#especially in this version of themselves that prime has given them

[notemaker]

Okay so Sonic Prime was basically a weird game of seven minutes in heaven, right? Kissing may not have been involved but everything else sure was.

[vivid-bluez]

Helluva Boss' Worldbuilding is Awful

This is going to be a different post than what I normally post. It will be a bit more negative than how I normally word things but I want to get my thoughts out there since it's something I've been hyper fixating on for awhile.

Helluva Boss is a web series on YouTube currently in its 2nd season created by Vivienne Medrano, it serves as a spin-off of her other creative property Hazbin Hotel which was recently picked up by A24 and will air its first season on Prime next month. I wanted to discuss the worldbuilding of Helluva Boss, how and why I think it doesn't work, and why that hurts it's storytelling. This essay isn't meant to be only dunking on Viv or people who still love the show, I'm not writing this to be mean. I'm writing this because I do have a soft spot for these shows, Helluva Boss S1 is a comfort show to me and Hazbin was my first foyer into indie animation. I respect Medrano for what she was able to accomplish with her shows and I write this as my own form of a love letter to the show that I want so badly to improve and be the best it can be.

The Hierarchy

Both Hazbin and Helluva take place in the same universe and are set in the same location, Hell. Hell is a concept that's been around for a long time and has had several stories written about it, it has multiple different interpretations and depictions throughout the years. Medrano's version of Hell seems to be based on Dante's Inferno version of Hell, a story that depicts Hell as having multiple layers with the sins being condensed to their own rings. Medrano's version only has 7 rings as opposed to Dante's 9 rings, one ring for each of the 7 deadly sins.

Medrano's Hell is depicted as a hierarchical society with very strict rules that those within the hierarchy must obey. Those at the bottom of the hierarchy are treated like garbage by those above them, with very little one can do to transcend the position they were born into. Furthermore, dating someone underneath you in the hierarchy, especially if you're higher on it like in the Ars Goeita, is seen as disgraceful and disgusting. The hierarchy is depicted below:

This hierarchy, as confirmed by Medrano in an interview and further established in Helluva, is the official ranking of the denizens of Hell. It seems fine until you realize that the Sinners, former humans who sinned in life and got themselves into Hell, are above all of the Hellborn in status. The reason it doesn't really make sense is because Hell is meant to be a place where sinners are tortured for eternity for their sins, with the Hellborn usually being the ones doing the torturing. So why are they above the Hellborn? Why do mortal souls outrank those of actual demons? We're never given an answer for this, it's really odd.

My other problem with the hierarchy is that its established rules are often broken and bent when the writers feel like it. The most prominent example is when it comes to Higher Demons having relationships with Lower Demons. In the first season; Blitz, an Imp, someone at the bottom of the hierarchy, and Stolas, a member of the Ars Goeita and a Prince, being in a sexual relationship with each other is seen as disgusting and shocking by those around them.

When Stella is calling Stolas out for cheating on her she seems more upset that it was with an imp, with most of her insults being based around that.

"Do you want to fuck this one (referring to their imp butler) too?!" - Stella (S1E2 LooLoo Land) "Fucking IMP SUCKER!" - Stella (S2E4 Western Energy)

When Stolas and Blitz are called out in Ozzie's for their relationship, the characters don't seem to point out that he's cheating but again, who he's cheating with.

"ARE YOU SLEEPIN' WITH AN IMP?!" - Wally Wackford (S1E7 Ozzie's) "Whew! My dark lord, how the mighty do fall." - Asmodeus (S1E7 Ozzie's)

All of these moments make it clear that having a relationship with someone outside of your social class, especially those at the literal bottom of the barrel, is frowned upon heavily in Hell's society.

So why are Ozzie and Fizz, and also Bee and Tex, able to be so public about their relationships and nobody cares?

Tex, a hellhound on the same level of status as the imps arguably even lower, is dating Beezlebub, a Deadly Sin and queen of the Gluttony Ring. They don't hide their relationship at all, with Tex introducing her as his girlfriend at a public event and Bee acting very lovey-dovey to him in public. Shouldn't there be a scandal about this? The class difference is arguably more than Blitz and Stolas, with Stolas only being a demon Prince, Bee is a Queen and she's dating someone whom most of Hell considers to be little more than actual pets. No one looks at them weird or even makes a comment about it?

Fizz and Ozzie are in the same boat, a deadly sin, the King of Lust is dating an imp. They at least somewhat point this out in the universe (Newspaper articles of Ozzie being a hypocrite and characters calling their relationship the worst-kept secret in Hell) but they don't get nearly the same amount of venom and societal ridicule that Stolas and Blitz got. When Asmodeus confirms in front of an entire crowd of Hellborns at Mammon's Clown Pageant in S2E7 MAMON'S MAGNIFICENT MIDSEASON SPECIAL, the crowd is... extremely accepting of it. With all of them cheering for Fizz and Ozzie and Mammon seemingly being the odd one out when it comes to ridiculing them for their supposedly forbidden love.

So what's the deal? Are higher demons and lower demons forbidden from dating each other or not? Because of how the show is written, it seems like it's only a problem when it's Stolas and Blitz. It's one example but still a glaring inconsistency in the worldbuilding that leaves several fans confused.

Hell not feeling like Hell

So outside of the hierarchy posing its own issues the actual setting also poses its own issues. A common criticism I've seen of Helluva and Hazbin is that Hell is just "Earth but red" and I'd have to agree with that honestly. You could replace the setting of Helluva as a group of assassins running a business in a major city like Los Angeles and change Stolas to being just a shady rich corporate backer and very little about the plot would change.

I'll just rapid fire some things that Hell has that make no sense in a place that's supposed to be evil, lawless, and a place of eternal suffering:

Fire Fighters

Hospitals that even lower classes can use.

Jails and Cops?? (What the fuck)

A fucking priest, officiating a wedding with a bible which implies there's a Hell Christianity?

Weddings and marriages that seem identical to Earth ones or Christian marriages (wouldn't Hell hate marriages for how they're tied to religion and God?)

Fucking Courts.

If these were one-off gags or something mentioned only once, I could let it slide. (Like Millie and Moxxie being married or Stolas and Stella getting a divorce) but when you drag out these plot points or repeatedly show things that make your world just feel like Earth but with a new coat of paint on it, It begins to feel like your world is just Earth but with a new coat of paint on it.

The worldbuilding in Helluva Boss feels like the worldbuilding in Cars where it just leaves more questions than it answers. (Why are sidewalks a thing in a world of sentient cars? They show an American flag so does that mean that the Car Civil War happened? THE POPE IS HERE IS THERE A CAR JESUS THAT DIED ON THE CAR CROSS FOR OUR CAR SINS??)

What is Demonic Law?

In Helluva Boss, the business the characters run is stated by multiple characters to be illegal. There are demons permitted to access the human world and imps are not one of them, making their business illegal. I.M.P's use of Stolas' grimoire is illegal it is not meant to be lent out to anyone, especially not to imps, Stolas even says so himself in S1E5 Harvest Moon. Stolas later affirms that the Imps need to be careful because if they get caught it could land all of them in trouble in S1E6 Truth Seekers:

"How the fuck did you get caught!? Were you not being careful? If you get in trouble I get in trouble!" - Stolas (S1E6 Truth Seekers)

So what's the deal with Stolas in S2E6 waltzing up to a DEADLY SIN and basically admitting that Blitz's running an ILLEGAL BUSINESS AND HE'S AN ACOMPLIS TO IT?? Asmodeus just... doesn't care that this demon prince just admitted to breaking demon law? Also, Blitz can advertise his business without worry that it could bite him in the ass, no one else at I.M.P. is concerned that they're running an illegal business that could land all of them in hot water? No one questions why a bunch of imps have access to the living world even though they're not supposed to?

Another thing they set up is Human Disguises, in S1E3 where Loona calls them out for going to the human world without using human disguises, making a big deal out of it. Whenever Loona goes to the human world she wears a human disguise as well as Verosika, her squad, and Stolas in S2E2.

"A human called me a possum! I am NOT a possum!" - Moxxie (S1E3 Spring Broken)

The human disguise rule is so inconsistent, why do Loona and Stolas wear theirs in Seeing Stars when Octavia is wandering around without one and the most people do is give her weird looks. The imps run around fine without them and no one cares or can see through their bad disguises The humans in the Hellverse are too stupid to notice the literal demons so why even bring up disguises at all? Why have human disguises be apart of Demon Law if it doesn't matter?

Demons being ...Nice?

A common response to criticism of this show is usually "It's Hell.". While I've already gone over why it sure don't feel like it but what's weirder still is yes, it's hell. Why are some people so fucking nice?

Moxxie doesn't want to kill an innocent mother and seems pretty soft, Millie and Moxxie are incredibly loving and caring to each other, when Blitz is younger, he has qualms against stealing, then we've got Beezlebub and Asmodeus who, by all accounts, are just nice people.

Bee becomes concerned for Blitz when he begins binge drinking (Aka, engaging in her sin) at one of her parties and Asmodeus has an entire speech about why consent matters and how lust shouldn't be forced. I'm not advocating for Ozzie to be a rapist or for Bee to be a one dimensional bitch but, it really doesn't make sense for the literal embodiments of sins to be so nice.

On that same note, there are villians in this show that we're mostly supposed to hate because they're.. mean?

Glitz and Glam, we hate them because they're hyper-competitive and mean to Fizz, but they're demons? Shouldn't we expect them to be mean? Stella is an abusive screaming harpy and awful to Stolas and we hate her for it, but she's a demon princess? Shouldn't that behavior be normal in Hell?

Certain demons being nice is fine, and it can give them depth, but when every 'good guy' is nice and chill and only the evil or villainousxczxc characters are cartoonishly evil it starts to become apparent that it's writer's bias.

Conclusion

While this isn't all of the worldbuilding issues that exist within Medrano's Hellverse, it's the big ones that I have the most problems with. For a show that's supposed to be made as a way to further build upon the world of Hell, Helluva does a very poor job at that and at points is even detrimental to Hazbin.

What I mean is, if Charlie needs a backer to the hotel, why doesn't she ask Ozzie or Bee? They seem like they'd be down for it since they're surprisingly anti-sin. Charlie no longer feels special because she isn't the only nice demon, she isn't the odd one out anymore since a lot of Hell's leaders also seem to be pretty chill and nice.

Again, this isn't a rant or something that I made to dunk on these shows, I love both of them still and I want them to be better. For Hazbin and Helluva to live up to their potential and be the best they can be, no work is above being critiqued, it comes with the territory and I wish more of the fandom was normal about someone having negative feelings towards parts of the show's writing and to stop putting good faith and bad faith criticism in the same boot and backing that shit into the Hudson.

[amratsu]

oh yeah. this came up somewhere else so I might as well share some POWER LEVEL DISCUSSION. explanations under read more. Not sorted within the tiers.

Singularity Tier: doesn't need explaining, especially with recent MSQ where grandjeet can basically D4C their way into being the literal perfect version of themselves across all multiverses

Juiced Up Tier: Astral + some extra juice. Needs multiples of the tier below to take them on. Avatar Belial is however notably unstable and can be stalled out. Bubz is a hilarious jobber but is supposed to be strong. People here could feasibly delete an island as a general feat of power. Lucilius, Cosmos, six dragons, and so on would go here too

Inner Teachings/Eternal Tier: Prime fuckos of the sky. Top class mortal + top tier extra juice (primal or eternal weapon). Luminary Knights are about here as well. Could render an island uninhabitable. Cag belongs here but probably couldn't straight up fight anyone else in the tier; on the flip side she's capable of more raw destruction given time, and is the win con vs higher tiers in group scrambles. Boundary accessed eternals would go to Juiced Up. Narmaya is the other anomaly here but she's considered about equal to Octo and Funf.

Combat Focused Primal or Primal Hunter Tier: Self-explanatory. Could demolish a landscape. Society members don't need much explanation, they're powerful + their weapons are extremely strong, but not Revenant tier (if they got access to the automagod forms more easily, this would likely bump them up). Siegfried punches above the rest of the dragon knights by virtue of dragon blood. Belial I've never considered to have too much raw power, he's just smart. Anila's here by virtue of extrapolation; spars between Zodiacs have been shown to fuck up the area around them without much effort on their part (and that's between Kumby and Vikky, who consider themselves pretty weak). Grimnir is called a War God but I don't think he has many explicit displays of power so far. Charlotta eats her vegetables. Yuel and Socie canonically can make skyscraper high pillars of flame with their dances as a normal thing, and their story villain is pretty high up there.

Paragon Mortal Tier: Could destroy a town/make it evacuate. tbh Metera could cheese out people higher tier than her since she can fly. Otherwise, she's never really shown any explicit feat of power. I've never considered the Dragon Knights SUPER powerful as far as the whole cast goes, and they generally don't solo any of their threats, but they're the best within their groups.

Strong Combatant: Could destroy a building. Ladiva and Soriz don't have anything going for them besides martial arts. Ferry's not really ever indicated to be a strong combatant besides being a ghost and having a bunch of support summons.

Civvie: dude that's our fucking mess hall cook.

[komorisansgarden]

i love prime so much, especially with how the different shardverses show how the best characteristics of each character can, at a certain point, drive them to be a worse version of themselves.

[spoilers for prime if u havent seen it]

Knuckles is a character with great drive and ambition. Like Sonic says in the first run through No Place, Knuckles isn’t one to give up easily, if at all. His drive is unmatched, and once he sets his mind to something, he follows through until the end of the line. In comes: Dread, whose ambition veers into obsession. He became so infatuated with the idea of getting the shard that he loses all sense of loyalty. His drive outweighs his heart.

Amy is driven by compassion. She’s caring to a fault, and would do anything to protect the people and things she loves. So, in Boscage Maze, it makes sense that Thorn is driven to a point of madness by her compassion. When she sees her home, the Jungle, becoming hurt by the ‘scavengers’, she goes completely off the rails. Her compassion for her home turns into an unruly rage that cant see reason. Her heart outweighs her mind.

