#honestly i feel like this is a general sentiment towards the heroes as a whole not just the princes

[idiosyncraticrednebula]

Many people, including Disney fans themselves, view the Disney Prince (with very, very few exceptions) as a guy who is just....there and the least interesting, compelling, most bland and personality-less character in the whole cast, but the thing is that this stereotype applies to the very old ones (and this is primarily because back then it was damn near an impossible task to animate a realistic-looking human, let alone a MALE human), yet it has been applied to any Disney Prince that isn't Flynn Rider (and quite possibly Naveen, even) and it low-key upsets me because it's far from true. I saw a post that said that there were only two Disney Princes (guess who they were!) that were "worth anything" (obviously stating the rest were just worthless) and that pissed me off. The only time they ever get brought up is to bash the Princessess instead of looking at the positive qualities that they have because, yes, they do have those! They aren't just there to look good and exist. I think they should be defended more because I honestly think they are just as misunderstood, if not more, in some cases.

[ksfoxwald]

Fire and Hemlock Readalong: Part 3 Chapter 4

There's a LOT of ground to cover here, so let's go!

Polly returns home to Granny, who calls Ivy out on her bullshit. Children don't have a lot of context for the way adults act, but we're seeing with the quartet and now with Granny that there are now adults saying that the way Ivy treats Polly is not okay, and that starts to make it more real.

Granny decides that she is going to get custody of Polly in a decidedly "warlike" manner - so we have another female hero in some ways, another way of women to be powerful besides imitating men (Hero) or using sex to control men (Laurel).

We also see the return of Seb, this time with a camera. Polly already has two significant photos from the House, and Seb's may or may not be considered a third. Laurel, it seems, prefers music but does like the arts in general, as several of her other conquests have been photographers, though whether Seb is aware of this is unknown.

Photography is an interesting motif because it's a way of capturing an image that is supposedly true, but as we've seen with the shifting nature of the Fire and Hemlock photo, that is not always the case. It's another blurring of real/unreal like Nowhere.

Granny, strangely, encourages Seb's crush on Polly, though Polly herself is dubious, at first not realizing what Seb wants and then feeling uncomfortable about it. Perhaps Granny is compensating for her earlier hostility toward Tom. Or perhaps she sees him as less threatening because he's closer in age to Polly, but he's like sixteen to Polly's twelve, which is still highly questionable. In fact, when Polly finally does manage to tell him off, that's exactly what she says. "Go away and don't come back for a year! I'm too young!"

At school Polly performs in Twelfth Night, another classic crossdressing story, and Nina is going through an activist phase like any good queerling. It's a bit heroic of her, honestly, and yet another way she parallels Polly. The girls also manage to meet Leslie at Town Hall as they had arranged earlier, and though we don't learn much, we do establish that he and Seb know each other and that he has a "broken home of some kind." I guess your dad pretending that your mom is actually his sister in order to hide from a Faerie Queen can be considered a broken home.

Meanwhile, Polly finally manages to compose her Epic Novel about Nowhere. Interestingly we do get a mention of a bit where "Hero herself became a king's daughter who had to run away from home because of the machinations of her beautiful but evil girl-cousin," a trope which I earlier noted seemed conspicuously absent but fits with her unconscious dismissal of women as heroes. The whole novel is very tropey, because she is fourteen. Tom's response is the iconic:

Sentimental drivel.

In a way this is also one of the pictures from the House coming true. One of the rejected pictures was of a knight praying at an altar; Polly suggests he might be a trainee-hero, and Tom says it's "soppy." In any case, we've known Tom has Opinions on this sort of thing since the beginning.

The scene we get as an example is of Tan Coul getting wounded in the shoulder, and Hero having to dress the wound, while admiring the "smooth, powerful muscles rippling under the silken skin of his back."

Polly's latent sexuality is emerging in this scene, though she's still only comfortable expressing it in her imagination and not in reality; Her reaction to Seb kissing her is "What a funny thing to do! What do people see in it?"

