-to-hand combat -> everything she knows was taught to her by billy

decent shot, but prefers using melee way more!

stealthy, like a ninja - her and el are the quietest in the party! max's fighting style is much more brawler-like despite this

good with card games (likes poker, speed and BS) -> likes to play them with the party a lot, but in particular with dustin and lucas

skateboards whenever she can -> her favorite thing to do next to driving!

really loves listening to music (fave artists are madonna, taylor swift and destiny's child) -> likes having el or will in shotgun so they can listen together!

quirks / fun facts:

whenever dustin goes to bed, max takes his current handheld and tries to beat his high score on whatever retro game he's currently playing (dustin does not know its max who's actively beating his ass on dig dug and tetris)

she took billy's jacket and baseball bat and made them her own - very complicated relationship with him and her upbringing with her stepbro made her very skeptical and suspicious of others (especially the party when she first met them)

when she steals things, she tries to keep the party in mind when grabbing extra :')

--- other notes: ladies and gentlemen, our newest addition - maxine! i'll admit, the two characters i think i'm most shoddy on for their characterizations are dustin and max. since max's story in my au is so heavily tied to her issues with trusting people again (specifically men) and family, i'm scared that it will make her character intrinsically tied to relationships instead of having her own character. i'll try my very best for it not to be that way, of course!

for now, she's how i imagine her in the show - she's still a cheeky, sarcastic, stubborn and awesome tomboy with insurmountable trust and distance issues, and i love her for that! the circumstances that drew her to the party are currently a secret, but i will establish now that billy is tied to her storyline and how the party meets her for the first time - while billy's an interesting character in his own right, i straight up don't like him :P so i'm warning people now that billy's more a plot device for max's arc and i probably won't be diving incredibly deep into his character. this is a party centric au after all!

when i was thinking of max's character, i was trying to keep the things she liked in mind and why she was so cool in the first place! ofc, she had to skateboard, even if it was only a little, and she's honestly just great at games in general (to dustin's dismay).

her upbringing in canon and the way she acts is pure "survival instinct" behavior. she knows first aid, she knows how to drive, she escapes vecna, she's incredibly independent! she's a fighter, through and through. she's also not really one to hesitate often to be hands on, and i can see it in the way she acted seasons 2-4 :')

lucas is almost done - maybe a few days give or take!

[literaryvein-reblogs]

Writing Notes: Plot Holes & Other Structural Issues

Create chapter maps to find the main issues within your manuscript.

This method is faster than reading through your entire manuscript without knowing what you’re looking for.

Examine your chapter maps for the following…

Plot Issues

Would these events really happen?

Does the inciting incident happen early enough to grab the reader?

Are there errors in the chronology of events?

Are you able to trace the plot arcs throughout the whole manuscript? For example, is there a storyline that just drops off mid-way through?

Can you follow all your subplots to the end?

Are the events well-linked? Are there any holes in the plot that need to be filled?

How is the manuscript structured? Chapters, parts, various different sections? Is it working in this format?

Can something be done to strengthen how it’s presented to the reader?

Is there enough conflict?

Have you made the stakes high enough?

Why are these events happening?

Have you adequately described what set them in motion?

Does each individual event progress the story?

Is the plot complicated enough to sustain the story until the last page?

Is the plot too complex?

Character Issues

Whose story is this? Who is telling it? Is it engaging enough?

Do you believe the characters’ motivations? Are these clear enough?

Are the support/minor characters sufficiently developed? Is there a character you’d like to see become more prominent? Is there room for a new subplot or point of view? How would this affect the current structure of your novel?

Is the development of your characters limited by the point of view you have chosen for your novel? For example, if you’ve used a child’s point of view but need to explain something complicated, how can you resolve this?

What are the reasons behind your protagonist’s decisions? Do these link back to their original motivations?

Do the characters talk in a believable way? Does this reflect their background?

Is the reader given enough reason early on to care about your characters and what happens to them later?

Do your characters change and develop in conjunction with their experiences?

Does the reader see your protagonist at their best and their worst?

Have you made your characters as in-depth as possible? Where could you add in more backstory?

Do the backstories of your characters affect the plot? How? Make sure this is worked in throughout the novel.

Do the relationships in the narrative progress realistically?

What else can you do to make things difficult for your protagonist?

Does the reader experience a range of authentic emotions due to the characters and their interactions?

Would the character really react in this way to an event?

Is each character the appropriate choice for the role they play in the narrative?

Do you have both likeable and unlikable characters?

Is your protagonist active enough?

Are the traits of your characters distinctive and consistent throughout the novel?

Are the descriptions of the characters consistent throughout? For example, you don’t want a character’s hair to be red in Chapter 1, but blonde in Chapter 11 without any reason.

Setting Issues

Is there a strong sense of place? Are there elements of history and culture? How can these factors be developed further?

Does the setting suit the events that are occurring?

Does the setting create a sense of intrigue? Enough that the reader wants to spend time here?

Are the settings described using multiple senses?

Do you favour one sense in particular? Make sure you even this out.

Are the settings logical in terms of their relation to one another?

Are the details of the setting such as climate and conditions realistic? Does more research need to be done?

Does the setting require fact-checking?

Would a different setting be more effective?