Tails is, obviously, the smartest member of the group. He’s the mind of the group, and he uses his brain to keep everyone safe. He, like Amy, is driven by heart. But in New Yoke, Nine was never given compassion, and without it, he falls back onto his intelligence. He uses his tools as a weapon against the world that’s hurt him, as a defence. New Yoke turns him into someone cold and unfeeling, until Sonic comes along and begins to change that- but even so, he remains (for the most part) indifferent to the world around him. Nine is an empty version of Tails. His reason outweighs his drive.

No Place is a world with heart but no loyalty. Boscage Maze has loyalty but no reason. New Yoke has reason but no heart.

[cosmics-beings]

Thank you for bringing that up because I am not a black person but the choice of making Megatron a slave and the way the fandom reacted to it in succession always made me really uncomfortable. Frankly, I found it ridiculous that to make an "interesting" narrative for Megatron, it relied heavily on using the trauma of BIPOC people in an unsatisfactory manner because it wasn't FOR them. Their narratives and their history were simply just transferred onto Megatron without much thought of the connotations

The fandom's tendency to favour/popularize something and make "continuity soup" (mix the lore, facts and characterizations), proceeding to enforce them onto other continuities also contributes heavily to this because it affects the view of other iterations. I enjoy Megatron as a character because I think he has a lot of untapped potential, but I cannot engage in almost any fan content of him because I heavily disagree with some of his portrayals and how his fans view him; and it ties back to his portrayal as a slave

Though iterations do not ultimately have a direct impact on each other (unless multiversal travel is involved), there's still a narrative that extends to all versions of a character. It's why people can react so negatively to one portrayal of a character, I don't like IDW1 Optimus Prime nor am I interested in analysing his "complexity." Optimus started off as a lower class character and he is slowly getting more privileged which I don't like, that's me enforcing my preference for G1 onto other continuities; I personally find it odd that Optimus "must" be given a position of power as a spokesperson but they choose to take away the fact that his original characterization had him as a marginalized person...

I like Earthspark Megatron and I think his characterization is handled better than TFP Megatron, whose character flaws I cannot differentiate on whether they're intentional or subpar writing... But there are still elements of Earthspark Megatron that makes me slightly wary due to the context of his slavery history in other continuities; despite the fact that his backstory in Earthspark is unconfirmed

TW discussions about slavery and abuse (for both megatron and starscream), some IDW and ES critical opinions as well.

This has been sitting in my ask for some time now, but I really REALLY agree. I’ve wanted to answer this for weeks and I’ve just been finding a way to do so. I’m gonna break this down and answer /agree with this the best I can.

Coming from someone with recent, traceable ancestry, and whose whole existence is because of slavery, I agree. And I think there needs to be HONEST discussion about why a lot of writers, who aren’t black or who aren’t familiar with slavery or don’t have ancestry tied to it, think that making someone a slave is an interesting narrative device, if they're just going to make them an abuser, a genocidal tyrant, etc., at the end. Because at that point, the narrative is just, shaming an abuse victim. Especially, in the case of Megatron, where it is not handled right and not everyone actually has the nuance to understand that or how problematic it is. The thing is that I actually like IDW Megatron, he is my favorite one. And next to him, is actually Earthspark Megatron.

My opinion however, is that we don’t really need anymore narratives where slaves rise against their oppressors and abusers, and become oppressors and abusers themselves. This isn’t just an issue with Megatron, but we also see it with characters in other popular media like…Hama and Jet, from Avatar or even Daenerys from Game of Thrones (and I use her loosely because while she was a slave turned into a dictator, her narrative also relied heavily on white saviorism. But that isn’t for here or there). Why is it needed? What does that tell victims and survivors of these things?

Another issue is that Megatron, despite how evil he IS, isn’t really ever painted as a victim before all of this. We've got his origin in IDW and a few more chapters in the LL, but we don't really get to see just how gritty it is. His narrative of slavery and abuse, because Megatron is an abuse victim is not actually highlighted in a way it should be imo, and the readers are mostly left to either have a vague idea of what he went through, or not understand how brutal it is. And slavery.is.brutal. it is one of the most violent and dehumanizing forms of abuse. And for the writers to not portray that shows it was something they didn’t really research or explain. And I will also come back to this later.

That narrative of an oppressed person, turning into an oppressor imo just perpetrates harmful ideas. And it takes real life issues, like slavery, colonization, violence, abuse, and ends up shaming the victims for their uprising. We don’t really need the whole “even someone who is hurt and tries to do better, can also hurt people. And they can be as bad as their oppressors” if it’s not written well, and if it’s not really adding anything positive to the struggle it’s trying to portray.

IDW Megatron ended up right where he started, but IMO worse. Yes, he got a family on the Lost Light, but the Lost Light was a prison sentence, with the understanding that he’d eventually be executed, or worse. He was still, by definition at the mercy of a prime when working with Rodimus, and even by extension Optimus. He still, at the end of his life had no power, agency or true autonomy. There was no way he, as a surrendered Decepticon, could have such privilege when he was aboard the Lost Light.

So while the Lost Light offers us a light hearted and even gut wrenching conclusion to Megatron’s story, it still rubs me the wrong way. He is still a slave, who the narrative decided to turn into a monster and abuser, and at the end of the day, he gets executed. That is just not comforting to me in the slightest.

I personally thought that ES would remedy that a bit, and it seemed to do so. The trope of slave turned into genocidal warlord, still existed but not only did we get to see him changing and redeeming himself, but we also got to see him making up to people he’d hurt. And his narrative, at least, from what we know, didn’t end in death.

But there are still aspects of ES that I don’t like, and with the recent Starscream episode, it’s confirmed that Megatron was still an abusive person (and lemme make it clear that i am HAPPY that starscream's abuse was finally taken seriously and not made a joke, but I still have critiques about how Megatrons' writing was handled, and those two opinions can co-exist T-T).

And this is where fandom in itself has kinda caused me to nope out because we have fans, wrt to both Megatron and Starscream not understanding the concept of a flawed victim and not really letting victims of abuse take accountability for what they’ve done wrong.

I’m seeing a lot of people saying they don’t like Megatron because of what he did…and saying that he is an abuser and that he deserves to be killed or that, he shouldn’t be redeemed in the show. Likewise, I see tons of people saying that it’s unfair to blame Starscream for how he hurt people, because it was a side affect of Megatron’s abuse, and therefore, he is blameless.

Remember earlier in this ask, I mentioned how Megatron’s own slavery and abuse wasn’t highlighted enough because the writers didn’t care? Well that’s what that is. And this is what I mean by fandoms cannot handle a flawed victim of abuse. Megatron is ALSO a victim of abuse, and his abuse is a reason he treated Starscream the way he did. This isn’t to take away from how Megatron treated Starscream at all, because I’ve talked enough on this blog about how he needs to be held accountable, to the point of being blocked and harassed. Megatron treated Starscream like absolute garbage and essentially made him a punching back in IDW and it SEEMS ES. That is something that shouldn't be igored and Megatron needs to be held accountable.

But my point is that if you are saying that Starscream shouldn’t be held accountable for his treatment of others (which is abusive!!) because of how Megatron treated him, then you’re also agreeing that Megatron cannot be held accountable for how he treated Starscream! Because Megatron's abusers caused him to abuse Starscream.

And that is bullshit.  And that is what I mean that fan spaces a.) don’t know that victism can be flawed and b.) the writers again, don’t have the emotional capacity or empathy to portray a victim of slavery as a survivor/traumatized person in an impactful and meaningful way.

Point a.) affects Starscream and Megatron. Because Megatron is seen as doing bad things, because the narrative again, doesn’t know how to write slave narratives. And because Megatron is bad and does bad things, this idea that he also a victim of abuse and that impacts how he treats other is not focused on at all. Likewise, Starscream is also abusive himself despite being a victim, because of shit that happened to him both because of Megatron and other things. But because fandoms don’t think abuse victims can be flawed and cause harm, a lot of fans do not actually allow Starscream to be flawed. A lot of fans attempt to act like he shouldn't be held accountable for the abuse he perpetrated and that's not true. Because that also doesn't allow him to grow and heal. Healing isn't always pretty and sometimes, it takes accountability but it's still healing.

Point b.) is the most important point because this ties back to the current conflict with both Earthspark and IDW Megatron. And that is the writers not having nuance or understanding to write a slave narrative where a revolutionary becomes corrupted. Because…at the end of the day, those narratives don’t need to exist. As an abuse victim, as a starscream fan, as a megatron fan, and as a Black person living in the South, I just do not think Megatron’s narrative in IDW AND Earthspark is given any sort of justice of nuance. And by the way a vast chunk of the ES Fandom acted, understandably, it just makes me angrier at the writers. And I would think, that for a show like Earthspark, that prioritizes Black people, and Black narratives, then a story such as slavery would be given proper care and nuance.

But that’s also an issue…the Black characters in ES aren’t written well, at all. They aren’t even characters, they are concepts and used as plot devices and are at large forgotten by the fandom. Which is disrespectful but we have writers that don’t actually understand the characters and narratives they are writing, again.

And we see it with Megatron for sure. I thought that ES would do better by him, but it didn’t, and the fandom discourse and lack of nuance and understanding SHOWS me that. Am I happy he’s getting redeemed – yes I am. Show wise. But what im not happy about is that, they have once again, chosen to go a slavery route (at least that is HEAVILY implied), but haven’t done enough to show or offer any type of empathy or actual, deep discussion about how that form of abuse deserves actual nuance. Even if we do see a redemption, it’s still not enough, especially if the writers—who write him wishy washy anyway—aren’t going to go all out and explain exactly why he became a Decepticon and the horrors of slavery.

This also isn’t to excuse him! Because I know that’s where this was going. Because as much as I love him, I can’t act like what he did is excusable despite his oppression. He was a genocidal tyrant, he became what he hated, he –as a victim of abuse, decided to take that abuse and trauma out on someone else. This isn’t excusing his actions.

It is more so, me wishing that ES handled things better, by earlier writing rather than dropping bits and pieces of a harmful IDW narrative, and not expanding in it in such a way that offered the fandom discussion points or allowed us to have nuance. It seems that, if you don’t have a personal relationship with slavery and the abusive dynamic, then you just don’t understand how bad it is.

And that was finally, my issue with IDW. For all Megatron changed at the end, and got better, he was still ultimately shamed, by the writing, for not wanting to be a victim of abuse anymore. The Lost Light was a bandaid on a very large, and unhealing wound.

The writers took a victim of violent abuse and instead of giving him agency and a good resolution, they made him worse than his oppressors. They made the people that oppress him, at the end of the day, treat him like a dog.

And I AM talking about Optimus here, since you brought him up. And that should also be a dynamic spoken about more. Optimus coming from a place of privilege, and being the ‘good’ one, the one who puts Megatron in his place, the one appointed by the gods to quite literally force the slave, who has turned corrupted, back into a bondage is just…I love Optimus, but that was not good writing. That wasn’t good writing at all. And it again, showed the lack of concern, empathy or understanding for handling a narrative like slavery.

If at the end of the day, your mission was to make a cop, turned prime (another oppressive group), throw and control the life of a slave who had, in the process of his revolution, lost his way…then idk you didn’t need to be writing his narrative in the first place. Because you don’t understand how harmful it is and how it’s not needed.

I don’t think the slave, turned into tyrant/abuser is needed. Especially since Megatron is an abuse victim, and by making him an evil warlord, the writers ended up shaming/punishing him for his abuse. But if it IS to be done, it needs to be done right. And for the longest time, I thought ES was doing it right but chile…

These recent fandom discussions have told me otherwise.

Do nawt get me started on TFP Megatron because that is another 5 pages of negativity.

Anyway, thank you so much for understanding.

At the end of the DAY, I DO love IDW megs the most, and I also love ES megatron. Because I wanted to see him turn good and find redemption if that was the route they chose to go. But idw fumbled, badly..like really badly. And ES, kinda did so with the writing as well. I know it’s an unpopular opinion to critique ES writing so I’ll keep it to a minimum. But similar to how the black and Asian characters in ES are more concepts, not characters, the writing for Megatron (and some other legacy characters) is off…it just doesn’t make enough sense to me.

But thank you so much and I am sorry it took so long to ask. If you have any more questions then please, throw them my way <3.

alll i can say at this point is thanks for reading, and if u liked this consider following my twitter &lt;3

[stairre]

Hiya! I absolutely adore your writing; I’m horrible with words but it feels so.. alive? Like it feels like I could ask you questions for days about the characters and the world and you’d have an answer for all of it. I mean, it’s probably not true, but I’ve never really felt that way about any kind of story before so naturally I’ve just been reading and rereading your stuff ever since I found ya. Im very normal about it. Very very Normal.

(Your hot rod in particular, oomf. That’s HIM that’s my BOY!!! You Get Him and I am so glad you do because it’s So Hard to find really good roddy content.)

And don’t feel inclined to answer this last part if you don’t want to, but!! Are there any brainworms/headcanons/etc you’d like to ramble about? I’d love to hear about it!

Aw, thanks so much for your kind words, and for coming and letting me know; you've put a right smile on my face :)

Hm... as for headcanons and brainworms... well, first off, I don't tend to have solid headcanons for many characters, simply because I like to take their core personality and reinvent them depending on the situation I've landed them in in any particular fic. I feel that this frees me up from getting too stuck in trying to make a square peg fit a round hole if I don't have the ability to let something that was true about a character in one fic change for another, however there are some personality and interest traits I keep similar.

My version of Hot Rod | Rodimus Prime tends to be quite charismatic. And very uneasy about his own charisma, because when people follow you and you make mistakes, they then tend to blame you even if they chose to follow. This is especially prevalent in IDW versions of him that I write, and is another layer in his insecurity over whether or not he can make good leadership decisions.

My version of Hot Rod | Rodimus Prime also tends to have an interest in people and the ways that they live, which is expressed through interests in history, anthropology, religion, etc. By no means is he an academic, or conducting research, but he likes to hear about different ways of life and how and why people are the way they are.

Neurodivergent Cybertronians! One, they absolutely exist, and two, IDW Minimus Ambus (in my works, at least) is autistic. Or, like, the mechanoid equivalent. I myself am autistic so I feel comfortable writing him as such. And now the obligatory "everyone's experiences are different, it's a wide and varied spectrum so it won't necessarily be reflective of your own personal experiences" sentence. (Addendum: yes, Rodimus gives off ADHD vibes as well and I'm hardly the first to headcanon that.)