But every teenager knows that there is a huge difference between a hurt/comfort fic starring your self-insert OC and a clumsy teen boy who, as Granny puts it "When he's noticed there are other people in the world besides himself, there might be no harm in Master Sebastian."

Polly is furious at Tom, demanding an explanation, so he sends her a very vivid description of normal human backs by way of Sam. But it's not until Polly goes and talks with Ivy, who has a new lodger and blames Polly for all her problems, that she realizes "there were ways of thought that were quite unreal, and the same ways went on being unreal even in the hero business."

This is a very fundamental part of Diana's writing. In her essay "Two Kinds of Writing" she describes part of her process as being "Now what would really happen [to these real people] in this situation?" (the situation being crashing a spaceship in an alternate world in order to seduce ascetic monks, because of course it is. Go read A Sudden Wild Magic if you can get your hands on it, it's bonkers even by DWJ standards).

But this also reminds me of current Discourse in fantasy circles about "realism," because it usually comes down to "it's not realistic for people to be brown or queer in a medeivalesque setting" vs. "if you can accept dragons why not queer people or people of color?", I haven't seen much talk on defining what "realism" means for fantasy, and what purpose it serves. Because fantasy is about making up situations, but the people should still behave like people, and that means there will be queer people and people of color and people with a variety of backs that most definitely do not look like silk.

Tom, of course, has an agenda here, because the things they make up work better when they are rooted in reality. Their magic is in many ways a metaphor for the creative process (see also Diana's novel Hexwood, which is in many ways a metaphor for the editing process) as well.

Perhaps seeing Polly with the quartet also reframed Tom's concept of their relationship, because he's pulling away again. He does not come to Twelfth Night - which is ultimately a romance - but he does come to Sports Day, which is part of Polly's hero training and thus puts her back in the safely nonsexual category of "boy/child assistant." Still, he does not stay and talk, leaving only a postcard with a drawing of himself as a kangaroo before the quartet sets off on a tour of Australia.

"He thinks I'm just a child!" Polly said angrily. "Well you are," said Granny.

Polly seems to have forgotten her "I'm too young!" to Seb; or perhaps does not see any connection to her relationship with Tom; or perhaps is simply experiencing the Nowhere state of being a teenager as constantly too-young and too-old all at the same time.

[deadbiwrites]

a video of supergirl grabbing lena luthor's ass starts circulating and it's very embarrassing for sc but extremely funny to their friends

(I am SO sorry. Where do these hide? Why do I never see them? How long has this been here?!

Anyways, have some cute nonsense!)

The day starts like any other, honestly.

Like, sure, Kara’s never thrilled when she wakes up 20 minutes late and has to use superspeed to get through her morning routine and into the office on time, but it happens regularly enough that she’s just sort of used to it by now. Like, the sky is blue, the grass is green, she manages time poorly. Whatever.

But she does get to work on time, with just enough to spare that she can make a brief detour to Nia’s desk for the coffee her protege has already bought for her, thank her profusely (with perhaps minor promising of firstborn children), and slip into the morning meeting just as Snapper, James, and Lena start handing out assignments for the day.

“Well, well, good of you to join us, Ponytail. Let me guess, a family emergency kept you out all night again?”

‘I mean, that Abraxian wasn’t my family, technically, but someone’s family, so…’ “Something like that. Sorry.”

Lena catches her eye and quirks a brow in question, but Kara just shrugs easily and sips her coffee, pulling a silly face at her friend when Snapper’s attention moves away from her. When her eyes uncross, she can tell Lena is fighting not to laugh, eyes sparking with mirth as she bites her lip. Kara takes another sip of coffee, feeling a bit smug that she can get Lena to smile without even having to say anything to her. That’s real talent, right there.

Especially since Lena has to stand up at the front with James, who has been by turns cold, dejected, and surly toward her since their breakup (a big, real, final one) a few weeks prior. Lena had said that the whole thing was a mistake, that she should’ve never gone for it in the first place because she’d been right the first time- they’d had some chemistry, after all, but it certainly wasn’t compatible long-term. 

Which… Kara can certainly relate. Like, a lot.