Are the settings consistent throughout the novel? Such as the number of rooms in a house, or the position of a window?

Pacing Issues

Consistency of pacing: do the subplots, climaxes, and tension work in the current order?

Is the speed at which events unfold suitable to your genre and target reader?

Are the major events in the novel given the weight they need and deserve?

Is there enough description in the manuscript that the reader feels grounded within your world?

Is there so much description that the story lags?

What are the turning points of the narrative?

How can the tension be built further in these sections?

Examine the beginning and end of the manuscript by themselves: are they gripping enough? Do they convey enough information without giving everything away? Are they effective in terms of the author’s intentions?

Are there too many action scenes in a row?

Are there passages bogged down by too much detail?

Other Issues

Is the story accessible to the reader? Can the reader relate?

Does each chapter start and end with a hook?

Are the tone, content and language appropriate for the target reader?

Is the point of view maintained throughout the various scenes? Is it consistent?

Is there one element of the story that overwhelms the rest? Try to even things out.

Are character thoughts, actions, and dialogue balanced out with setting and description?

Source More On: Character Development, Plot Development

[utilitycaster]

Wizard Breakdown Tracker: Downfall part 3

Ultimately, I associate the Wizard Breakdown Tracker with Aeor; I began it during the middle of the Nein's Aeor arc, and even bringing it back for the Nein reunions feels like it's missing something. That thing, it turns out, is a city of Wizard Hubris.

There are no wizard PCs so we can dispense with the formalities. For the purposes of this post, while The Raven Queen is an ex-wizard, Emhira isn't and is counted as a warlock, and The Raven Queen is counted as just a straight up god. As always, in no particular order, and if a wizard is not mentioned it's because I didn't have anything funny nor serious enough to say about them.

Calamity-era Wizards

Adamar: literally no idea. I think he was stressed but he got vaporized by Meteor Swarm (completely within the realm of mortal achievement btw; Imogen Temult could take it in 4 levels) before things really broke bad. Like 7/10; he was in pitched combat but he had 3 dragons and a bunch of demons on his side.

Primarch Selena: There are going to be a few wizards in this who truly do embody a more profound breakdown than anything we've seen before. Selena is one. What does it mean to be so good at creating a mortal-made form of life that the god of beauty chooses to reside in this when picking a vessel? What does it mean to realize in the same instant that your life's work is what doomed you and its target is standing in front of you and now holds your life in their hands? In the end, she doomed her city twice while also actively repenting; it's not just gods who contain multitudes and conflict. But also 10/10.

Arcadia Cerenvetorix: Well, she got tricked by Asmodeus and stuffed in a bottle. Asmodeus did a good job of imitating her too which, as a deity of truth and knowledge cannot feel great, to know that Guy Whose Thing Is Lying has your number even if he is technically lying and therefore in his wheelhouse in pretending to be you. Then she gets let out having been saved by SILAHA, who as a result of saving her, cannot stop Selena. I have to imagine this series of consequences drives some of her decision making in the very end, although at that point she is technically not a wizard and therefore out of the scope of this post. Anyway, 9/10; she did almost die.

Cassida Previn: There's no option for this other than 10/10. Her revelations were delivered with far less kindness than even Selena's; we see her break. She has time to consider that her good intentions have doomed Aeor as well as find the deity she's risked execution to serve is a more complicated being than what she expected and does not approve of her greatest act of service. And that's before we consider that the Society of Primes is implied to have not been successful (we don't know, since the Factorum Malleus is never fired, so it could be a bluff; but the Primes are heavily indicated to be in just as much danger) and that's also before her final moments are being presumably tortured by Asmodeus. I don't know if she really renounced The Everlight; Asmodeus lies, but it's not an unexpected consequence. As The Everlight says, it doesn't matter; she was well within her rights to feel however she felt in those last moments and it does not erase all that she did before. If she didn't it was a lie from Asmodeus, and if she did, she is forgiven entirely.

Those guys who were dragons for a hot second: Honestly? What a way to go. I wouldn't even be mad. 6/10.

The Wizards In The Cognouza Ward: THEY LEFT SO EARLY. AND FOR WHAT. Like, yes, yes, you want to show the moment so you have to do it pretty early on because you won't have the viewpoint of the divine entities later on since they'll be in the Genesis Ward, but COME ON MAN. It really is like...you could have been The Ring of Brass to Aeor. If you wanted to sound the early warning you could have done some strategic teleporting of as many people you could get onto Exandria, despite the storm, and hell, you could have taken a long rest and planeshifted the next fucking day if you had to go to the Astral Plane so badly but nooooo you had to fuck everyone else over. I mean does anyone deserve a millennium of madness and horror as Cognouza eventually became? no. But like, maybe a few years for this bullshit. 5/10 because it isn't bad yet because they jumped the fucking gun. and again. for what.

843 PD Wizards watching this or just hanging out elsewhere

Essek Thelyss: I imagine he is like those pictures of the math lady except he fully understands the math. Absolute mind blown. Trying to figure out the Luxon's relationship to Tengar if there is one. Wondering why Aeor was working on Cognouza and the Factorum Malleus and not their various Luxon experiments. Trying to figure out if the gods used the same principle as consecution. Trying to reconcile the image of Lolth as weirdly adorable with the horrors he knows his people escaped. Also he has been watching a movie for like 13-ish hours but I wonder if floating means his legs haven't fallen asleep. 6/10.