Now this one's a bit more controversial, but in the post-IDW "The Lost Light disappears into an alternate universe" ending, Rodimus and Megatron absolutely form a strong bond with each other. There's a lot of canon moments and comments from them about the influence (and the ups and downs, yes) that they've had on each other - Megatron keeping the Rodimus Star close while stuck in the Functionist Universe, and Rodimus saying that they work best together, just to give a couple of examples - to justify the groundwork for a deep connection. Given time and effort on both sides, I believe that they would end up rather close.

Again, more controversy, but I also believe that a lot of the initial Dratchet (Drift/Ratchet) foundations were built upon what they wanted each other to be (to themselves, in their life, etc.), rather than who they really were. Now, this is absolutely not a hate on Dratchet, because the pairing has a lot going for it, and if written well then I like to read it, but I also believe that a lot of honest communication had to go in off-screen for it to work out (which it canonically did!), and that we just didn't get to see that part.

As for brainworms - well, I don't tend to share story ideas on my tumblr, simply because there are just so many that never fully manifest and I don't want anyone to get disappointed by them not becoming fully realised fics.

However, I will share a bit of an old WIP (like, I last worked on it in July 2020) with you. Please note: the likelihood of this story ever being completed and published is very, very low. Please do not think for certain that it's coming, because it's most likely not.

The premise for this WIP was that IDW Rodimus and Drift, before the Overlord incident, decide to become amica endurae. But the Matrix (half of it, at least) interferes with the vows and sends Rodimus and Drift off on a journey through the other's mind in order to fully understand each other. Like, it was meant to be a mindscape fic, full of symbolism and interacting with memories and all that good stuff.

And here's a small snippet:

Deadlock turns away from him, gazing out into the distance across the battlefield of grey corpses, the aftermath of his standard spare no one order. “We wanted better,” he whispers out, voice hoarse and carefully controlled. “We cared so much about people, about how they were in pain, about how we wanted to free them and raise them high.” Deadlock laughs, bitter, glancing back towards Rodimus with wet cheeks and bright red optics. His frame shivers, begins to fade away, like so much artillery smoke dissipating when the cannons stop firing, and he admits, mournfully, like a confession, face twisted in pain, “But compassion did not survive the revolution.” Rodimus’ hand darts forward to grasp Deadlock, to try to comfort him maybe, but his fingers cannot touch him before he wisps away into dust, scattering to join the noxious fumes still lingering above the wasteland.

Hope you enjoyed this little insight! Have a lovely day :)

[wildishmazz]

Thoughts on fixing S2 of Picard from someone who was very frustrated by it

Cut the Soongs. Just altogether - cut them, the only thing they added to the show was screentime for Brent Spiner and Isa Briones. That, or, increase the runtime and have them be sidekicks for

the First Husband of the Confederation, accidentally brought back in time rather than being killed on La Sirena. Picard et al are trying to make their future happen; he's trying to make his future happen.

A big problem with the plot was that there wasn't really anyone who had a good reason to want the Confederation to happen. Q wanted Picard to restore the timeline to prime. The Borg Queen was acting to make the fascist timeline happen, but she didn’t seem to have much in the way of a motive for doing so. Adam Soong was on board with the plan when he was told there was a statue in it for him, but he wasn't facing anything like an existential threat. Jon Jon Briones' character has a solid reason to try to make the Confederation happen; it's dirty, and brutal, and nasty, but it's his home.

If you were to include the Soongs at this point(with the explanation that Kore was the ancestress whose face Data recreated in his paintings and thence daughters) you could include a moment where Jon Jon's character and Kore have to improvise to explain themselves, and he passes her off as his daughter. Also Noonien Soong is clearly meant to be a direct descendant of hers, so removing her from the timeline at the end would require the addition of a line or two like “Of course, if you want to come back and live a normal life for a while, you can totally do that.” to explain why there isn’t a gap.

Cut Tallinn. The callback to Gary Seven was nice and all, but The Watcher had no need to resemble Laris. There was no connection there, especially since she was killed at the end with no indication that she had already passed her genes on. If you want Orla Brady, find a way to bring Laris back in time as well - hell, make it the Confederation version of Laris, then there's a dilemma where restoring the prime timeline will erase her from existence(a la Chakotay's girlfriend in "Timeless"), something that can be used to try to tempt her across at some point(unsuccessfully, or at most temporarily) to the other side.

Instate Ducane. Wells(H.G, anyone?) is a fine alias for Time Agent Ducane to be using on 21st century earth. Obviously cut the "Carbon Creek" reference backstory, it felt shoehorned in anyway. Have him berate Picard for meddling with the timeline, then join forces with the crew when he's convinced that they're actually trying to fix it. Seven opines that he’s trustworthy. After all, she’s worked with him before, in “Relativity”. Have him stranded - his timeship only exists in one future, so it's nerfed whenever the other one is set to happen and he isn’t overpowered. It appearing and disappearing serves as an indicator that they’ve switched which future is being set up at any given point. He does pretty much everything useful that Tallinn did. And - being an agent of a vague yet menacing government agency - he has a hand in the ICE raid.

For bonus points, reveal at the 11th hour that he's actually from the timeline where the Confederation is his history(he calls Seven “Madam President” in some otherwise unremarkable dialogue), so they've been unwittingly working against themselves the whole time. Picard gives him a big convincing speech about not clinging to the awful future just because he thinks it's inevitable, in favour of striving for a better future instead. They scramble to undo everything they've set up leading up to this point and switch the future back again, so that his ship disappears. Ducane's story ends with a bittersweet moment(for him) where he accepts that he can't go home, but it's in service of a brighter future. His secret service connections would also help with

Rios staying in the 21st century, acknowledging that it's dangerous for him to do so as a totally undocumented person who has already been worked over by ICE. Have him actually mention that when he announces his non-departure, and accept the risk as a sacrifice he's willing to make to stay with Teresa. Ducane has a little influence to get them to leave him alone.

Pair Elnor up with Rios. Have him detained by ICE too, and have the existence of a literal illegal alien be the first thing that gets Ducane's attention. Have the ICE agents so focused on bullying and hurting their victims(and so unimaginative) that they accept "it's a congenital condition" as an explanation for his ears and put him on the bus with the others. If he bleeds, it's only when they're right about to be rescued and it's too late for anyone to call Area 51. We had two Romulans available for the traditional wearing-a-funny-hat-or-headband-to-disguise-the-pointy-ears in this series, and neither was used. That’s a travesty.

Alternatively, still kill him, but have the Borg Queen tell them that she can revive him for up to 72 hours if they give her something in return; a bargain they really, really don't want to have to make with her, so that's a ticking clock for them to get the future back into shape.

Hire a child actor for Picard who doesn’t have to deliver his most important lines facing away from the camera in order to mitigate how his wooden performance breaks the immersion.

Have Guinan be the one who dives into Picard’s memories with him. Give her a gadget if necessary, maybe one she snatches out of Ducane's hand. He is from the 29th century, after all, his [technobabble] can be further fetched than anyone else's. Demonstrate/create her “beyond friendship and beyond family” bond with Picard. If they can get to Teresa’s clinic, they can get to Guinan’s bar, and he’d feel a lot safer there anyway.

The Yvette story. Oh, dear god, the Yvette story. It was atrociously bungled, but here's what might have helped a little - either

a) Picard does not remember an abusive situation at all(so a serious, real world life-ruining issue isn't degraded to the status of red herring because it looked, walked, and quacked like abuse but actually she was just crazy), only confusion about what happened because no-one told him what was going on with his mother(out of a misguided desire to protect a child) and he filled in the blanks with "it must have been my fault"; or

b) he does remember abuse, and comes to learn what awful trauma happened to his father to make him that way; resulting in Picard not absolving him, but still understanding and empathising with him, and coming to peace within himself. Yvette can still be mentally ill, after all, she’s statistically more vulnerable to abuse than if she wasn’t. Her state would be exacerbated by gaslighting and isolation. The way Maurice dealt with her already constitutes abuse; but in the show we saw, he was completely let off the hook for it as soon as focus shifted to her depression. Which is bloody irresponsible.

And if a), explain why Maurice isolated Yvette away from support and healthcare, and wouldn’t get help when she was clearly in crisis. Maybe he was a sincere believer in the power of essential oils and the evil of vaccines. Maybe he was a tradlifer who thought that all she needed to cure her depresssion was fresh air and simple living. Go on, chuck a topical issue in there, show how people who mean no harm can still wreak death and destruction on the people around them by their ill-informed antics.

And if you’re not going to follow up on cryptic, prophetic-sounding utterances like “trapped in a forest, a splinter in her flesh”, don’t include them in the final cut.

[mariacallous]

I didn’t watch The Repair Shop: a Royal Visit in October, but from several accounts it was an enjoyable and wholesome slice of palace PR – a chance to see the Prince of Wales (as he was at the time it was recorded) as the relatable, accessible and sympathetic figure he surely is. No former prime ministers or archbishops jumped into print to tell us not to watch it. Which is a pity, really, because if they had, the programme might have achieved even higher ratings. 

By contrast, a cauldron of disdain has been upended over the latest season of The Crown by these and other august personages. As a result, it’s a fair bet they have successfully pushed the award-winning Netflix series’ viewing figures even higher. 

This goes to the heart of a dilemma faced by royal press secretaries. In a perfect world, all TV shows about royal folk would show them as admirable, lovable, hard-working servants of the common good. But sadly, the world is not that tidy and nor are the lives of people born to royal status. This creates an opportunity for dramatists to fill the gap between the sanitised talking points dispensed by courtiers for public consumption, and what we might suspect is the more pungent reality.

If the creative classes decide to fill that gap, how they do it is up to them. That’s called freedom of speech and it’s a right worth defending, even against those who live and work in palaces. In fact, especially against those who live and work in palaces, given their controlling instincts. What’s more, no playwright ever did as much harm to them as they have done – and continue to do – to each other. Ultimately, if the luvvies get it wrong then the market (and the courts) will punish them accordingly. 

But if they get it right, they will have added something valuable to our understanding of how the most famous and revered national institution actually works. They will help us judge for ourselves how close their interpretation of the truth comes to the version the palace would prefer us to believe. With that understanding may even come a more informed and nuanced appreciation of how much royal people pay for what many of us see as a life of privilege. That is the challenge the writers and actors of The Crown have set themselves.  

Having already seen most of Season 5 (and having had no involvement in Season 6), I think they’ve made a remarkably good effort. Since I was witness to quite a few of the original events portrayed here, I accepted the producers’ invitation in early 2019 to contribute my first-hand perspective on what really happened. After all, it was my life too and I wanted to make sure they got the bits I knew about as authentic as possible.  

Finally, a couple of weeks ago, I sat in a screening room to see the final version. I was on maximum alert, watching for malicious twisting of words and dishonest presentation of historical facts. I was looking out for lies and cruel falsehoods that would have allowed my inner critic to throw metaphorical tomato soup all over the picture the artists were painting.  

I didn’t find any. True, dramatic artifice was sometimes used to make a point more concisely than might have been the case in real life, and some chronology has been adjusted to cram years of events into the time constraints of a TV series. That’s a challenge faced by all creators of historical drama. Surely the acid test is whether any contrivance serves the overall cause of authenticity in the picture being presented.  

For example, in Episode 1 Charles borrows a Greek billionaire’s yacht for a family cruise in the Mediterranean. The Crown portrays this, touchingly though improbably, as a “second honeymoon” and gets considerable dramatic value out of the contrast between the romantic ideal and the fractious reality. A cheap and cynical invention?   

Not at all: a second honeymoon was exactly how the media reported it in 1991, encouraged (I was told that summer) by sources in the prince’s office who calculated that such an apparent show of romance and generosity would counteract rumours of his adultery (also – coincidentally – angrily dismissed as “lies” at the time). The public, understandably, was happy to buy into the falsely optimistic illusion.  

During the same holiday, Charles is seen scathingly dismissing Diana’s suggestion that some shopping might be squeezed into the programme alongside visits to archaeological sites and cultural attractions. In reality, this conversation didn’t happen on the yacht, but it did certainly happen – in much more damaging circumstances – during an official visit to the Middle East in 1989.  

Does that make it a damnable Crown lie – or a truth justifiably transposed to meet the demands of coherent and essentially accurate storytelling? If so, it has the incidental effect of mitigating the prince’s ill-judged jibe by shifting it from a very public setting, in front of royal hosts, to the relative privacy of a family holiday.  

A further example sees one of Charles’s advisors eagerly showing his boss an opinion poll apparently indicating public support for the Queen’s abdication so that the crown can pass directly to the Prince as Regent. We later see Charles discussing the poll and possible regency with the prime minister. Again, this is not strictly accurate: the discussion was actually held with a previous prime minister. A legitimate sleight of hand – or a wicked untruth?   

What’s not in question is that the poll – one of several during this period – was published in The Sunday Times (in January 1990) and, in subsequent discussion with a journalist from the newspaper, I was told this was recognised inside the paper as one of several kites flown by elements in the prince’s office to test the public mood and encourage perception of the then beleaguered heir as a credible monarch-in-waiting. Buckingham Palace moved swiftly to close down the subsequent discussion, but the damage was done.  

As an example of legitimate dramatic invention – as opposed to transposition – it’s hard to beat the scenes depicting Diana allegedly summoning up her courage and dropping on the Queen the bombshell news that she had secretly recorded an interview with Martin Bashir for Panorama. This part of the story was made up, and therefore might reasonably earn the ire of The Crown’s scholarly-exact detractors.   

I know it was made up because I was there, and I can tell you that the princess absolutely failed to summon up the necessary courage and delegated the job to me. So, sitting beside her in her Jaguar en route to an official engagement, I used the car telephone to call the Queen’s private secretary and break the sensational news. In a comedy of confusion – the genuine mark of reality – the only person in the Queen’s office at the time was Her Majesty’s press secretary who thus got the vital information seconds before he received it first hand from the BBC.   

I suppose I could be upset that The Crown failed to spotlight my moment of glory. But it had better things in mind – a high-tension confrontation between the Queen and Diana, which spellbindingly adds authenticity and narrative value to their on-screen relationship. It didn’t happen, at least not as portrayed here. But, on balance, I think head writer Peter Morgan made the right call, as I expect you will too.  