Especially about the whole… James being kind of wounded about it part. That part had really sucked- when he’d done it with Kara, who he’d gone on like, a date with, it’d resulted in him deciding to become a vigilante. Rao only knows what he’ll do when it’s someone he dated on and off for over a year...

“Ponytail!”

Kara jumps, realizing too late that her wandering attention hasn’t gone unnoticed. “Yes, sir?”

Snapper rolls his eyes. “Great, now that you’ve stopped orbiting Saturn, you wanna go get that article started?”

Kara’s eyes widen slightly in a panic as she realizes that she has no idea what he’s talking about. “Uh…” Behind his back, Lena catches her eye and nods subtly. Thank Rao. “Yes. I super do.”

Lena snorts, James sighs deeply, and the meeting is adjourned.

**

“So what exactly am I supposed to be doing today?” Kara asks Lena as they stroll out of the conference room together.

“Well unfortunately for you, you have to interview a big-time CEO. You have a meeting scheduled with her in three hours.”

“You?” Kara asks hopefully.

“You’re very sweet,” Lena chuckles. “No, Elena Watts. She’s a real estate developer, and she runs a nonprofit organization for homeless youth. It’s one of the articles we’re doing for next month’s spread. Contrary to popular belief, Cat and I weren’t the only women with high-profile jobs in this city. ”

“Oh, that’s pretty cool! Have you met her?”

“Not personally, no, but I have donated to her charity- it’s a very good cause, especially the outreach they do with queer youth.”

Kara elbows Lena gently. “You’re such a softie.”

“Mmm, maybe. But if you tell anyone, you’re fired.”

Kara clutches a hand to her chest, feigning horror. “Why Miss Luthor, what a blatant abuse of power!”

Lena shrugs. “I’m a Luthor, darling, I have to keep up appearances somehow.”

“Ouch,” Kara laughs. “See you at lunch?”

“Only if lunch includes a milkshake- I have a teleconference with both boards today. Unless you feel like joining me?”

“Wow, well as fun as that sounds, I’m gonna go do literally anything else.” Her comms crackle to life, alerting her of a hostage situation downtown, and Kara sighs. So much for a work day. “Alright, well, I’m, um, gonna go… see what I can find on Elena Watts. Maybe over another cup of coffee at Noonan’s.” She widens her eyes a bit, trying her best to convey that she’s going to be on Super-duty for a little while.

Thankfully, Lena picks up on it and grins. “You just want sticky buns.”

“Lena, I always want sticky buns. They’re like, my second favorite thing to eat.”

“Oh? What’s the first?” Lena asks, voice just a bit lower than usual. 

Kara opens her mouth and closes it, flushing slightly as she averts her gaze and adjusts the laptop bag on her shoulder. Stuff like that has been happening more and more, and she’s not 100% sure what to do about it. Because on the one hand, it makes her stomach do flips and tie up in knots and makes her brain do this… staticky thing where nothing filters in or out, just a pleasant buzz of how funny and smart Lena is and how much Kara likes hanging out with her and being flirted with (because that’s definitely what’s been happening, even if neither of them is really ready to address it) and just generally looking at Lena.... who is currently biting her lip and grinning up at Kara, and that buzz makes her kinda dumb, which is just really unhelpful. But on the other hand, it’s also kinda awesome and Kara really enjoys it, and-

“Kara?”

She spaced out again. Crap.

“Um. What time are you free for lunch?”

Lena sighs, seeming slightly disappointed that Kara isn’t flirting back at the moment (and thank Rao Lena can’t read minds), but she smiles back easily enough as they step off of the elevator. “I should be done by two.”

Feeling emboldened, Kara turns so she’s walking backwards in front of Lena and grins. “It’s a date,” she says with a grin, ducking forward to press a quick “friendly” kiss high on Lena’s cheek. She whirls and jogs out the double doors, leaving Lena smiling exasperatedly after her.