Allura Vyesoren: I really like to imagine she messaged one of Bells Hells and they were like "can I call you back later we're watching a movie" and she is just like I am getting too old for this shit. 4/10 in like, the relative sense of all wizards in this 843 PD narrative are dealing with an existential threat but like within that context, 4/10.

Caleb Widogast: I feel like the Nein would be best deployed to Ria'Doin but he might be on some other weird mission given that Essek was sent to Aeor in his place, and hopefully, we get a one-shot out of this. For me. Anyway though for practical reasons he did just hear from Essek recently and Trent seems gone for good so, within the broader "Ludinus Da'leth is fucking over existence" context, also like a 4/10.

Yussa Errenis: Really hard to tell! What unhinged fuckery that doesn't require physically leaving the house is this small bastard (affectionate) up to. Is he on the moon? Is Nicodranas on a nexus point thus sending him to some far-flung region of Exandria? Did he try to question Halas and get trapped in the gem? Is he just ignoring Iva Deshin? Anyway given his track record I am going to say 9/10 and he is in some kind of peril that is low-key his own fault, but it's anyone's guess.

Astrid Becke: Imagine being screwed over so hard you have to go undercover in retail. I think that fantasizing over who gets to land a killing blow in D&D Actual Play is not terribly interesting; what happens happens, and such fantasies are usually a dull slog of "who is wronged most" which is never good. With that said I don't think she is the most wronged, if that's even a metric one can know; and also I know this is not going to happen given her very tangential nature as a minor NPC in the story being told here; and I don't think I am speaking about a just or kind world in this fantasy; but in a world that aims for justice but lands in pettiness, she would get the final blow on Ludinus Da'leth. 7/10.

Ludinus Da'leth: There's a tumblr-famous post in which someone makes a lot of wild-ass claims about the status of, iirc, women who spun thread in medieval Europe and then when people were like "I don't think that's right" posted a fuckload of links and the phrase "*steeples fingers*" and then someone actually clicked on the links and was like "uh none of these back up your point, actually; most of them have little to do with it and what few do address it either contradict what you are saying, or are similarly unsourced from non-experts." Anyway I think we can all see the value in checking the citations and vetting your sources here, a lesson The Martinet seems to have failed to internalize. He is however either at a 3/10 or an 8/10 depending on precisely how up his own ass he is and whether he realizes he showed footage far too complicated to make but a single easy argument.

[starqueensthings]

A very Crosshair Character Analysis

I posted a poll the other day looking for some opinions, and the prompt was: does Crosshair ever truly miss a shot? Meaning, of all the shots we’ve seen him aim and fire, how many of the few that didn’t land, were intended not to land? Does Crosshair have the skill and ability to land every shot he takes, and what of the ones that go astray (because there are some!)? The overarching, collective opinion (77% of votes) is that the sniper only misses a shot when he intends to, but let me explain why I was asking— the "methods behind my madness," if you will… (Fasten your seatbelts, and keep all extremities— and pitchforks— inside the ride!)

If Crosshair “doesn’t miss”, then there are some things that demand consideration and possible explanation. Please accept this weird internet essay as a deep dive into Crosshair’s character based solely on how I perceived his actions throught season one and two, and opinions I formed while watching his character develop. And while this could not be a Tech-approved analysis without touching on both his perceived good qualities and “flaws”, please know this is not a hate-on-Crosshair post.

Before I get into specifics, I think it’s imperative that we establish a basic understanding of his personality before the chip’s activation. While there is, sadly, not much “footage” we can use to form a true characterization of him, there are some instances we can touch on. The Skako/Anaxes arc from TCW and the earliest few moments of “Aftermath”, Crosshair is shown to be quite sarcastic, uninterested in trivial conversation, measurably combative toward those with differing opinions to his (seemingly all regs, including but not limited to Kix and Jesse), moderately argumentative toward leadership outside of his own Sergeant (mainly Rex, as Crosshair seems to have no qualms following Anakin’s or Cody’s orders), comforting to those who need it (Echo), and an overall good tactical team player.

So, let’s start this analysis by dialling things way back to their mission on Kaller and the complications that arose once Order-66 had been dropped. More specifically, hunting Caleb down in the forest. One of the things I noticed upon first watching that scene and every re-watch since, is how often Crosshair toggles back and forth between blaster bolt and stun cartridge on his rifle, as if constantly battling the indecision of exactly how he wanted to detain the Jedi. Now, if you remember, Tech com’s in and basically says [paraphrased obviously]: “Shit is starting to his the fan, we better get our butts outta here,” to which Hunter responds: “Can’t. Haven’t found the kid yet.” Crosshair then chimes in with, what I have long-deemed to be his catch phrase: “Wrong,” and proceeds to shoot the branch that Caleb is perched on. Not Caleb, who, in Crosshair's mind, should be the rightful recipient of a kill shot… the branch. Hmmmm.

If every one of Crosshair’s shots is so masterfully aimed that its deemed an automatic hit, and thus every miss is intentional (a notion of which I also believe, less one particular shot which I’ll touch on a little later), then there would’ve had to have been a portion of Crosshair’s cognition overriding that Order-66 command to eradicate all Jedi, even if it was only enough to fleetingly switch his gun to stun.