What’s also beyond doubt is that, in working with The Crown’s researchers and writers, I certainly learned the validity of Mark Twain’s observation that truth is stranger than fiction because fiction is obliged to stick to probability. 

As has been repeated often, The Crown isn’t a documentary. If you want attempts at historical accuracy there are shelves of books and hours of film to satisfy your curiosity. Truth-seekers should bear in mind, however, that much of that material was authorised by members of the Royal family to serve their own agendas, sometimes even to settle family scores. In the royal world, truth is more than usually a matter of opinion.  

What I saw in the preview theatre created in my mind a story that chimed truthfully with the reality through which I had lived. And not just in my mind: there were scenes so real that I forgot to breathe, my heart thumped alarmingly and my palms grew clammy with cold sweat. I didn’t have time to nitpick the minutiae – I was too busy reliving the immersive, overall experience.    

That won’t suit everybody. Season 5 sometimes makes for uneasy viewing. And so it should, if it’s authentically to re-create a traumatic period in recent royal history. It brings those troubled days to life with such astonishing theatrical power that we’re left to wonder if Peter Morgan is being criticised because The Crown is all lies… or because it contains too many uncomfortable truths?   

Perhaps the critics are unsettled by the (actually rather sensitive) resurrection of a furtive stage in our new king and queen’s relationship when the joint coronation now being planned would have seemed prohibitively unwise.  

I’m tempted to call after them, “Hold on, chaps, it’s not the Gunpowder Plot – it’s just some talented actors performing a well-written and expensively staged historical play.” Viewers aren’t stupid: they know what “fictionalised” means.   

Because of my previous service as Princess Diana’s private secretary, my attention focused on how she and her story were portrayed. And, again, this all rings true. The actress Elizabeth Debicki is utterly convincing as wife, mother and global icon, struggling to cope with loneliness, divorce and betrayal, yet still with an undimmed sense of compassion – and trademark quick wit.   

Just as vividly, Morgan reminds us that Diana was far from perfect – her shortcomings accurately if fictitiously catalogued in a searing scene towards the end of Episode 8. For all her flaws, Crown Diana – very much like the real one – still attracts our sympathy for her gutsiness and grace. And before Dianaphobes cry “bias”, let me add that all the major protagonists keep our sympathy to varying degrees. That’s because the production forces us to open our eyes to the pressures, temptations and futilities of so much royal life, through which the characters persevere with a sense of duty that at least hints at the burdens carried on our behalf by the real Royal family.    

Eventually, you begin to wonder if there’s an agenda behind the orchestra of outrage. Perhaps the critics are put out that an independent (and very carefully researched) new voice is offering alternative opinions on events that palace press secretaries hoped we had forgotten.  

This is a familiar reflex among some single-minded royalists: the issue is not what we are being shown but the gall of those who are revealing it. Princess Diana herself faced a similar reaction when her secret co-operation with Andrew Morton in the writing of the explosive Diana, Her True Story became the sole focus of palace attention rather than the urgent need to do something to acknowledge the unhappiness the book had revealed.   

For some of us, Diana’s unhappiness and its many causes have never settled conveniently into the distant past. “Draw a line and move on” works with many of life’s harder experiences. But royalty is different: its whole purpose is to ingrain in us an appreciation of its relentless continuity. Monarchy can never draw a line without losing its own reason for existing.  

Yes, it’s perhaps unfortunate that Season 5 has coincided with a mood of national prickliness over all things royal, from the death of the Queen to the posturing of the Sussexes, the embarrassment of Prince Andrew or some niggling cash-for-honours questions over The Prince’s Foundation. 

Perhaps that explains the intemperate reaction to Season 5. But the world it immerses us in did actually happen. The Crown’s writers didn’t have to make up the bad stuff and actually left unused quantities of even more controversial material.  

How much easier to forget how we got here. How much more righteous to condemn those who dare try to understand and explain it through the language of drama. How much more comfortable, in truth, to settle down to an endless future of royal visits to The Repair Shop.   

After all, that’s real reality TV... isn’t it?   

[dandelion-turtle]

Hyakinthos

Hyakinthos was a Spartan prince, most prominently known in Amyclae with a decent cult following. there are a couple of different people listed as being his parents, but the most popular is King Amyclus and Diomedes. if Amyclus was his father, that would also make Daphne, another of Apollo’s lovers, Hyakinthos’s sister. it seems like he would be quite simple, he has a relatively small story with one of the earliest written records from Hesiod. in this version there is no love rival, just an accident. written in the 7th century BC, it was merely one, albeit long, sentence.

”. . ((lacuna)) rich-tressed Diomede; and she bare Hyakinthos (Hyacinthus), the blameless one and strong . . ((lacuna)) whom, on a time Phoibos (Phoebus) [Apollon] himself slew unwittingly with a ruthless disk.”

however, the most famous version, and one that most will know, comes from Ovid’s Metamorphosis. written somewhere between the 1st century BC and 1st century AD, this sentence long story grew to be paragraphs long. in which Ovid describes the love Apollo and Hyakinthos have for each other — which was the ultimate demise for the young prince. with parts of it coming from the perspective of a mourning Apollo, Ovid writes how Hyakinthos was turned into a flower with “ai, ai” written on the petals to express Apollo’s sadness. and the version that we all have come to know including betrayal and jealous rage from Zephyros (the West Wind), is hinted at in Pausanias’ “Description of Greece”.

”[In the temple of Apollon at Amyklai (Amyclae) Nikias (Nicias) [painter fl. c. 320 B.C.], son of Nikomedes, has painted him [Hyakinthos (Hyacinthus)] in the very prime of youthful beauty, hinting at the love of Apollon for Hyakinthos of which legend tells . . . As for Zephyros (the West Wind), how Apollon unintentionally killed Hyakinthos, and the story of the flower, we must be content with the legends, although perhaps they are not true history.”

despite this seemingly clear-cut story, there’s a lot more than meets the eye with Hyakinthos. according to many historians the -nth part of his name is pre-Hellenic and comes from the Mycenaean era. another word like that would be Corinth — a pre-Greek polis that was destroyed and rebuilt. this leads many to believe that Hyakinthos was around BEFORE Apollo. he would have been a chthonic vegetation god — almost like the male equivalent to Persephone. this leads to a few different theories, but before I get to that, let me tell you the story of Hyakinthos as told by Ovid and Lucian’s “Dialogues of the Gods”. ═══════════════════════════

⊰ The Myth ⊱

Hyakinthos was a beautiful Spartan prince. he had many lovers, but the one that had eventually won his heart was Apollo. the god taught beautiful long-haired Hyakinthos how to play the lyre, how to use a bow and arrows, a little bit on prophecies, and gave him a swan chariot. the two were incredibly in love, but sadly, there was someone who didn’t like that. Zephyros, the west wind, was jealous for he too loved Hyakinthos. he had tried to woo him but it really was no match for Apollo. he watched the two men play again and again until he had eventually had enough of it. he ultimately created one of the most tragic love stories. like most days, Apollo and Hyakinthos were together, playing around and having mild competitions throwing a discus. Apollo wanted to show off for Hyakinthos so he could see just what a god could do. he threw a discus high into the air, clearing the clouds away and it disappeared into the sky. Hyakinthos wanted to impress his lover as well, so he chased after the discus laughing. Zephyros in a fit of rage at the two men enjoying themselves changed the course of the discus. as it came to land, the force was so strong that it bounced off the ground and smashed into Hyakinthos’s face. Apollo ran to his lover and tried every kind of medicine and healing he could think of. he even placed ambrosia on his lover’s lips but blood flowed freely from the wound. there was no way for him to stop a wound of Fate. in his despair, he turned Hyakinthos into a flower, but seeing that wasn’t good enough, he wrote his grief upon the petals. ═══════════════════════════

⊰ Symbolism From The Myth ⊱

Taking A Temple as mentioned before, it’s very likely that Hyakinthos was an older deity from the pre-hellenic period. something that many Greek writers did, was create a myth of how a deity began their worship in a specific place. we know the temple that Apollo was worshipped at in Amyclae was older than when his worship would have started. one theory behind this myth then, is how Apollo came to be worshipped over Hyakinthos at the temple and area; by killing the previous deity. it sounds sad, but it’s actually happened several times, and even with Apollo specifically. the most famous example I can think of would be at Delphi. originally the temple was in honor of the titan Gaia. Apollo came in valiantly and killed the Python (which is what gives Apollo’s priestesses their name) and inevitably took the temple over with his worship. what this doesn’t account for, is the fact Hyakinthos is still worshipped at the temple heavily, his and Apollo’s worship having mingled and being near inseparable. it is even said that upon his death and burial, Apollo said to give him (Hyakinthos) all offerings first. now, if you know a thing or two about Greek worship, the first portion of the offering was incredibly important, especially considering hero worship was probably closer to chthonic sacrifices in practice; though they were not considered to be ‘dead’. within my research so far, I have yet to find this happening somewhere else, but I will update this if I ever do. now all of this is unusual with the theory that this myth symbolizes one deity taking over. if that were the case, why continue to worship Hyakinthos? Duality some of you may not know this about me, but I am a sucker when it comes to duality, specifically with lovers. this myth may be a symbol for the growing season and harvest of the crops. while it may be a common motif, especially among the Greeks, I think it’s a sweet and somber story giving personification to an important aspect of Greek life. I also believe the duality is less about the exacts of what they rule over, but the way they were worshipped. the closest example I can think of also comes from Delphi with the duality between Apollo and Dionysos (who, shockingly enough, was the only other god historians believe was present during the Hyakinthia festival besides Apollo and Hyakinthos). as a hero, or simply for his chthonic aspect, the ritual and practice would have been far different than that for Apollo. while this isn’t exactly backed by anything I can find specific to duality, I personally feel a reason both Apollo and Hyakinthos were worshipped together in Amyclae is due to that duality between them. Hyakinthos would have been a chthonic deity probably for vegetation or agriculture, whereas Apollo here is a god of light (not the sun) representing life, health, and the ultimate grief. their worship in Amyclae was always together once Apollo was introduced (to some this hinted that they were possibly the same person representing a cycle, but most disagree with this theory). the duality is clearly a theme already for Apollo, and I think what happened at Delphi with Dionysos is the same for Amyclae and Hyakinthos. together they represent loss and mourning but also happiness and life — love. ═══════════════════════════

⊰ Hyakinthos Associations ⊱

okay, now that I have bored you all to death, let’s talk about some less heavy things. due to their worship being completely together, I would say that nearly anything related to Apollo can also be associated with Hyakinthos and vice versa. however, we love individuality in this house, so let’s talk about the things either associated with him through the various, limited texts we have and some UPG. Associations ➳ larkspurs/hyacinths ➳ swans ➳ bow and arrow ➳ summer! ➳ new spring growth ➳ chiton’s (they were offered to him by the women of Sparta) ➳ death ➳ rebirth/cycles ➳ chariot’s ➳ blood ➳ blue/purple/red colors ➳ discus (sorry) ➳ lavender ➳ lyre ➳ lapis lazuli ➳ amethyst ➳ black tourmaline ═══════════��═══════════════ Devotional Activities ➳ keeping a garden ➳ maybe even an indoor garden ➳ go to parks and feed the swans/birds ➳ archery ➳ sports ➳ making a chiton ➳ writing poems ➳ taking care of those around you ➳ growing larkspurs/hyacinths ➳ get a devotional journal ➳ create a playlist (sad songs for the most part) ➳ fall in love deeply ═══════════════════════════

⊰ Deity Or Divine Hero? ⊱

I don’t know if this question can be answered for a fact honestly. what we do know is that he was at least worshipped as a hero, that much can be said. anything further than that comes at a later time and from the outside perspective. a lot of ancient Greek writers didn’t write down certain things because they saw them as common knowledge. this doesn’t help us looking back now. what we can say, is that some of the offerings given to him were not common with hero worship and would have been reserved for the gods. this is according to Angeliki Petropoulou, a professor in ancient greek studies/religion, and the author of “Hyakinthos and Apollo of Amyklai: Identities and Cults. A Reconsideration of the Written Evidence” pages 153-161. Within this, she makes the argument that Hyakinthos has gone through ‘apotheosis’. this is the action of a mortal, usually a hero, becoming a god. note: ‘βουθυσία’ is a traditional oxen sacrifice.

“The βουθυσία for Hyakinthos, which is indicative of his new immortal status, should be placed on the third day too. Oxen are costly victims, the bull being the most “noble” sacrificial animal. After mourning for Hyakinthos’s death and making a propitiatory sacrifice at his tomb, they honoured him with a bull sacrificed as if to a god. Yet the geographical range in which he was regarded as god was rather circumscribed and did not spread beyond the borders of Lakedaimonia. The βουθυσία for Hyakinthos would have been instituted after the construction of the altar on which Apollo received sacrifices; for the only altar excavated, in an area filled with remnants of burnt sacrifices, is attributed to Apollo.”

so there you have it. most places will probably call him a hero, and that wouldn’t be wrong. others may call him a deity, which also isn’t wrong. I’ll tell you what I’m personally going to go with, and everyone can make their own decision based on the information listed through this post and the readings I’ll link at the bottom. no matter your conclusion, the relationship you have will be completely yours, and it’s ok! if anything, I encourage that over taking my word for it. ══════════════════════════ for me, I think I consider him a deity. I know that I heavily romanticize the story, and with Apollo being so near to my heart, him having a terrible love life hurts my soul. while I don’t exactly want to rewrite any myths, I won’t claim that they are married, I will say that I believe them to be happy. their worship in Amyclae was so intertwined and based completely around each other from the history we know, that, for me, it makes sense to also honor them together. I’ll leave you all on one more incredibly sad quote from Lucien’s “Dialogue of the Gods” (that I referenced from earlier).

”Apollon : Well, my loves never prosper; Daphne and Hyakinthos (Hyacinthus) were my great passions; she so detested me that being turned to a tree was more attractive than I; and him I killed with a quoit. Nothing is left me of them but wreaths of their leaves and flowers.”

it’s ok to cry, I do nearly every time I read that.

⊰ For Further Reading ⊱

➳Hyakinthos theoi ➳Apollo theoi ➳Hyakinthos Wiki ➳My Hellenic Research Google Drive this also contains the Sparta book I reference and a few others worth a read.