**

It is genuinely baffling to Kara that people still commit crimes in National City. It’s not even an ego thing, really, since Kara tries to keep herself humble (even when she manages to wrap up a hostage situation within twenty seconds of arriving on-scene without injuring any of the criminals or damaging the building too badly). Like, yeah, she gets that there’s a certain element of crazies who just sorta gravitate to places with a local hero, the big-bads who have their own suits and geek-toys and abilities. Them, Kara gets. Kinda sorta. But the regular ones, who are armed with like, pistols? Or knives? Just regular man made stuff without even the benefit of magic or kryptonite or something?

Why? 

She’s sure that if she asked, Lena would have some sort of statistical thing about large cities and poverty and all sorts of other factors that would end up making Kara feel like a jerk for being uncharitable to the criminal element of her city, but at the moment she’s mostly too annoyed by the fact that she has to spend her weekdays chasing them around instead of chasing stories.

Once all the hostages are freed and the cops secure the scene, Kara departs, flying into the alley behind Noonan’s and changing into her regular clothes before she heads inside to do a bit of research before her meeting with Elena Watts in a few hours (just because she’d used it as a cover doesn’t mean it was a bad idea…). She finds her favorite little two-person booth tucked into a quiet corner, plugs in her laptop, and gets to work, asking the waitress to please keep both the coffee and the sticky buns coming.

She gets a surprising amount done by the time she needs to leave for the interview, having a good foundation for what she wants to write and who Elena Watts is.

Ms. Watts turns out to be a pretty nice lady around Eliza’s age, if a bit busy and distracted by the steady flow of people in and out of her office. She answers all Kara’s questions with aplomb, happy to elaborate on most every point and eager to draw attention to the rising issue of homelessness among children and teens in the US.

“When I was young, my dad lost his job at the auto plant. It was supposed to be a temporary layoff, but the factory never reopened. We ended up losing the house, and we lived so far from our extended family that staying with them wasn’t much of an option. We lived in our SUV for six months, sleeping at shelters every now and again, if we could find one that allowed families to stay together. We showered at the local YMCA. Five people and a dog, living and sleeping in an old station wagon- even now, it sounds ridiculous. Eventually, we got back on our feet, but I never forgot that. It was just six months, but it was- and remains- the scariest, most uncertain time in my entire life, and it shaped me in a lot of ways I didn’t expect. And there are kids and families who do that for years. I just want to help them the way I wish that someone had been able to help us.”

At the end of the interview, Kara thanks her profusely for her time and for sharing her story before hurrying off to CatCo to type up a draft for Snapper (“What’s wrong with you, Ponytail, why is everything you bring me sappy and sentimental?”), which she finishes an outline of just in time to send it off before running to Big Belly and L-Corp for lunch with Lena.

She greets the newest in a series of secretaries (Anna? Amy? Ava? Lena’s really missing Jess, these days, but from what she’s told Kara, Jess is kicking butt in her new role as VP of Operations and will probably take over for the COO when he retires in a few years), and the girl waves her in distractedly.

And that’s when Kara’s day goes from normal to not, because inside the office are two masked men holding a stone-faced Lena at gunpoint on her balcony and demanding… something, probably. Kara’s a bit distracted by the loaded gun aimed at Lena’s head.

“Hey!” she yells, attracting both their attention. They whirl on her and Lena’s eyes widen in alarm, and Kara suddenly realizes three things- 1) she’s in her Kara Danvers clothes, not the supersuit, 2) she can’t speed into the suit now that they’re both looking at her, and 3) she has no plan.

Crap.

“Who the hell are you?!” one of them demands.

Kara… doesn’t have a good or snappy answer for that, and instead does the only thing she can think of- she throws the large milkshakes she’s carrying at them as hard as she can.

Which, in retrospect, is too hard, apparently because while yes, it is both funny and gratifying to see two grown men get absolutely leveled by a tasty dairy treat to the face, the one closest to Lena manages to elbow her in such a way that she falls backwards over the rail with an instinctual scream that makes Kara’s heart fly into her throat. She whips off her glasses, and by the time she’s out the window and speeding toward Lena’s flailing form, the suit is materialized. She gets under Lena, catching her carefully and dropping a bit further before slowing down (because she’s been made aware that when she doesn’t, the people she’s saving may as well be hitting the pavement), finally coasting to a stop about 20 feet from the ground.