Not long afterward, we see his beloved Firepuncher saber-whacked from his hands, and Crosshair opts to then continue his attack with his backup DC17. Missed shot, missed shot, missed shot, missed shot. Were these blown shots intentional as well? And if so, why does he continue to assail the Padawan? Is Crosshair only able to fight off the command to kill Caleb while his finger is on the trigger, possibly knowing that’s when the fight against his own mind becomes most crucial? Is he clinging to some autonomy in the moments where he’s not posing an imminent threat to those around him, like during the flight back to Kamino? Or can he only resist the chip’s influence when the urge to do something terrible is paramount?

Let’s skip ahead, shall we, to when the Batch is attempting to flee Kamino with Omega. Crosshair sashays onto the landing platform in his new gothboy armour, fresh out of an undescribed chip “augmentation” procedure (whatever that eludes to), and proceeds to have a small stand off with Hunter— both of whom have their weapons directed pointedly away from each other (interesting). During the succeeding fire fight, we see Crosshair line up several well aimed shots, many of which appear to be only inches away from landing on their “intended target”. He eventually succeeds in shooting Wrecker in the shoulder, and I’d like to point out that this shot lands almost exactly where Wrecker was hit by the training droid some hours/days previously. Was the placement of this shot intentional? Did Crosshair pick that particular target area knowing Wrecker would survive the damage?

The shot I find most intriguing is the one near-perfectly aimed at Hunter’s head (lol— brothers). You know, the one where Omega saves the day by unexpectedly blasting Crosshair’s rifle out of his hands. If the chip's activation was the reason he was now hunting them and claiming their treason, why had that moment seen him hesitate? Perhaps he needed a second to line up his shot, you might argue to which I would say argue: we’ve seen him use the active recoil from that same rifle to line up his next shot many times in quick succession with a zero margin of error (see the Skako/Anaxes arc in TCW and the first few minutes of Kaller), including when each shot was aimed at targets both more dynamic in action and further away than Hunter was.

Crosshair then takes several shots at the ramp of the Marauder as they take off, all of which are well aimed… and simultaneously redundant; the passengers are taking cover in the ship already, the Marauder has begun its take off, the ramp is closing, Crosshair running whilst knowing he can’t reach them. I personally attribute those last few shots as tokens of both anger and resentment for being left behind, not ones made with the intention of killing. I think that he expected his brothers to know him better than to believe these actions were of sound mind— he thought they’d be able to deduce that he was fighting a losing battle inside his own head, yet they were quick to believe he would actually entertain such sudden and aggressive hostilities toward them.

At this point, you might be itching to argue that maybe Crosshair's accuracy is largely diminished when he opts for a pistol instead of his rifle, and while I can't dispell this theory, I can provide some statistics. We see Crosshair use a pistol only four times in the entirety of the show so far: 1. against Caleb on Kaller (objective miss), 2. against the Batch Batch as their leaving Kamino (objective miss), 3. against a soldier while he and his new elite soldier squad infiltrate Saw's camp (direct hit), and 4. against Leiutenant Nolan when that asshole he gets on Crosshair's last nerve at the Outpost (direct hit). I will leave it up to you to decide if the theory of whether his skill level changes based on the weapon he's firing holds any merit, or is worth further discussion.

Moving on— the 99-clan is reunited on Bracca. Let’s turn our attention to the shot Crosshair takes at Tech whilst the latter was emerging from the ion engine, and I’m going to include pics this time to support my assertion.

Crosshair has an undeniably clear shot— his line of sight is not impeded, there are no environmental or atmospheric disturbances to disrupt his composure, he was ready and waiting for them to appear. The shot that he fires lands a good distance in front of Tech. Though the unexpectedness of it was enough to startle the genius into nearly falling out of the engine, I believe it was intentionally aimed this way (see below). A warning shot if you will. A “Hello, I outsmarted you and am waiting at your point of attempted escape. Stop trying, and get down here because I don’t want my new imperial cohorts to take aim for me and kill you” shot.

The next arc (Ryloth) quickly demonstrates that any neurological augmentations he’s been subject to (at this point, I believe we've been shown two, but have been led to believe there were several), have had no effect on Crosshair’s infamous sniper skills. First, he fires a perfectly aimed tracking beacon onto the moving target of Gobi’s ship. Then, upon the ship’s return, uses a single shot to disable one of the engines; a shot taken from, what appears to be, several kilometres away and having the immediate desired affect of disabling the ship. Finally, he makes the astoungingly precise shot (and I’m using astoundingly very heavily here) of blasting Senator Taa in the head. This shot, more than the previously mentioned two, are a sign of his impeccable marksmanship. Let me remind you, he was an undisclosed albeit very far distance away, on the opposite ridge of an enshadowed canyon, and is still able to shoot the senator in a place in which HE WOULD SURVIVE the attack. And not just survive, “make a full recovery” as Rampart claims afterward. This is unrivalled accuracy, and while I do not support the assassination attempt in itself, I can not deny how much skill was required to have achieved it.

My next point is something I have always personally found quite compelling, and it occurs in an off-the-cuff, likely forgotten about piece of dialogue.