[miraculouswolf99]

The Language of Flowers

I love Chloe Salt and while this is not the most action-packed of one-shots, I hope you all appreciate the effort that I did to research each and every meaning of the flowers.

*****

Lyon and Vallia Garden.

The first, a teen that would be described as having a heart of ice and a gaze that could freeze you solid. His twin sister, on the other hand, was pretty much said to be a flower garden made human with tree sap instead of blood.

Yet the two stuck to each other as if they were one of those pairs of conjoined twins. The two were opposites in personality, style, and even how they talk. But even then, they were as close as a brother and sister could be.

Nobody in Ms.Bustier's really had any idea about the two foreign students in their class. Of course, they knew that it was part of a program for students of different countries to experience other cultures. But it was almost like having two ghosts in class. They would come and go each day, silent as ever, and it was like they were never there at all.

There wasn't really much of a problem with them, especially since the first day they were there was pretty much the only time they had ever spoken. But they spoke only to give the class brat, Chloe, a good tongue lashing that they all thought she deserved when she tried to make the two as submissive to her as Sabrina. But since then, the two were so silent that most people that were not in the classroom thought that they were mute.

"They two of them are such a mystery," Nino says, a lot of the class hanging out in the classroom during a break since an akuma attack was recently stopped.

The twins were not in the room for reasons no one else knew.

"A mystery wrapped in an enigma and stuffed into a riddle," Alya added, the reporter in her really frustrated.

"They are not as bad as you guys think," Adrien tells them, a bit tired after his fight as Cat Noir.

"How can you be so sure," Alix crosses her arms. "They don't talk to anyone but each other and never in a language we understand."

"I've seen Lyon at his archery practice sometimes when Kagami and I are at fencing," Adrien says. "He probably just has high expectations expected of him like Kagami and me."

"It is probably the same for Vallia, as well, then," Marinette agreed.

"They could, at least, make an effort with us," Kim said.

"My calculations say that there is a less than five percent chance that the two will speak with any of us," Max says.

"They need to learn their places," Chloe sneered. "Bowing at my feet."

"Why are you even here, Chloe," Alya put her hands on her hips. "Everything that ever comes out of your mouth is about as trashy as that dumpster akuma last week."

It had been a garbage man that was having a bad day. Apparently, his daughter was sick, his partner in the truck would not stop singing opera, and then one grosser bags he was trying to put in the truck ripped open. All that combined made him a prime target for Hawkmoth. Luckily, Ladybug, Cat Noir, White Wolf, and Beautifly managed to stop him from turning Paris into one giant landfill. Which, ironically, was his villain name. Landfill.

"My father will hear about..." Chloe tried.

"Shut up, Chloe," Marinette yelled. "Maybe the reason they don't talk to us is that they think we are all just as under your pathetic thumb as Sabrina."

"I'd rather be turned back into Timebreaker than be her minion," Alix stated.

"Adrikins, you going to let them talk to me like that," Chloe tried to whine.

For once, Adrien didn't even try to defend her. He turned away from her, shaking his head. To say that the young model was sick of her never-changing attitude would be the understatement of the century. He did a lot of thinking after the Despair Bear incident. Chloe would never change how she was. She has gotten away with it for too long to ever even want to change. She especially didn't change after being turned into Queen Wasp not too long ago.

"They've only been here for a little over two weeks," Marinette reminded them. "Maybe they just need more time to adjust."

"Having friends would help them adjust, girl," Alya put her hand on her best friend's shoulder.

"There is an 86.5 percent chance of them adjusting better with friends by their side," Max said, Markov floating by his head.

The class would have talked more, but they heard the sounds of two people chattering away in a foreign language coming toward the classroom. And since Lila was still MIA since her first day in class, that meant that it had to be the twins. Everyone quickly scrambled to get into their seats and not look like they had a class meeting without the entire class.

When Lyon and Vallia walked in, the silence that had fallen over the classroom seemed to be a lot worse than being caught in a class meeting. But the Greek twins simply walked to their seats in the back and sat down for class to start up again.

"Vríkate ta sostá louloúdia," Lyon whispered to his sister. Translated: Did you find the right flowers.

"Me píre lígo, allá to ékana," Vallia whispered back. Translated: Took me a while, but I did.

The two silently had smirks on their faces.

*****

The next day, the class was unbelievably shocked by what they saw when they walked into the classroom. There were bunches of flowers on all of their desks. A different flower was on each of them. No two desks had the same flower. Except that Ms.Bustier's desk seemed to have a flower bunch with one of each blossom in it.

"Geia," the Greek twins greeted them, standing at the front of the classroom.

Most of the class was too shocked by the flowers to notice that the two of them had actually talked to them.

"Was there some type of flower akuma and we didn't know about it," Alya looked disappointed that she might have missed an akuma attack for her blog.

"Pardon," Lyon crossed his arms.

The class suddenly realized that the twins were talking to them. The two of them were also each holding a few roses in their hands.

"Are you two actually talking to us," Alix asked.

"Eínai tóso dýskolo na eísai oraía," Lyon says to his sister. Translation: They make it so hard to be nice.

"Páre, aderfí," Vallia responded. Translation: Behave, brother.

"Class, sit down," Ms.Bustier instructed. "Lyon and Vallia have some things that they have collecting in order to share with us."

"Flowers," Max asked, confused.

"We basically grew up surrounded by nature," Vallia says. "Plants can be a language all on their own. You just have to know how to use them."

Lyon took a small sniff of the roses he was holding.

"Take roses, for example," he said. "They perfectly describe us. Roses are said to represent people that are quiet and traditional. Quite fitting for the two of us, isn't it."

The class all sat down in their respected seats. Adrien and Marinette were probably the most interested ones of the class, even if they were all curious. Except for Chloe, of course.

"We spent these last couple of weeks getting to know you guys from a distance," Vallia explained. "It is one of our family traditions to give flowers to someone when they enter the family. By marriage or birth."

"We decided to take that tradition and make a classroom version of it," Lyon says. "Each of you has been given flowers that match your personalities. It took us a while to find the right ones and get them here. Luckily, we have a very wide range of flora at our family sanctuary."

"You spent over two weeks getting us flowers," Alix raised her eyebrow.

"Can there really be a flower for each of us," Mylene wondered out loud.

"You have them all in front of you," Lyon looked a little annoyed.

Vallia did have to admit that she was a tab annoyed as well. While they did not know just how much nature meant to them as a part of their lives, the doubt was still annoying.

"We figured this would show that we are more than two foreigners that like to keep to themselves," Vallia says.

"Keep in mind that I still like to keep to myself most of the time," Lyon said, Vallia knowing how much her brother likes the quiet.

"So, what do these flowers mean," Adrien asks.

To his surprise, neither of the twins pulled out a list or anything that could help them remember all the information. They must really know their stuff.

"We can start with Mylene," Vallia says, the small girl blushing. "We gave her peony flowers. They represent those that are kind and also like small gestures."

Ivan was particularly shocked by that. He had only gotten together with Mylene because she read his song as a poem after his second time being akumatized as Stone Heart. She was not up for the big-time rock and roll version he wrote it as, and just liked it as a simple poem or soft song.

"Ivan's was simpler to find," Lyon said. "The carnation flower has always been used to describe down-to-earth people. Ones that are very grounded."

The other members of Kitty Section looked at Ivan, knowing how that was very true. Ivan had always been the first to calm down any fame that might go to their heads after the Captain Hardrock incident and their performance. Well, after Luka that is. Juleka's brother was basically a saint when it came to being cool, calm, and collected.

"We chose poppies for Alix," Vallia explained the red flowers in front of the skater. "The traits that they represent are those that are creative and bold."

That was definitely Alix to a "T." Her art was a mix of both since she did spraypaint street art. And her natural athletic abilities did make her do some pretty bold things.

"Max and Kim, I thought, were the easiest to match," Lyon said. "Max has the aster flower, which represents those that are smart and devoted. Kim has hydrangeas, for those that are athletic and team players."

The class was starting to see just how much the two had worked on their "project."

"I, personally, liked to say that I enjoyed finding flowers for Rose and Juleka," Vallia smiled. "Mostly because I am holding one of their names."

That got a giggle out of the pink-dressed blond and an eye roll from Lyon.

"Get on with it, Vallia," Lyon says. "We still have actual classes to attend, sister."

The class had to hide groans, especially since Bustier was in the room and they did not want to insult her by accident.

"Fine," Vallia sighed. "I thought that tulips matched Rose because they are for the bright and cheerful. Juleka's are also my personal favorite flower, the lily. They are for ones that are quiet but also inspirational to others."

Juleka tried to hide her face in her hands, knowing that she was blushing. Rose was over the moon, for herself and her best friend. If there was any flower that was spot on for anyone in the class, it would be the one that Rose got.

"Nathaniel and Adrien ended up having the flowers that tie as my favorite," Lyon admitted. "I chose the iris for Nathaniel because it is a flower for daydreamers and the imaginative. Orchids are Adrien's because they represent those that are sophisticated, refined, but have good hearts."

Both mentioned boys blushed. While Adrien did have more friends than Nath, both of them were naturally quiet and not used to such praise. Yes, Adrien is a model, but it be a miracle to hear any sort of praise from his father. And Nath was only just starting to come out of his shell thanks to Marinette.

"Sabrina was a tad bit more difficult to match," Vallia almost did not want to admit. "But when you learn about who she is, she is optimistic and also tends to be a morning person. Those are the traits of the daisy."

Sabrina was shocked, as were most of the class. As usual, Chloe didn't care. She had been sneering at the flowers in front of her since she had sat down. Sabrina was internally jumping up and down in excitement. No one had ever tried to get to know her, especially after she became friends with Chloe.

"Alya is a very modern person while Nino also very much in the tech universe, so they were also a little difficult to translate to our olden tradition," Lyon says. "But we did think that Alya best matched with the daffodil. It represents those that are very social and also love friends and family. Nino's flower is the sunflower, a blossom for the warm and those that tend to be very happy-go-lucky."

Both of those descriptions perfectly matched the two. Alya was probably the most social person in the entire school. She had to be to run Paris's most popular blog.

"I thought that Marinette's was very much telling about who she is," Vallia says, Marinette a little embarrassed. "The calla lily is for hardworking people, but also represents people that can be said to be quite rare as well."

Marinette was now bright red as she hid her face in her arms, Alya patting her back. But you could see the look on the blogger's face that she was enjoying someone telling Marinette how special she was. The girl was too humble for her own good.

"And last, Chloe," Lyon did not look happy about it being his turn to talk when it came time to tell the brat about her flower.

"Saving the best for last," the blond ruined the nice moment the twins had created. "About time you two start giving me the respect I deserve."

That was when Lyon got the most ice-cold look on his face that the class had ever seen. Rose even shivered a little bit, as if she was actually cold from the look he gave the brat.

Adrien remembered seeing him give that look only once more. It was last week when he was at a photoshoot after school. Lyon and Vallia had been in the same park as the shoot and had heard the photographer becoming rather aggressive with him. After a few words about acting like a model should and not a teenage boy, Lyon got in the photographer's face and gave him that very look. He had not said one word, but that look was enough to make the man weak in the knees. He had not spoken to Adrien again the entire shoot and a different photographer was assigned to him soon after that day.

"Alright, here is what your flower says about you," Lyon's voice could freeze the Atlantic. "The gardenia flower represents those that like living in a life of luxury. Those that like the lifestyle of the one percent..."

Chloe seemed to be happy with that, but Lyon almost smugly popped her bubble.

"Basically, it's the flower for spoiled brats that need to get taught the meaning of the word 'no," he finished.

[mostly-mundane-atla]

@paragonrobits @veryever alright, here we go. Technically-not-swears to give your writing a punch that "oh spirits" does not.

@terulakimban, @mikaslilworld, and @589ish were asking for this too so I'll mention them so that they're sure to see it.

Adjectives:

Misbegotten. Implying that someone is of questionable parentage is generally seen as in poor taste at best or incredibly insulting, vulgar "fighting words" at worst.

Cursed. Implying something or someone has done something deserving of a curse and have all the bad luck and unpleasantness that comes with it. Probably the most mild example here.

Damned. Considered more severe and material than "cursed" and often refers to a spiritual sentence or a fated misfortune. Whether or not this is an actual swear can depend on the person and the circumstance.

Poxy. This one is a little spicy because while on the surface it's just referring to illnesses like smallpox, cow pox, or chicken pox, historically, it referred to what English speakers euphemistically referred to as "the French pox" aka syphilis.

Nouns:

Animals. Referring to someone as an animal, especially one associated with unsavory personality traits (snakes and rats come to mind as a prime example), is often considered insulting and even dehumanizing. Note that asses and jackasses are actual animals and how off-limits those words are entirely depends on context

Witch. Often used in place of "bitch" becsuse it rhymes and can be used just as insultingly.

Scum. Refers to just about any icky substance that won't go away

Son of a ____. Insulting one's parentage is again in poor taste or straight up fighting words. The blank can be filled by anything: animals, unpleasant or unwanted things, people of any profession considered disgusting or demeaning. Have fun with it.

Inupiat words:

Honestly, if a fantasy version of Inupiat live in this world (and given two characters from this fantasy culture are named after Inupiat villages in Alaska, specifically, I'm going to specify Inupiat and will appreciate it if folks don't generalize it as Inuit) it only makes sense for Inupiat words to be used in other parts of the world. Influence and cultural exchange doesn't have to be a one way street where the "more advanced" only affect the "less advanced" and indigenous languages have always left traces behind.

Inupiat culture, and therefore language, is very matter of fact. Euphemisms aren't really used because no topic is really considered "too dirty" to talk about with any particular group. Insults are a way of showing love and familiarity. Offense is mainly conveyed through tone and context.

The phrase "anak niģiiñ" (anak meaning "poop," niģi meaning "eat," and -iñ being a suffix which in this case makes a verb a command aimed at one person) has been suggested as an Inupiat translation for the English phrase "eat shit." The words themselves are not bad words as you may think of them; the insult comes instead from how they're used to express anger at and disdain toward the person. Lots of words can be used this way, including any of the words for hell or for things I've alluded to on this post already.