Lena’s face is screwed up in a forced sort of focus, her hands clutching tightly at Kara’s shoulders and cape as she holds her breath.

“Are you okay?” Kara asks quietly.

Lena swallows thickly and nods, eyes still firmly closed. “I’m alright. Thank you- I’ll admit, I wasn’t quite sure how to get out of that one.”

“What was that? What did they want?”

Lena cracks an eye open. “Oh. you know, just my quarterly assassination attempt. I think my mother was starting to miss me, so she wanted to reach out.”

Kara snorts. “That really shouldn’t be funny.”

“Maybe not, but here we are.” Lena shifts a bit in Kara’s arms, cheeks a bit flushed from the adrenaline rush, and clears her throat. “Not to be rude, Supergirl, but do you think that perhaps we could continue this conversation… on the ground?”

“Oh. Oh! Yeah, sorry. I forgot we were, uh, flying.”

Lena chuckles as they ascend slowly back up to her office. “You forgot you were flying?”

Kara shrugs with an easy smile. “I guess you have that effect on me.”

Lena huffs a laugh against Kara’s neck, eyes squeezed shut again. They alight on the balcony, finding the two men still unconscious, covered in Kara and Lena’s lunch. Lena sighs as Kara sets her down, pinching the bridge of her nose. “What a mess.”

“Yeah, sorry, I sorta… panicked.”  

“I was so looking forward to a milkshake too…” Lena laments playfully.

“Well, then I have good news and bad news,” Kara says. She reaches out and gently wipes a bit of her own chocolate shake from Lena’s cheek with the pad of her thumb, tucking it into her mouth on instinct to get a taste of it. “The good news is, you do, in fact, have some shake on you!”

“Whats the bad news?” 

“Also that you have some shake on you.” Kara laughs, gathering the two men in her arms and hefting them a bit so they’re easier to carry. “I’ll get you another one. Be right back.”

She drops the men at the police station with a brief explanation before flying back into the office. Lena hands over her discarded glasses with a wry grin.

“I figured you’d need these before the police arrive.” She’s putting on a brave front, but she’s clearly still more than a bit rattled, if her too-bright eyes and thundering heartbeat are anything to go by. Kara steps closer and opens her arms in invitation, and Lena doesn’t hesitate to step into them. “Thank you,” Lena says fervently, tucking her face into Kara’s shoulder and wrapping her arms tight around Kara’s waist. 

“Always,” Kara promises, daring to press a reassuring kiss to Lena’s temple (and getting a bit of Lena’s strawberry shake for her troubles) before wrapping her up even tighter in her arms. “Are you actually okay?”

“I mean, my fear of heights has been reaffirmed,” Lena jokes, “but aside from that, I’m not hurt.”

“Good. I don’t like, love people pointing guns at you. Just so you know.”

“I’m not a fan either, for the record,” Lena drawls, burrowing even closer. “Even though I know you’ll save me, it still puts a damper on my day.”

Kara huffs a laugh. “Same.”

They stay like that for a few minutes, until Lena’s calmed down enough to stop shaking and calls her assistant (Audra, apparently) in, telling her what’d happened and that the police would be arriving shortly to take her and Kara’s statements, and please advise the security team to let them up discreetly. After the cops arrive, it’s a blur of questions, and Kara has to concentrate on telling the story of how she’d panicked and thrown the milkshakes at the men, and one of them had knocked Lena over the balcony (all true), and Kara had yelled for Supergirl, who had knocked the men out on her way to Lena (also technically mostly true. Technically. Mostly.). The police are sure to tell Kara that next time, she shouldn’t throw things at people with guns, and also to tell them both how lucky they are that Supergirl had shown up when she did.

“She’s always there when I need her,” Lena agrees, throwing a sly wink over the officer’s shoulder at Kara.

Kara just shakes her head and smiles. Even almost dying isn’t enough to make Lena not flirt with her. The woman is truly a marvel.