Brief context: Crosshair has scooped Hunter off of Daro, they’ve landed on Kamino, and the duo (and a third soldier) are on their way to the Command Center to await the rest of the squads arrival. One of Crosshair’s elite troopers waits until he departs the platform before approaching Rampart and saying: “I question the clone’s motives with his old squad. I don’t trust any of them.” I’m intrigued to know where such a potent mistrust began. Is it simply because he’s a clone? A person born and raised unnaturally in comparison to someone with a traditional gestation and upbringing? Or has this soldier previously identified possible cracks in Crosshair’s imperial facade? Has Crosshair failed to hide his distress in quiet moments where he possibly longs for the life he had with his brothers? What is it that triggers this soldier to suspect Crosshair has an ulterior motive in capturing his old squad, and one that they’re apparently worried would not coincide with Rampart’s ideals?

Ramparts reply, in my opinion, gives us a well disguised clue: “If his plan fails, none of them will be a problem any longer.” If his plan fails. Crosshair’s plan. Crosshair has a plan for mobilizing his old family into one place, and what is it? Is he concealing the hidden objective of a reunion with his brothers under the guise of squad assassination? Was it always his plan to eliminate his new elite squad members, hence the perfectly placed mirror pucks we see him utilize in the training room, to make room for his old squad?

Remember, Hunter asks him some time later: “So this was your grand plan? Bring us here and kill us?” Crosshair answers: “If I wanted you dead, you would be.” And this is a statement which I believe to be incontrovertibly true. He has never wanted his family dead, despite having both the resources and skill to ensure they would be if that’s what he desired, but no. He’s angry that he’d inherently felt more loyalty to them than they had shown to him; frustrated that their choices post-Kaller did not align with his expectations of their choices, disheartened that they hadn't initially recognized to his choices to be ones made outside his character, and Crosshair now eagerly rebuffs their every excuse. Reference the spoken: “They don’t leave their own behind… most of the time.” . . . “You tried to kill us, we didn’t have a choice.” . . . “And I did?”

And follows the: “We’re loyal to each other, not some empire.” . . . “You weren’t loyal to me. I was one of you. You may have forgotten, but I haven’t. And it’s why I’m going to give you what you never gave me: a chance…” conversation. (Just stab me in the heart and twist the knife around, Jennifer!!!! Ouch!!! I'm still not over this!)

Was this his plan? To lure his brothers back to their home, and indirectly beg them to join the empire? To offer them the chance to join the ranks of those who have relentlessly hunted them, in the hopes that there might be some semblance of safety in conformity? To reunite the elite squad that they were in the days of the Republic (the original elite squad of which Rampart is trying to replicate with tactically inferior recruited bodies), simply for the safety that joining the empire could potentially promise? Is this the first demonstration of Crosshair using hostility to shield those he cares about from the callous clutches of the empire that he’d become painfully familiar with?

Regardless of the still-unexplained motive, Crosshair’s plan fails. Hunter has either become, or has always been, as protective of his family as Crosshair is stubborn, and he would never willingly subject his brothers (and now sister) to a life of committing abhorrent war crimes in the name of an Emperor who rose, uninhibited, to extreme and unnatural levels of power whilst abolishing the Republic of which they'd previously served. That’s not what their squad was made to do, despite Crosshair trying to convince Hunter perhaps maybe it was.

Unsurprisingly, Crosshair’s pitch falls on deaf ears, even despite killing his elite squad as an offering of trust. Once the training droids have been taken care of and the fray had subsided, Crosshair stands to find Hunter now has a blaster pointed directly at him, as does Wrecker— (Echo and Tech, curiously, keep their weapons pointed away), and the tables have quickly turned. Hunter begins his own plea to his brother, and it leads to a very ambiguous admission. Hunter: “Crosshair, forget the empire. This isn’t you, it’s your inhibitor chip.” Crosshair: “Wrong. I had my chip removed a long time ago.”

What degree of this admission is true? All of it? Parts of it? None of it? Was Crosshair only told that his chip was removed during one of the apparently many augmentations he’d been subject to? Was it removed and replaced with an alternative? Or was it truly extracted, and his questionable actions have been entirely his own? If so, was it the fall of the Republic that spooked him enough to join the ranks of an unknown empire? Did the thought of disobeying orders bother him enough to sacrifice the family dynamic he’s always known, and replace it with a safe sense of conformity? And if this is the case, was missing all of the shots he’d aimed at his brothers, a veiled display of love?

Atop the water hours later, Tipoca City has fallen. Due to their imminent death, Crosshair and his squad have been forced to work together to survive. Tech makes a lingering comment about Crosshair’s unyielding personality being outside of his control, and it’s still ringing in our ears at this point because it implies that a lot of this misunderstanding may just be because of how strongly Crosshair forms opinions, and how only one of his brothers understands that about him. Omega is mid-drowning trying to save her droid friend, Hunter is .4 seconds away from leaping into Kamino’s frigid and turbulent waters to try and retrieve her… and we see Crosshair grab his rifle. This is a shot, of any, that I would expect him to miss— water both impedes and shifts the trajectory of a projectile and mathmatically accommodating for this would take some serious, well thought out calculation; the only usable light for aiming is from the burning remnants of their home, and the container in which Crosshair is perched heaves and tips with every wave.