If you're worried about this coming off as appropriative or insensitive, you may be lacking some cultural context for this to feel at home. Feel free to read through my "eskimo on main" tag for inspo on that. I'm willing to answer any other questions you may have as well, though be warned, I'm not exactly the quickest at responding.

Getting Creative - Basic Mode - Curses and Oaths:

We call bad words curses because at one point, they were exactly that. You were cursing someone and that was the greatest offense of it. Common curses include wishing death, illness, or injury on someone, sometimes milder but still unpleasant or uncomfortable experiences to befall them, and more rarely things like natural disasters. In a fantasy universe with fantastical abilities and animals, there are plenty of opportunities to customize this format into something exclusive to the Avatar verse.

An oath, in this sense, is a literal swear. English speakers may be familiar with "I swear on my mother's grave" or the more serious "for the love of god" being said when one is confronted. Here the offense comes from something sacred being invoked so flippantly. I think this is what people are trying to go for with "oh spirits" but it falls short for a few reasons. It doesn't invoke any one thing specifically. Anything can be a spirit and a spirit can take the form of anything. Are you invoking spirits of gentle breezes or torrential downpours? Of tadpoles or lions? Saying something like "by Koh's stolen faces!" or "lightning strike me down!" will make more of an impact than "Oh spirits" ever will.

Getting Creative - Advanced Mode - In-Universe Reference as Self-Censoring:

This one can be a little difficult to figure out, but it's probably my favorite one. Basically, you come up with, say, a historical incident or a bit of media that the people in-universe would know about because of its vulgarity. You don't have to explain it, because the whole point is that the audience doesn't know, just the characters. And you have the character's reference it to suggest vulgarity without having to spell any of it out. Allow me to provide an example:

"And then, well, let's just say I recited the last verse of The Earth Kingdom's Ode to the Firelord, almost word for word."

"The Kyoshi version?"

"The Omashu version!"

"And you got away with it?!?!"

Like most of them, this relies on the other character's reaction to sell it. It's loads of fun once you get it figured out because it feels like you got away with a lot when it's functionally just gibberish.

[novelconcepts]

Greetings Novel. I was wondering, would you ever consider writing a vampire and/or werewolf Damie version? There’s already such a strong emotional connection whenever those stories are told, and I think you would just enhance that because you have such a knack for relaying Dani and Jamie’s thoughts and feelings. Anyway, just an idea because I love those tales and you’re absolutely one of my favorite authors. 😊

It’s the quiet she likes best, she thinks. The quiet, the dark, the simplicity. No one asks anything of her anymore. No one makes demands. She belongs to no one at all these days, for the first time since she can remember.

Except the Lady. She’ll always belong to her. 

But there’s a give to these things as well as a take, and Dani Clayton sometimes thinks it’s worth it. Worth it, not to have to sit at dinner parties and elegant balls. Worth it, not to have to titter and engage in small talk. Worth it, not to have to wear the ring.

Worth it, to leave him behind. 

And if it’s all shadow, all lonely, all deep-rooted ache she can never seem to soothe, that’s fine enough. She belongs to no one. No one except the Lady, and the Lady asks so little of her. Only to carry the curse--the disease--the hunger. Only to feed the shade coiled around the remnants of her old self. Only to wake. To walk. To drink. 

It’s dramatic, she thinks, but a little theater never hurt anyone. She makes sure of that much. It’s sustainable, so long as she keeps walking, walking, walking in the quiet. The dark. The simplicity.

It’s sustainable, until she reaches the village.

***

The pub is nearly empty. Too late, or too cold, or too poor an economic situation for carousing to be the game--Dani doesn’t much care which is the real reason. She likes the emptiness of the tables, chairs pushed patiently into place, every surface as clean as it is old. She likes the warm lighting, the oak bar, the smooth wooden floorboards under her boots. 

The mirror, she does not care for, turning her head swiftly away so as not to see the void where a young woman ought to stand. This part, she has never grown used to. This part, even after carrying the Lady--the Lady’s curse, more like, to hunger and need and wallow in lonely anger--for decades. She barely remembers, now, what that woman looks like. Blonde hair. Pale skin. Paler now than it had been in life, but only by so much--her mother had held such strong opinions as to what women should do with their time, and lounging in the sun had never been part of the pageant. Polite society, Danielle, has no use for a lady like that. 

Like what? she’d always wondered, never quite daring to ask. Adventurous? Athletic? Interesting?

No matter. The past is long, long dead--deader even than she could imagine back then, dreaming of being someone else. Someone free. All of them are gone now: her mother, with her antiquated ideas; her mother’s friends, who peered down their noses at Dani and smiled without heart; even Edmund. Even him. 

Long dead, now. Old age, or unrepentant illness, or freak accident--she doesn’t know. She wasn't there. 

The woman she was is dead, too, Danielle Clayton buried in a grave she’d only hauled herself back out of the next night. The Lady had whispered in her ear, granted unexpected strength, unexpected fury. Danielle went in. Dani came back out again. No one ever needs to remember. 

And no one ever has. She’s been walking for--fifty years, now? More, maybe. The date on the newspaper crumpled on one table reads June 24, 1987. More than fifty years gone in a blink, and Dani is still here. Washed clean, maybe, of all the bits that had once made up a patient, kind, hopeful young teacher. But here all the same. 

She settles at the table, drawing a book from her bag. The night is still young, the hunger not yet pricking at her patience. It’s good to start smooth, start simple, to remind the Lady that the curse might have its needs, but it is Dani who is still in control. Dani, who, despite making a decision unwary of its consequences so long ago, has managed to hang on this long.

Still here. Still walking. Still--

“Get you something?”

Her head snaps up, her body primed to run. An old instinct. As if anyone could touch her without consent now.

The woman watching her looks curious, but only faintly so, as if by old habit. Her hair is tied off her face with a bandana, her sleeves cuffed at the elbows. There is a loveliness about her Dani has always fostered a weakness for--a loveliness that matches, in a less primal way, that of the Lady who had come to her in that dream so long ago. Walk with me. Walk with me, and you’ll never be alone again. 

She shakes her head, smiles. “I’m fine, thank you.”

“Right,” says the woman slowly. “Only, this isn’t a library. Don’t order something, Tom’ll have me throw you out.”

She speaks like she doesn’t much care one way or another, but Dani has been around long enough to read between the lines of a person. The words are callous, but the inflection is specific--the emphasis placed not on throw you out as a threat, but Tom’ll have me. An apology before an offense. The woman glances toward the window, aware of the wind battering the glass, her expression calmly letting Dani know I’d rather not have to. 

“I’ll have whatever’s your favorite,” Dani says. Eyebrows raise, the woman’s head tilting. 

“Mine?”

“Sure.” Dani smiles, reaches across, touches the woman’s hand lightly where it rests on the table. It’s easier, influencing human minds through touch. She doesn’t like doing it at all, if she can help it--there’s a film over the idea, a nasty oily sense of wrong--but sometimes it can’t be helped. People who look at her the way this woman is looking tend to become a problem.

People who smile at her the way this woman is beginning to smile, lips quirking up at the corners like she doesn’t quite mean to, tend to become a danger to themselves and others. 

Mostly themselves.

The woman disappears briefly behind the bar; Dani, aware of the mirror, doesn’t watch her go. Her eyes remain on her book, her fingers tracing mindless sigils into the table until a glass is set gently down before her. A thin amber ale of some kind--Dani feels no curiosity, no interest at all. She smiles. 

“Thank you.”

“Sure,” the woman says. Hesitates, as though wanting to say more. Shakes her head. The fog--the sense of forget Dani brings in her wake--is already sinking its claws into this woman, already wiping Dani away. Good. It’s best when they don’t see her, don’t take an interest, don’t remember when she’s gone.

Especially women who smile like this one. 

She leaves the drink untouched, putting away two chapters in easy silence. Money, she drops on the table. No one looks up as she strides back out into the dark. 

Tonight’s meal will be found elsewhere.

***

The story should end here, she knows--a person like Dani is only still here because she’s long-since learned the art of keep moving. The Lady commands it. The Lady is impatient to walk. 

The hunger, pushing in along her ribs, pulsing under her wrists, is impatient for more. 

She ought to leave the little village be. There’s not much here to begin with, and it’s dangerous to feed in places where one single thread can be followed to each house in turn. Dani’s careful not to hurt where she doesn’t have to, not to kill ever--a little time, a little tender care, is all it takes to prevent it. She hasn’t left a body behind in almost thirty years. There’s really no excuse for making a kill where one could simply leave a vacant few minutes of memory, she thinks. 

Not that humans recognize the kindness for what it is. Not that she can blame them for their fear. She was afraid once, too--waiting, always, for the Lady to become Beast, for her to rise up over Dani’s good sense and turn her into something hateful. Dying, for Dani, hadn’t been the hard part. The idea of becoming something she isn’t...

But it’s been years and years, and she is still here. Still Dani. Lonely, and quiet, and living the simplest life she can manage, given the circumstances.

And back at this same pub again.

Shouldn’t, she thinks--knows, though she’s pushing the door open and striding back to that same table again. Out comes the book. Her eyes remain resolutely clear of the bar, of the mirror, of any patrons who might give her trouble. 

“Back again?”

The woman, this time in a t-shirt, her curls loose around her face. Same woman. Same smile. Same problem. 

Dani really knows better. 

“Noticed you didn’t touch the ale,” the woman points out, leaning her hip against the table. There’s a quiet confidence to the way she holds herself, a constrained line of motion that says she’s in no hurry. Dani watches her, smiling a little, and thinks, Shouldn’t be here. 

“No, I,” she begins to reply. Her smile fades to a frown. “Wait. Noticed.”

“Yeah,” the woman says. “And you overpaid. Drinks much pricier in America, then?”

Dani wouldn’t know. Dani hasn’t set foot in America since the sixties. 

“I guess,” she says, still puzzled. This woman shouldn’t be speaking of last night as though it was--well. Only last night. This woman shouldn’t remember Dani at all. The Lady’s influence generally makes certain of that. 

All these years, it’s never failed her. 

That is the idea.

“Something darker tonight, maybe?” the woman goes on, watching Dani with shrewd eyes. “A stout?”

“Okay,” Dani agrees, knowing full well she won’t touch it when the drink comes, and finding herself quite unable to say no. Quite unable to do what she should, which is to slip out before the woman can return to this table and smile at her again.

Try harder, she tells herself, when the glass is standing proudly beside her book, laid face-down on the table. Try harder to do it. Because, the thing is, if this woman remembers her--if this woman keeps remembering her--she’s bound to find herself on the other side of a beheading. A torch. A particularly sharp slat of wood. 

Her hand brushes the woman’s again, her fingers tingling. The skin is soft, the nails short; when she turns the woman’s hand over in her own, she finds callouses on the pads of her fingers. 

“Bold,” the woman says, amused--but there’s a flare of something more in her eyes, matching her smile too well. Dani swallows. Presses forward with her own mind, gently caressing the woman’s intentions. Forget me, she wills. I was never here. 

“Enjoy,” the woman says, the clear focus in her eyes drifting to hazy confusion. 

Dani watches her go, her chest tight with an unfamiliar sensation--something like hunger, and yet...

No one, she thinks, has ever remembered her when she’d wanted them to forget. No one since the Lady’s curse. Even Edmund, who had dreamed of a big wedding, a big house, a big family since they were children, had forgotten her, in the end. Easily. She’d willed it, and walked away, and he had forgotten she’d ever climbed out of that grave. 

This woman, whose name is not Dani’s to know, whose life is not Dani’s to touch, remembered. 

Even as she’s leaving, even as she’s slipping out into the dark to find someone to dull the Lady’s hunger, Dani knows she’ll be back again. A terrible idea. A terrible test of the universe’s machinations. And yet.

She can’t erase the curiosity, bent behind a shop with a young woman’s wrist pulsing warm against her lips. She can’t erase the way the woman had smiled at her with knowing amusement, as her teeth sharpen and the Lady takes what she needs. She can’t forget, as copper runs sweet across her tongue, and the girl sitting on the pavement heaves a languid sigh beneath her. 

It’s an awful idea. Truly, the worst. 

She has to know.

***

“Starting to think you don’t actually drink.”

The woman actually sits this time, sprawling into the chair across from Dani as though belonging there all along. Dani bites down on a smile.

“Why else would I come to a place like this?”

“The company?” the woman suggests, and though her tone is idle, her smile scorches. Dani shakes her head, laughing. 

She can’t remember the last time she laughed. 

“I’m not supposed to be here,” she confides. The woman raises her eyebrows. 

“Where are you supposed to be?”

Alone, Dani thinks. Forgotten, Dani thinks. That was the deal, Dani thinks, the price of a young woman’s freedom. Wake. Walk. Feed. There has never needed to be anything else. 

“Not here,” she settles on saying--a truth without teeth. The woman nods slowly, leaning across the table, her hand sliding over pocked wood to brush Dani’s wrist. 

“Doesn’t seem to be stopping you. Twice is an accident. Three is a habit.”

She isn’t wrong. Two people in this village bear Dani’s mark now, the inner slope of their wrists stained with new scars they won’t be able to explain. She’ll have to drink from a third tonight, and the odds of getting out unscathed--even with the fog clearing her from their minds the minute she walks away--shrink yet again. This isn’t a good idea. 

But this woman, impossibly, illogically, remembers her. Forgot, maybe, briefly--in the time it took Dani to pay and leave--and then the memory just...sprang back into place. Dani has made mistakes with women before, has let their smiles grace her heart in ways she was never meant to allow, but it’s never resulted in this. 

“I’m Jamie,” the woman says, and Dani almost recoils--almost says, Don’t tell me that, don’t put that on me, you’re not supposed to remember--but I won’t be able to forget. 

“Dani,” she says instead, and feels the Lady pulse deep in the place she’s always imagined her soul to rest. The Lady, a curse--a gift--a structure around which she’s built her second chance at life. The Lady, who looks upon Jamie now and sends a powerful swell of hunger up through Dani’s bones. 

Take her. Take her. She wants it, look at her. 

Jamie does, Dani senses, want something. Something that has no need for Dani’s influence, no requirement for Dani pulling the strings. Jamie wants something from her--something honest, something human--and the very idea of it spikes fresh terror like she hasn’t felt in decades.