Kara’s comms crackle again, accompanied by Alex’s custom ringtone on her cell, and after assuring the police that she has no issue with giving another statement if they need her to later, hurries over to the DEO (making a quick stop in the back alley to change into her suit).

**

When Kara arrives, she’s told that J’onn and Alex are waiting for her in the Directors’ offices. She makes her way there, waving to the agents and scientists she knows. But it’s very weird, because every time one of them sees her, they start giggling before quickly hurrying off in the opposite direction. Like, literally everyone is whispering and pointing and giggling, and it’s giving Kara such visceral flashbacks to high school that it’s all she can do to not check her cape for a taped on sign that says ‘Kick me’ or ‘Freak’.

(Kids are mean.)

By the time Kara gets to her destination, she’s fully paranoid, sure that someone’s playing a prank on her, somehow, and that everyone but her is in on the joke. She opens the door with more force than intended and catches it just before the handle puts a hole in the wall, throwing Alex and J’onn a sheepish smile. She closes the door extra gently and leans against it heavily. J’onn and Alex just stare at her, looking thoroughly unimpressed.

“Busy day, Supergirl?” Alex asks, and after half a lifetime of spending time with her, Kara recognizes that she, too, is trying not to laugh. 

Kara’s had enough. “Okay, do I have something on my face? Or on the suit? Is someone messing with me?”

J’onn’s brow furrows. “No.”

“Then what’s the deal? Why is the entire DEO like… laughing at me? Did someone accidentally vent the lab fumes out into the main hub again?”

“No.”

“Did someone see me crash into that billboard last week?”

J’onn’s frown deepens. “What?”

“No,” Alex answers.

“Then why is everyone laughing at me?!”

“I mean, if I had to guess, I’d say it’s because of that,” Alex muses, nodding toward the big TV on the wall beside Kara.

She steps back to watch the news coverage of her dealing with the hostage situation this morning and frowns. “What, those guys? That was routine, what’s so funny about tha-”

“No, no, not that. That,” Alex clarifies, cranking up the volume.

“...reports are saying that the CEO of L-Corp, Lena Luthor, experienced an attempt on her life early this afternoon. Sources claim that she fell from a considerable height-”

“Hey, she was pushed,” Kara corrects.

“Shh!”

“...caught by Supergirl, who may have gotten a little… familiar with her.”

And there’s a video (clearly recorded on a cell phone but not the worst quality Kara’s ever seen) of Kara catching Lena and slowing to a stop above the sidewalk, of them talking quietly, of Kara’s hand definitely on Lena’s-

“Oh. Oh no.”

“Oh yes,” Alex drawls, clicking the TV off with relish, a large, evil-big-sister grin spreading across her face. “Congratulations, Supergirl- the world just watched you grope Lena Luthor’s ass.”

“But I’m not- I wasn’t groping, I was catching! My hands weren’t… If it was groping, I’d be all up on her, and I wasn’t!”

“Camera begs to differ. It’s already trending on Twitter in National CIty.”

Kara puts her head in her hands and groans. “Why?! I was trying to save her!”

“You were definitely trying to save part of her,” Alex agrees. “Granted, it’s a very nice part...”

Kara’s head pops up, and she shoots Alex a look that’s between a pout and a glare. “You’re not helping.”

Alex feigns confusion. “Am I supposed to be helping?”

“Alright, enough,” J’onn cuts in before Kara can retort. “We just wanted you to be aware. I don’t think that this is going to be taken for anything more than it is- a humorous moment in the middle of a successful rescue. You shouldn’t worry about the press.”

And truth be told, Kara isn't worried about the press- she’s worried about the fact that she’s going to have to face Lena after this. Lena, who she knows for a fact has google alerts set for herself, Kara Danvers, and Supergirl, a gesture which is normally actually sweet and kind but is right now definitely gonna bite her in the-

“Okay! So, is that all?”

Alex blinks, looks over at J’onn, and shrugs. “I mean, yeah. Try not to make a habit of groping your crush when you’re in the suit.”