But he doesn’t miss. He, again, demonstrates that he can make any and every shot he wants to. He lands his shot on AZI’s chest (not dissimilar to where he shot Wrecker, on an obviously smaller scale), and pulls Omega from the depths of the water. Upon turning to see his brothers poised and ready to shoot him if they deemed the need appropriate, I think Crosshair realizes how monumental the fracturing of their squad was. They have no trust left for him. His actions, powered by an inhibitor chip or not, quickly led them to believe he was not the person they knew him to be. As much as he desperately wanted to them understand how powerful the control of the chip was, they didn’t. And I think this moment robs Crosshair of some of his anger and resentment he harboured toward them, and reaffirms that his only option now is to follow the path he was first influenced to follow, regardless of if it’s what he wants now or not. He then chooses abandonment. He chooses to be left stranded on that platform, likely aware that the potential he’d perish there was high. His separation was now his choice.

Let’s move on to Season Two! Episode 3, appropriately named “the Solitary Clone”, indirectly shows us more about Crosshair than I believe any previous episode ever has. Crosshair’s marksmanship is, once again, on full display as he takes down an old separatist tank with one shot (I’m still reeling over it, ok? That shit made me horny). And I can’t move on from this episode without also mentioning how it ended— we know Crosshair has respect for Commander Cody, that was demonstrated by his willingness to follow Cody’s command while he rebuked others’ in the Skako/Anaxes arc. I think it’s also apparent by the return of his notorious sarcasm, that Crosshair is happy to see a familiar face, one of which he may have previously deemed a friend. Cody, in return, places tidbit of trust in Crosshair (I’m also going to link this post in case anyone is curious about my thoughts on Cody’s initial comments). Not only does the commander inch toward the precarious conversation about “going rogue” and the Order-66 debacle, but Cody lets Crosshair take the lead after their shuttle crashes on Desix. “Trust me,” Crosshair begs, and Cody accedes.

They gain access to the strong hold; Crosshair, Cody and Nova (RIP) struggle only mildly with the droid forces ("Droideka's."). Crosshair demonstrates more inhuman trigonometry abilities and immaculate skill by using those mirror pucks to shoot around corners. Cody saves Crosshair’s tushy when a Commando droid gets a little too close to the sniper. Crosshair lowers his weapon at Cody’s request while they negotiate with Tawny Ames, a motion he had otherwise refused earlier in the episode (the civillians they come across behind a closed door— Cody lowers his gun and reassures them, Crosshair does not.) And when the Empire shows its true colours by demanding that Cody renege on his promise of peace and assassinate the governor, Crosshair does not hesitate to answer the call.

Now superficially, this act would appear as nothing more than a repeat of his crimes on Onderon, or Crosshair simply “following orders” as he had previously developed into a sort of mantra. But I think it’s much more layered than that. I think Crosshair recognized that Cody would be subject punishment did he not comply, a notion reinforced by his extended time at Rampart’s elbow, where it was regularly displayed that clones were of little significane and use to this new military regime. What would happen to Cody as a result of his disobedience? Would he simply be demoted from Commander? Would he be court-martialed and questioned? Detained and imprisoned? Killed? Is this why Crosshair took action into his own hands, and “did what needed to be done”? To protect Cody from the repercussions of disobeying a direct order? Or, more harrowingly and something that I am more inclined to believe, was Crosshair protecting Cody from the poignant shame and self-hatred that he knew the Commander would feel if he DID comply? Was Crosshair unwilling to let the mind of another clone be tainted by the emotionless demands of the empire, so he took the action upon himself? Was his objectively unnecessary and cruel attack, an action of deep seated respect and appreciation? Is this why Cody's comment about living with the consequences of their decisions affects Crosshair so deeply as they separate at the end of the mission?

Let’s dial back to the debated intention of Crosshair’s shots— are his missed shots deliberately missed? Our next stop on this journey is The Outpost (my personal favourite, and not because of the dreamy, sardonic, bearded Commander Mayday), but because of the overt growth that we see Crosshair attain. (Here’s an analysis I posted a while back about some of the messages I think the writers were trying to convey via symbolism throughout Crosshair's episodes to this point). If you've read it and even partially subscribe to my theory, then we can agree Crosshair’s mentality has been shifting little by little since we saw him last, and his attachment to Mayday (and the adjacent benefit that Crosshair rediscovers in companionship and brotherhood) is proof of this. So here’s what happens— raiders make it inside the perimeter of the Outpost thanks to limited man-power and degrading equipment. Crosshair heads directly to where he knows he can play to his strengths: high ground. He’s taking quick and careful aim at the retreating insurgent when the nearby shuttle explodes, and something peculiar happens. Whether it be the blinding flash of the explosion magnified significantly by his riflescope that had caused him such immediate discomfort, or something more (chip alert? Maybe? Or residual effects of having it augmented so many times?), but Crosshair’s subsequent shot is not of his regular quality. He hits his target, so I am not deeming this as a shot missed, but Crosshair has a track record of “one-shots” or “kill shots” of which this is not.

I’m inclined to ramble on for centuries about this episode because there is simply so much development, growth, and symbolism that occurs in those 28 minutes— it’s truly a masterpiece in story telling, but I’ve deviated too far from the intention of this essay (novel) so let’s trek forward.