“This is a bad idea,” she says in a low voice. “It’s dangerous.”

Jamie, fingers tracing Dani’s palm, searching out her lifeline, shrugs. “Always is. Doesn’t mean it isn’t worth it.”

***

There’s a place upstairs, a little flat. Jamie leads the way as though she’s done this a hundred times, taking Dani’s hand with an almost nonchalant gesture. 

“If you let me in,” Dani says, “this gets so much more complicated.”

“I’ll take the chance,” Jamie says. She should be laughing as she says it, a flirtatious bit of banter designed to delight, but she isn’t. She’s looking at Dani, her free hand turning the key, like she already understands. 

“I’m not,” Dani says. Stops. Sighs. “I’m not what you’re--what you think I--”

“Start here,” Jamie says, and pushes open the door. An invitation without words, one Dani can’t resist leaning into. She hasn’t let herself accept an invitation like this in so long. 

Take her, the Lady breathes. Take her, bring her to me. Dani squeezes her hands into fists, the familiar rage of hunger grinding against this new, too-human variant. Jamie is closing the door, kicking off her shoes, smiling. 

The smile is what really breaks her. The smile, which is a little teasing, a little tempting, but mostly just real. 

She’s kissing Jamie before she can stop herself, and even as she’s doing it, there is something too warm about it. Something too good about the way Jamie catches her, hands digging into Dani’s hair, lips parting when Dani brushes against her with the tip of her tongue. For all the skin she’s tasted, all the times she’s kissed and licked and bitten, this is different. This is--

This has no path. No road to follow to the end. No lie baked into the heart of it. Every woman she’s ever led into the dark, every time she’s ever drank deep and pulled back before the Lady can win back control, seems to fall away in comparison to how desperately she’s kissing Jamie. This person she barely knows. This woman who slips a hand around her hip like an anchor. This woman whose kiss is confident, who is smiling into her, who leans back breathlessly and says, “You’re sure about this?”

“Don’t ask me that,” Dani breathes, kissing her again. Jamie makes a soft groaning sound, tilting her head away. 

“Why not?”

“Because,” Dani says, unable to stop herself from kissing around every word, “I shouldn’t be here.”

“Shouldn’t, or don’t want to be?” Jamie is backing her against the wall, and Dani can hear her heartbeat, can’t seem to erase the dizzy scent of life pouring off of her in waves. Blood, yes, thrumming beneath her skin, but also breath, and desire, and something giddy and nameless that can only be joy. 

Such a human thing, joy. Why, then, does Dani feel it pressing in on her, too?

“Hey.” Jamie has stopped kissing her, is simply holding her face gently between her hands. Her thumbs have found Dani’s cheekbones, are pressing so lightly, Dani closes her eyes to keep from crumbling. 

“Hey.”

“If you really don’t feel good about this, we don’t have to. We can, I dunno. Talk. Or not. Whatever you want.”

Dani breathes slowly, all the little measures of human in a body that is not. She likes breathing, she’s found. Likes willing her heart to beat. Likes feeling warm, likes feeling as though any sunrise might be welcome, someday. Someday, when all of this fades. 

Like it ever can. Like the Lady would ever allow it. That wasn’t the deal.

“There are things,” she says hollowly, “you don’t know.”

“All the things,” Jamie agrees comfortably. “Everything except your name and what you don’t like to drink.”

Despite herself, Dani laughs again. She leans forward until her forehead presses Jamie’s, until Jamie’s breath coasting lightly across her lips is the only thing she can feel. 

The only thing outside of the beating, raging, desperate hunger.

“You wouldn’t believe me,” she says. “I--sometimes even I think I’m crazy.” And, really, might she be? Might this all be some delusion, some shattering of sense that has led her to believe there will be no woman waiting for her in the mirror? Or, worse, a delusion leading her to believe she is here--that she is still Dani, despite it all?

“Tell me anyway,” Jamie says, and Dani kisses her again. Kisses the edges of her lips, the curve of her jaw, the length of her neck. Kisses the place where the pulse beats like fists against a casket lid, her lips parting, her tongue flat against the salt of Jamie’s skin. She hears Jamie draw a sharp breath, one hand tight in her hair, hears Jamie say, “Yes” in a tone Dani has to fight to deny.

She doesn’t mean it. She can’t mean it. She doesn’t know. 

And Dani, though the Lady roars with that unrelenting need, can’t take. Not like this. Not here. This woman remembers her. This woman will remember tomorrow, even if Dani slips out of her bed, even if Dani never shows her face again. She’ll remember. It will, somehow, unfairly, haunt the rest of her life. 

“It’s a long story,” she says, face still buried in Jamie’s neck. Her hips are twitching against Jamie’s thigh, her hands sliding under Jamie’s shirt. “A long, crazy story.”

“I have time,” Jamie says. Dani lifts her head. Smiles. 

It’s not supposed to be like this. It’s meant to be quiet. Dark. Simple.

Lonely. 

That was the deal.

“The teacher,” she says quietly, closing her eyes as she scrounges for the beginning for the first time in over fifty years, “was, by choice, a solitary young woman...”

Jamie listens.

[randomsnakesimp]

Day 20: Future

There are, as far as I can tell, two separate instances in which we see the girl's further future: one after the Trial of the Oracle Arc, in which the girls use the sand of time to see what would become of them should they give up their powers, and one during the 100% W.i.t.c.h., I believe, where each girl gets teleported into her future self's body and lives as them for a short time.

The first one was rather nicely made, each girl having been given a reasonable future and, more importantly, the viewing itself was written into the story neatly and made sense (even though the plot element could have been used for far more interesting what of scenarios than this one).

The second one, however, has clearly been written past the comics' prime and suffers a great deal of plot holes and sloppy mistakes. First off, I feel none of the girl's futures make a lot of sense.

Taranee becomes an olympic athlete in running - but she was never that fit, and even if she became that invested in sports, why isn't she dancing in some way? Apart from that, she has a very obnoxious boyfriend present Taranee finds vastly unsettling.

Will has become a cliché "business woman bad" business woman and apparently dumped Matt for it. Need I say more?

Cornelia is at the set to some pseudo-high budget looking movie working as the co-star to a self absorbed actor. Which, apparently she doesn't realize until the producer yells "cut", so she obviously lost a few proficiency points in using her five senses along the way. That entire part of the comics, alongside Wills, seems to almost be intended as some sort of humoristic stab at ooC ten years later epilogues, only it isn't, and the tonal shifts between these two, Taranee's 'meh' part of the story and Hay Lin and Irma's heartwarming scenes just leaves the reader confused.

Speaking of Irma and Hay Lin, I kind of liked both in general, but I don't see why Irma had to teach math - couldn't she have taught a class at that aquarium she was working at in the other future version?

Hay Lin's was the only one I really liked, and the only one that was able to bring across the message of "the simple things are often the best". Which, admittedly, is a lovely message for young people who often feel they need to become something special and grand to be valid, and might beat themselves up over being average.

However, this falls short because of how over the top and easily avoidable the special but bad futures were. Taranee? Just dump the fucking boyfriend! Will? She of all people should be able to manage a high responsibility job and a private life, and also, portraying business women as this cliché stressed out live to work burnout applicants is just not realistic, and I feel you don't need to downtalk especially successful people in order to make the average ones look good. Cornelia? Work with a different studio! Also, similar to the above point, don't make the acting environment look intrinsically bad. And if you want to portray the actor as a diva actually capable of making Cornelia feel unhappy, maybe make him less of a clown.

And one final thing, before we get to my personal design for an issue on future: what do you make of the fact that each girl can individually decide whether she wants that future or not? Was it all a ruse anyway? Are they so far apart by that point that these fates came to be independent of each other? Or is it a spell that fixes the chosen futures and everything else is warped around that?

As for my personal take, while I overall like the framework plot of the first take, but I would give more time to other what-if scenarios and make the entire thing something Phodarno does to humor the girls and let him ask his own questions afterwards, maybe to emphasize to the reader how much more his choices can ruin for him. I overall like the futures presented, however, I'd make a few changes:

- Will should be more relaxed. I feel her character should strengthen over time, and it would be a more likely scenario that everyone else worries about her not finding her calling while she's just glad the cosmos doesn't depend on her decision

- make Hay Lin a travel blogger/vlogger. Maybe she likes to go skydiving

- let Irma and Cornelia combine conservation efforts

- let Will end with still no calling picked - that's okay, too, some people need to try a lot

- shorten. Cut out Martin and Andrew. Cut out the house selling/purchase. Just let the girls meet at Orube's place and let her still be there in that future version

- include easter eggs on other characters. Maybe even let Cedric/Phobos be in the background somewhere, prompting Phodarno to stay after the girls are gone. Some of these may be: Martin being big in the conservation efforts, having expanded on his scouting activities; Matt being mentioned as a 'bad influence' on Will as he is currently touring with a hapless band; William making an appearance without him being revealed as Will's little brother; Nash being the football coach to teenage Chris

[annethepancake]

Sherlock rant

I recently rewatched BBC Sherlock for Rupert Graves, and aside from the lack of Lestrade appreciation I have a lot of problems with this series. Here are my thoughts:

1. It was all a blur

My second first impression of the show: I don't remember anything but the characters. And some characters I just blatantly forgot, like Mary. And I loved Mary on my second watch! I really forgot that at one point John actually got married and I don't even remember when I watched the show for the first time. I can still recall most of HIMYM's events and I hated that series.

2. It’s overall not a detective/crime show

Watching Sherlock for the second time, I mostly turned off my brain and just let it play in the background because (1) there's hardly anything for me to solve with the characters, most clues are taken by Sherlock off-screen anyway (especially after season 2), (2) they focus way too much on the quirks of the characters that make it almost like a sitcom that got dragged on for way too long. A crime/detective show shouldn't allow me to turn off my brain.

3. The characters just kinda fall flat

Exploring the depth of human emotions is not a bad approach to a modernized version of anything, I’m not trying to pretend I’m better than someone who gets sentimental over fictional character (if you know my blog at all, you know I am not), but at least write good characters. Sherlock is hardly a multi-faceted person; in fact, he’s kinda like the Wattpad teen fic main character sometimes. He physically fights off some terrorists with a machete to save the damsel in distress? He gets high off his tits but still got everything right all the time? John is just kinda there for most of the cases. Jim is a poorly written antagonist. Irene is a lesbian but gets the hot for our main character, surprise surprise. The only interesting characters to me are the ones who act like normal people: Molly, Greg and Mary. They are the multi-faceted characters, ones who I can actually relate to without feeling inferior to them in any way. Write characters like them, stop trying to be smart about it and stop writing Wattpad fanfictions for Sir Conan Doyle’s original works.

I get that they try to make Sherlock more like a human with emotions, making him quirky and arrogant, then make him quirky and more likable. It’s hardly a convincing character development though. He’s given over-powered deduction skills, so edgy, so high and mighty all the time. When he is finally written as vulnerable, turns out he has plans for that too. I would love to see him get it wrong once and maybe get humbled by that mistake, but getting Mary shot and killed is hardly even his fault, he is only doing his job. And killing off Mary is overall a bad idea anyway.

4. They treated the fandom like shit

I was absolutely disgusted at the start of season 3 when the showrunners just straight up shat on their fans. I wasn't there with the fandom during the wait between season 2 and 3, but I believe it was a pretty long wait (2 years, I could barely wait 2 years for my comfort series, and they have like 10 episodes per season), and they were presented with the first actual mystery of the series: How did Sherlock survive the fall? After years of waiting and having fun theorizing, they were met with a mockumentary about them, starring the most hated character of the protagonist and the fans. Those are the people who actually cared about the show for god's sake. The fact that the showrunners treated fans like crap and there's still an active fandom for the show appalled me.

Now not only The Empty Hearse bugs me, but the entire show does as well.

Allow me to digress.

Doki Doki Literature Club is a great example of audience engagement done right (Sorry for using this example I’m not actually that invested in the other franchises). After the success of the first game, the story provoked so many fans into solving the mysteries of the characters, some of them went really, really far. And that’s because of the actual mysteries that the development team took effort to plant into the plot. There is actual pay-off for painstakingly following the clues; as far as I know, only two (2!) people in the world have come close to solving the mystery of the first game (or they actually did). The game developers value their fans and their intelligence enough to have planted those clues where they did, and it’s a genuine exchange between the fans and the creators. Now even though you haven’t actually played the game, when you hear of the name and you’re only kinda familiar with gaming (like me), you’ll probably know what it is. What started as a mere open-source game by an indie developer became a sensation which left millions of fans begging for more.

Looking back at Sherlock, there are tons of logical flaws for a self-proclaimed crime series, virtually no clues for the audience to solve crimes along with their favorite detective, and when there was actually a mystery (Sherlock jumped off the building), they plainly showed him alive and well minutes later. Do we really need to see things spelled on screen to know what’s going on? Are we supposed to accept that Sherlock Holmes is an all-knowing future-predicting genius now too? Not a great sign of respecting the audience there.

So far, the only thing left that’s interesting about this series is the characters’ dynamic. Which brings me to the next criticism I have for the show.

5. The plague that infested mainstream media

Why is there still an active fandom? Queerbaiting and targeted marketing.

Community marketing is proven to be one of the best marketing methods there is, if not the best, to lengthen the lifespan of a product or service. The way they do that for shows and films and video games is usually by planting seeds of possible lores and history inside the content. Look at Harry Potter or Lord of the Rings, they are franchises that ran for multiple years with a ton of history and world building that provokes fans’ imagination.

Sherlock - well, Sherlock has sexually ambiguous men.

Sherlock has a formula for success. It was an adaptation of the most iconic detective novel in the world, funded by one of the biggest TV networks in the UK and possibly the world (don’t quote me on this). Making this series means you can appeal to such a wide group of audience even before airing. Adding in the quirky smart men who live together, you’ve basically guaranteed a prime-time show with millions of loyal fans all over the world.

Fans are not stupid, and queer people don't just find queerness everywhere they go. They know a gay subtext when they see one. Sherlock came back from the literal death for John, pretty gay if you ask me.