Let’s get to Tipping Point, and what I would deem to be his only failed shot (and the implications of what it might mean). Crosshair has been sedated, interrogated, injected, neglected, confused, and abused since arriving on Tantiss. (You guessed it, I also have an analysis of this episode, structured a little differently than my previous but still helps to break down what I deem to be the motives behind his actions). Hemlock first attempts to bribe Crosshair with his freedom in exchange for information on his brothers, and as such, divulges his true need for Omega. Crosshair, who has never really had the chance to bond with her like his brothers have, refuses to provide any information. And why? Having only a surface level relationship with Omega, and having rebuffed her advances for companionship several times, why would he protect her in the face of imminent chemical torture? Because it directly protects them, and they are no longer being hunted by a squad of recruited bodies lead by an angry brother... but by a twisted and cruel doctor who's methods were proven unorthodox and tortuous upon immediate introduction.

Upon awakening from another round of interrogation, Crosshair understands the time to act is diminishing quickly, as is his ability to refuse Hemlock the information he wants. Each interrogation leaves him physically and mentally weaker; the time is act is now. He shoots and kills the pair of troopers, as well as the interrogation droid, with no difficulty. He stuns Emerie the scientist (possibly recognizing her clone accent for what it is, thus opting not to kill her?), steals her access card, and stumbles from the room. His body is no where near recovered from whatever toxin that droid injected him with, and he staggers through the unknown halls. Quickly coming across a pair of troopers guarding a doorway, the next shot is the only one that I believe he truly missed, and understandably so. It lands on the wall between their heads, and Crosshair quickly realizing his failure, shoots them with the following two rounds.

While missing that shot is largely inconsequential to the overall story, I think it’s an important anecdote for his character growth. In that moment, Crosshair is both physically weakened and mentally desperate to get a message to his brothers, and it’s the combination of those that had his aim faulty. He’s found himself nothing more than a man broken… stripped of the celebrated titles he’d once possessed and mentally mined until simply raising and aiming a blaster, a motion he’d once found more innate as breathing, was a motion difficult for him. He's forsaken his family, lost his purpose, been rendered nothing but an experiment and a tool.

So to summarize this egregiously long essay of Crosshair’s character, I’d like to reiterate that he is human. As we all do, he has faults. A lot of his reasoning is arguably flawed. He makes poor decisions, often in haste without considering the ripple effect it may have. He is extremely stubborn, and he does not communicate well. And there are things he’s done and decisions he’s made that I can not personally elucidate and would love to openly discuss with other Crosshair enthusiasts (example, trying to incinerate his brothers in an ion engine— did he assume Hunter would double back again, and this is Crosshair’s attempt at forcing them into the open? Or is this one of the moments when he cannot fight off the chips control?). You don’t have to like him. You don’t have to agree with him or anything he says. You don’t have to like me or agree with anything I say, but as we head into the third and final Act of this remarkable story, it is worth determining which of his actions are superficially misunderstood, and which have a deeper meaning that a casual viewer might simply overlook.

Thank you for attending the Ted Talk that no one asked for.

Holly ♥️

**forewent the taglist as this is not my typical content

[1000sunnygo]

The fun thing about long running series is that you can trace a character's narrative evolution in real time.

The Law we saw pre-timeskip clearly aimed for One Piece.

Unless it was an elaborated lie to his crewmates (which I guess is the in-series explanation at the moment), it's safe to assume that his D lineage and self assigned suicidal mission didn't exist as a concept back then. The goal is eventually re-established with a context.

While drawing, I assumed Kidd would become important, but I didn't think LAW would move forward like that. So it's youu?? 😱

Weekly serialization, it's a Wonderland.

Weekly serialization means adding oomph on micro scale. I have a particular theory extrapolated from this statement: Law's introduction in Punk Hazard wasn't planned at all.

It might sound far fetched for how integral Law is to Punk Hazard's plot. But it's not an uncommon event, and not just in One piece. Editors often suggest heavy changes to accommodate strong cliffhangers and quick surprises. Eleven supernova were created because early Shabondy lacked oomph, Law might have appeared in Punk Hazard for the same reason.

Even without Law, the straw hats would've anchored in Dressrosa to save Kanjurou, Zou to reunite with Raizo, and in Wano to escort their friends back home. Law just happened to have something going on in all of these places.

I think both Law and Kidd's post timeskip debut was planned to be in Wano arc. Law's competitive dynamic with Kidd and Luffy in Wano is more consistent with Shabondy than anything that came before.

Doflamingo was initially one of Kaido's strongest allies to be defeated within Wano country (confirmed in volume 98 SBS). It means Dressrosa was entirely different from what we got.

Given the similarity in their Jolly Roger, Oda may have always planned Law to be Doflamingo's ex-subordinate with a complicated history, keeping his and Doflamingo's conflict reserved for Wano. But Law was popular, resourceful and the story needed a boost after a monotonous Fishman Island arc. Thus, Law gets his early screentime that snowballs into a dramatic Dressrosa arc. I'm sure Oda didn't mind.

Tldr, I think this is how it went down: Oda decides that Kidd and Law would return and fight alongside Luffy in Wano -> Punk hazard is written and introduces Kinemon -> Punk Hazard falls bland and editor pesters Oda to bring Law early -> Law appears and proposes an alliance, so the plot is now directly chained to Wano -> Oda realizes ope ope makes a good device to explain Imu's immortality -> Oda makes Law a D as he's now connected to endgame plot.

Even if the theory above is wrong, it's a fact that Law was not a part of the bigger picture but became unexpectedly relevant. To work with him, Oda had to figure the smaller details of his personality slowly as the story progressed; such as his honesty and the suicidal tendency.

Law roped straw hats into his revenge scheme while deep down wanting them to leave Dressrosa safe and unharmed. But Law in the draft for this scene looks more... certain. Maybe Robin wasn't wrong to suspect Law after all.

I guess, by the time Oda actually reached the scene, the shadiness didn't suit his personality anymore. Corazon would not approve.

Wano Law was the best written Law. His personality was fully ironed out, not just the revived rivalry with Luffy-Kidd but also a reluctance to be nice while time and time proving it's mostly just talks. It's a mix of his personality traits that were decided at his very introduction and the later decided improvisations.

This post was getting too big and derailed so I had to cut it short lol. Maybe I'm reaching with my speculations but it was a fun topic to brainstorm about.

Edit: Here's a bit of extension of this theory.

[ineffable-endearments]

Crowley and His Plants in Season 2

I've got this complicated post about Aziraphale and the bookshop brewing, but I want to give Crowley and his plants their own post.

It's really important that Crowley hung onto his plants for juicy characterization and symbolic and thematic reasons. It's a major character development portrayed with relative subtlety, an excellent example of Showing, Not Telling, and I think it's a thrilling sign for Crowley's character development.

Before having a chance to think about it, I thought keeping the plants in his car was a funny and odd - but sweet - detail to include. In fact, it was so sweet that it was one of those "felt like fanfic" things!

In Season 1, and in the novel, the plants were very much there for trauma reenactment, for Crowley to vent his hurt and fear and anger and betrayal onto. In a sense, they seemed to be Crowley's way of roleplaying with himself, if we assume they were only sentient because Crowley thought of them that way. Through the dynamic of yelling at his plants, which he assumed could understand him, Crowley could emotionally act out both the terrified, powerless plant (subconsciously) and the big scary entity threatening it with destruction (consciously).

If we take everything at face value, we can also guess that Crowley disposed of plants that he no longer liked because of their imperfections, which would seem to imply he didn't have much of an attachment to them. Where they went doesn't matter that much to this particular line of theorizing. He could have given them to his elderly neighbor, he could have plunked them in a community garden, he could have left them on a doorstep, he could have shredded them in the garbage disposal. In any case, they were gone from his kingdom.

And after Season 1, I wondered if he would care to keep the plants if he wasn't using them to act out trauma anymore.

But in Season 2, the plants are in fact the ONLY thing from the flat that Crowley has hung onto as he moved into his car. Sure, it's possible that he has other possessions squirreled away somewhere and he just carries the plants around because they need sunlight, but most of the other possessions go unmentioned, so we have to guess that the plants are specifically important. They're also important enough to follow him into the bookshop and back to the car instead of just staying in the car for the trip to Edinburgh.

We also don't see a single instance of Crowley berating the plants in Season 2, but they do still express his emotions somewhat (shaking when he's afraid). He still has whatever subconscious connection to them he was experiencing before. Notably, there's at least one scene where a brown spot is visible on a plant, so whatever Crowley's doing, he's not getting rid of the plants like he used to.

This seems like an obvious example of Crowley's attachment to Earth condensed into a handy symbol. Crowley has started to admit to himself that he cares about these helpless living things, that he just likes them for their own sake. They're not a sign of a job well done for Hell. They're not a memory of Aziraphale. They're not a tool to make life easier or numb the pain. They're just Life On Earth and Crowley likes to have them.

Crowley has gone from using his plants as a tool for trauma reenactment to holding onto his plants because he has a genuine attachment to them. And, for a character whose arc I believe is going to involve forming more outward connections to others, that's a big deal.

Crowley's still got a ways to go. He's carrying these plants around, but the Bentley can't be an ideal environment for them. The whole process of driving them around, not to mention bringing them in and out of the bookshop, has to be kind of awkward for Crowley, too. It's very reminiscent of a character whose attachment to Earth is ambivalent, but who is moving in the right direction.

I wonder what'll happen next. His progress could be relatively linear, wherein he just goes off and forms more connections to humans on Earth after Aziraphale goes back to Heaven.

My suspicion, though, is that he will return to Hell with the specific goal in mind of thwarting the Second Coming and possibly trying to bring the entire system crashing down. In this way, Crowley experiences a massive setback in his position (he wants to be on Earth, not in Hell!) but is actually demonstrating a redoubled dedication to Earth and humans, so what he's doing is not backsliding. Compare it to Season 1, when Crowley is charged with delivering the Antichrist and complains, as late as the Antichrist's 11th birthday, that he didn't want to be involved, that Hell shouldn't have chosen him - when Hell choosing Crowley was the only reason he was ever in a position to try to thwart Armageddon.

But that's a lot of speculation. The point is, the plants are a meaningful connection to Earth and Crowley is taking care of them.