This show is very much not just about some guys being dudes solving crimes, they have relationship that’s deeper than friendship, and definitely not platonic. They deliberately wrote a sexually ambiguous Sherlock Holmes from the get-go - literally from the very first episode, then capitalized off of the targeted demographic, never a pay-off for their anticipation. Martin Freeman said in interviews that he could recognize Sherlock fans, them being generally women from 16 - 25. No shit Sherlock, this show targets them and capitalizes off of them, being quirky and gay as hell, of course the fanbase is generally 16 - 25 and female.

Sherlock queerbaited the fandom for years for the sake of marketing and there’s never a pay-off, nor was there any recognition to the community, and to add to all that bigotry, queercoding pretty much all of the villains? Why was a show aired in the 2010′s allowed to do this? Why did Mark Gatiss, an openly gay man, a writer of the show, allow this to happen? Why are millions of fans all over the world allowing all this to go on?!

6. Conclusion

Now I haven’t read the books yet, so I’m not at all qualified to criticize the adaptation quality of the TV series; I’m just talking about the TV series on its own. Despite my criticism, I think the first two seasons did quite okay. There are quite a few nice cases there, I like The Blind Banker and The Hound of Baskerville. They did those well because the focus was on the cases themselves, and the connection between John and Sherlock was only in the background. I, like many other fans, like to figure things out on my own, to read between the lines, and to not have things spelled out for me. With the next seasons bombarded with Sherlock and John bonding it seriously felt like mere fan service for me and even though I wasn’t there when the show was on, I still felt like I was robbed and my interest in the show was abused.

Sherlock is undoubtedly super influential in pop culture even now. It has to have done something right to be in that spot (capitalizing off loyal fans?). I’m not writing this rant to change someone’s mind about the series, by all means, I’m still gonna love the hell out of Gavin Lestrade, and absolutely lose my mind over Mary Watson. So do take my words with a grain of salt, I’m just disappointed that one of the most influential shows there is is just short of my expectations.

[whatudottu]

So I’m sure y’all (ben 10 fans specifically) know about the episode Inspector 13? And how Gwen couldn’t used her mana like she usually does?

Yeah, those are my thoughts today and I’m gonna talk about ‘em.

Let’s get this out of the way first, pure full Anodites will not have the same trouble that Gwen has, regardless of form. Basic reason here same as normal, they’re pure mana and Gwen is a fleshy human with a spark, so inherently there’s already a difference in the flow of mana.

But are other species capable of magic and mana manipulation?

Heck yeah!

Knowing what we’ve seen with Anodites already, sans Gwen of course, they’re the... uh... hmm let’s say playboys of the universe. Much in the same way that humans can’t keep it in their pants, Anodites don’t have pants in the first place and would definitely proliferate with life spanning galaxies. And just like with humans, there is a chance that any hybrid child of an Anodite can have the spark.

But does that mean that Gwen can use mana as each of the aliens she turns into?

Heck no!

At least not on first try.

Now let me explain. Humans have a filter on their flow of mana, one which Anodites don’t possess, but other species have that same filter. Why? Well, it’s their DNA of course, it’s what separates them from the pure energy beings of Anodites, the unfiltered raw flow of mana. This filter is there because while Anodites are filled with mana, a hybrid with a spark produces their own unique life energy that interacts and mingles with the flow of their mana.

But what does that mean for Gwen?

Given that the spark is not... uh... entirely genetic (there’s a need for an Anodite SOMEWHERE in the bloodline for the spark, but it doesn’t come up in DNA), it should exist through each transformation. But the issue here is that, while the spark stays the same, the filter wildly changes.

Gwen, as herself, is athletic and light on her feet, so her mana floats, twists and turns, and when solid, is akin to glass. But as Diamondhead, suddenly there’s more weight and less dexterity. There’s a difference that opens a new set of rules for Gwen that she’s never had to deal with, and just like at the start of her magic career, things don’t work exactly as they should.

I’m done with the whole analysis side of this thought, but the main reason why this is on my mind is because... well... I didn’t like how the show handled the differences in mana manipulation. It’s maybe a sneaky little episode rewrite, and maybe a little more interesting version of the ‘getting-used-to-another-person’s-powers’ trope... which I’m pretty sure is a thing. I don’t know I’ve seen it before a few times so whatever.

ANYWAY! Moving on to what I would’ve like to have happened, let’s go in order of Gwen’s transformations.

As stated (and is obvious), Petrosapiens aren’t very known for their light weight and dexterity, so one’s magic would reflect this. How this will affect their mana would turn the free flowing looseness of floating mana into physics based materialisation. But what makes this different to a Petrosapien’s natural crystalkinesis?

Let’s demonstrate with Diamondhead.

A falling Gwen would realise quick that her attempts at making platforms would fail, seeing them fall alongside her. However, producing these solid objects took nothing away from her physical levels of energy, meaning Diamondhead wasn’t growing fatigued unlike with typical crystalkinesis. Gwen would have the ability to form as much ‘crystals’ as she wants in order to keep her from crashing too heavily into the ground.

This use of mana is more so built upon traps, because they last a lot longer and barely need concentration to work. Used as a replacement for crystalkinesis, a Petrosapien ain’t gonna get very far, because these ‘traps’ work on everyone even if they can disperse the constructs. No, it’s better to stay away from the constructs because they amplify sonic waves (the mana vibrates as if like a tuning fork) and can create shatter explosions if struck the right way. For the latter, if y’all have seen the dude pressure plating a diamond, it’s like that.

Now, let’s talk about the second alien Gwen transforms into, Clockwork!

Chronosapiens are a little more robotic than Humans and Petrosapiens, especially Anodites, so their filter of mana is a lot larger. It is the fact that they are alive in the first place that let’s them use magic at all, but their mana capabilities are extremely limited. It’s like being trapped in a metal suit, where it’s hard to allow the internal spark to manipulate the external environment. But what if one doesn’t use external magic?

Clockwork can work like this.

Gwen may not manage to bypass the filter and create mana constructs, or even a flowing tendril, but she can find ways for her modified magic to work. Clockwork keeps the spark internally, so why not help that along with less offensive and defensive skills, and instead more utility casting. What does this mean? Flight, babes! But instead of the traditional sort of flight, Gwen finds that she can ‘walk on frozen time’ and ‘slip through the seems’.

Okay maybe that sounds a little too much like the Esoterica power set, but it’s not like seeing a fourth dimension and accessing the inaccessible. It may appear to be the same, but just like how people may perceive Clockwork to have super speed, even though he’s just slowed time for everyone else, it’s just a matter of perspective. But in general, learning to use mana outwardly would need more time than Gwen had.

Moving on to alien number 3, we have Humungousaur.

Now, in terms of filters, Vaxasaurians have a little more access to mana manipulation than Petrosapiens and especially Chronosapiens, but they have a whole lot of life energy due to their size, which has an effect on their spark. While the dexterity of their magic can be comparable to Human’s manipulation, the strength of it is quite limited, so while a Vaxasaurian may be dependent on their physical bodies for attack and defence, magic is just a bonus action.

So how would Humungousaur use magic instead?

Well, while Gwen would engage in a good old round of fisticuffs, she can use mana like a lasso/whip to trip opponents and yank them this way and that. And by ‘this way’ I mean directly into her punch, like you’re the ball of a paddle-board. It’s definitely more of an assistance type of magic, and it’s definitely not strong enough to support the weight of Humungousaur, but Gwen can control the battlefield by controlling the stability of the enemy.

Think hunting and gathering, this is where a Vaxasaurian’s magic thrives, where it helps with restraining and retrieval rather than attack and defence, they’ve already got THAT down. Prime Vaxasaurians, with their size increase, would lose the use of their mana when at max height, but Reboot Vaxasaurians can emphasise their tail shockwave with magic to make it even more deadly.

Up next is Upchuck, and boy is this an easy one.

Gourmands already have a natural relationship between themselves and energy, so someone with the spark can super enhance their energy bile. To the point where it’s almost unnecessary to actually eat anything to get at least some sort of fire power. Of course, with a Gourmand’s small squishy body, they are perfectly capable of throwing up defences (I swear that pun was an accident), but who needs defences when you’ve got a whole arsenal of explosive mana.

But there’s a little issue with Upchuck that Gwen has to get over.

The problem? Gwen’s a little self-conscious about a Gourmand’s abilities. Mana is the flow of life energy, so if the flow is restrained by embarrassment, it doesn’t act at its full potential. Upchuck can certainly try to use magic as a crutch to avoid needing to eat and spit her way in, but the free flowing stream cutting off is inhibiting the strength of her defence too.

SO! When Gwen finally caves and eats some metal, there’s enough power to blast a hole into the techadon factory big enough to get inside with time to spare. Aside from enhancing the blasting power of a Gourmand’s natural energy, the use of mana manipulation can change the ‘weaponry’ of the attack, which can turn into a gassy smokescreen (burp) and a sticky ball (loogie) to name a few. A Gourmand’s best strength is confidence, so Gwen would need to adapt her mana the same way.

And last but not least, we have Rath stepping up to the plate.

Now, Appoplexians are... rather straight forward and fight tooth and claw rather than strategically. They have a similar mana to life energy filter ratio to Humans, but that doesn’t mean that they’re just as magic friendly. Mana manipulation typically requires coherent thought other than the urge to beat someone up.

But Rath can use magic, and here’s how Gwen works it.

Cutting to the chase, there’s no range mana attacks, at all. For one thing, Rath would find it cowardly, another being that unlike ripping out a turret and throwing it at something else, there’s not enough brutal violence. And utility magic is not even considered. That needs some planning, and the only plan Rath has going into the fight is to WIN! And Gwen is not immune to the urge for violence.

So what happens instead, Gwen would accentuate a punch, slash or block with the extra kick of mana. Enemy fist approaching at 5 o’clock, t-minus 2 seconds? Mana armour. The techadon warrior is regenerating a little too fast for liking? Mana blade! Inspector 13 is being an annoying little techadon engineer with his constant downplay of their abilities? MANA PUNCH!

And after all that, Gwen gets to be in her own skin again. Some of the abilities she learnt that day don’t translate to her Human form. She can’t form crystal traps, she can’t slip between the seams of time, she can’t modify the properties of her mana. But some of the techniques she learnt can be adapted into her regular fighting. She can manipulate the battle field, she can construct armour on the fly.

But most importantly, she can see the differences of life energy, and how they effect magic use. Seeing a range of different mana manipulation, Gwen has unlocked a more open perspective on magic and can learn so much more, her expectations of Human magic pried open wide.

I think THAT would’ve been neat.

But instead we got same face syndrome not to rag on the episode haha.

[jackoshadows]

Here’s the thing. From what I have seen Arya blogs are not ‘trashing’ Sansa. As book readers, Arya blogs are often responding to some nonsensical take from a Show Sansa stan posted on the Arya or asoiaf tag that usually seeks to blame Arya for something Sansa did, or take away from Arya’s story to give to Sansa or have a ‘both sides’ narrative that seeks to minimize Sansa’s role in the sisters’ fractured relationship.

Sansa is a contentious, polarizing character. GRRM has openly stated that he created Sansa as a foil to Arya, that she was meant to be the one Stark that did not get along with the others. She was written this way in the books. Discussing these aspects is not trashing the character. It’s pointing out the flaws in the character when her stans often whitewash her flaws and paint her as this perfect, compassionate, wise queen who knows all and cares for everyone as opposed to other characters.

Sansa has bullied Arya, mocked her appearance, wished she was a bastard like Jon because she looked different, sided with Joffrey against her, named her as a traitor and threw her under the bus to appease the Lannisters, betrayed her family leading to Arya being stuck in KL instead of on a boat to WF and labelled her dead sister as unsatisfactory because she was not pretty and graceful like Margaery Tyrell. GRRM has stated that the sisters have deep issues to sort out if they meet again.

If one feels that pointing out these facts from the book is ‘trashing’ Sansa, then why the hell are you a fan of the character? It would mean that you are just a fan of the sanitized, whitewashed, goody two shoes show version propped up at the expense of other characters and in which case you should not expect book Arya blogs to be all ‘uwu STARK SISTERS FOREVA!’.

There’s a reason for why it’s the Sansa blogs who ALMOST ALWAYS claim to love both sisters equally – these are the same blogs who undermine Arya’s stories, relationships and characterization to favor Sansa.

It’s in fact decidedly unfeminist to demand that a reader like all female characters the same just because they are female. Arya, Sansa and Daenerys are all three very different characters, with different characterizations, personalities, origin stories, different reactions to things that happen to them and find themselves in very different plots. So why do I have to like these very different characters the same?

The only thing Arya and Sansa have in common is their last name and family. That’s about it. In terms of personality and actions they are completely different. Hell, Ned says in the books that they are as different as the sun and the moon with their blood being the only commonality. In fact Arya Stark and Daenerys Targaryen have more in common – their desire to look out for the little guy for example – than Arya and Sansa do.

There’s nothing wrong in readers preferring one sister over the other. There’s no rule that a blog has to love ALL the Stark siblings the same. The Starks are not a monolith – the precise reason for why GRRM even created Sansa in the first place. They are just as different and contentious as a family as the Lannisters and Targaryens. There’s no rule that one HAS to stan both Stark sisters

If you are a Sansa fan that’s well and good! Enjoy the character! But why do you want Arya blogs to celebrate a sister and a relationship that made Arya miserable and lonely and unwanted?

This has always been the problem with Sansa stans since time immemorial. D&D are prime examples of this. They claim to love the character, but then want the characterization, stories, plot importance and relationships that other characters have to be given to Sansa. They demand that Sansa be loved by everyone and the slightest criticism is labelled as hate or ‘trashing’ the character.

Like the post the other day from an ‘asoiaf expert’ on tumblr which claimed that warging is not plot important in the asoiaf world because Sansa is not a strong warg. Because of course, according to Sansa stans, plot importance in the series is decided by what Sansa can and cannot do.

Having been in this fandom for a very long time – from the days of Westeros.org – I can understand how and when the Sansa defensiveness has come about. Those where the days when Sansa was reviled even worse than characters like Jaime and Tyrion and the Hound. But that has over-corrected in the opposite direction these days and lead to a version of a perfectly flawless, white washed Mother Theresa that has to be beloved by everyone or else they are the worst sexist, misogynist, women haters on the planet.

If you love the character, then stan for her and celebrate her on your blog. Just don’t expect every single person in the asoiaf fandom – especially Arya fans -  to do the same.