“I wasn’t groping her-”

Alex grins. “So you admit you have a crush? Interesting…”

“Alex!”

**

J’onn’s prediction is mostly right- no one seems to be taking the shots of her grabbi- saving Lena as anything other than a funny blip of a moment in their coverage of it.

He was wrong about the sheer scale. The clip had gone totally viral in a matter of hours, and seemingly every major network in the country has run the clip at least once as a bit of filler-fluff, and almost every major network anchor (including the ones at CatCo, the traitors) has made at least a passing joke about Supergirl being ‘Super-Handsy'.

Which means that Kara is very late getting back to Lena’s office with replacement food. But like, she’s been busy, okay? It’s not like she’s avoiding Lena, or something, because she’s embarrassed- which she isn’t, because she didn’t do anything bad or wrong and-

Anyways, it’s well past sunset by the time Kara gets to Lena’s office door again. She hesitates outside it for just a moment before shouldering the door open and knocking tentatively.

Lena’s attention jerks from whatever she’d been absorbed in to Kara, and a relieved smile blooms across her face. “Hey there.”

Kara finds herself equally relieved to not experience a repeat performance of earlier scary situations. “Hi,” Kara says, unable to resist smiling back. She raises the bags and cup carrier. “I bring grease and milkshakes. Again.”

“Oh thank god, I’m starving,” Lena says, rolling her chair away from her desk and rising into a deep and probably much-needed stretch. Kara very determinedly does not stare at the slight sliver of soft tummy that appears between her blouse and skirt at the motion. “I’ve been staring at this screen for several hours. And Sam called to yell at me- she says hello, by the way- she and Ruby are in town next weekend.”

“Good!” Kara crosses the room to the couch as Lena does, easily spreading out the veritable buffet of fast food she’d brought over the coffee table. “I mean, not good that she yelled at you, or that you’re still at work, Miss Luthor,” she says pointedly, receiving only an unapologetic shrug in response. “But good that, um-”

“I get it,” Lena chuckles, resting a hand lightly on Kara’s knee and boy, if that doesn’t make Kara’s brain go fuzzy and dumb again… “Thank you, for checking in.”

“Of course I was gonna check on you, Lena,” Kara huffs. “Plus, I know you probably didn’t get lunch, so…”

Lena hums around a mouthful of burger, chewing until she can politely speak again. “Well it’s delicious. Did you make it yourself?” she teases with a sly grin.

“Oh, yeah, totally. Slaved away over a hot stove for this- I just wrapped it in Big Belly wrappers so you wouldn’t feel bad about it.”

“Very clever.” Lena pops the lid off of her milkshake and drags a fry through it (an advanced culinary delicacy Kara had horrified her with initially but had eventually become a bit of a guilty pleasure). “Although I have to say, traditionally you’d have to buy me dinner before you grabbed my ass.”

Kara chokes on a pickle. “Oh no,” she groans, dropping the burger onto the wrapper on the table and dropping her very red face into her hands as Lena laughs beside her. She peers out from between her fingers. “I am so sorry, I was just worried about you hitting the pavement and like, catching you in the least jarring way and I wasn’t paying attention to where my hands were and I didn’t even notice until I got back to the DEO and-”

“Well I have so say, I feel a bit offended that you didn’t even realize you were copping a feel...” When the only response is another groan and a deep flush spreading from Kara’s neck to the tips of her ears, Lena relents. “Kara, Kara, it’s fine!” she laughs, pulling Kara’s hands away from her face and giving them a grounding squeeze. “Nia’s been sending me memes about it all day, which has improved my mood significantly. On the grand scale of fallout from assassination attempts, this one was at least funny.”

“I know that’s supposed to be comforting, but all it makes me wanna do is wrap you in bubble wrap forever,” Kara informs her.

“Pass on that. But seriously, don’t worry about it- I know it wasn’t on purpose- unfortunately for me, you’re too noble to do something like that,” Lena laments playfully.

And whether it’s the knowledge that Lena is not, in fact, upset, the overall weirdness that has been this day, or this delicious burger fueling it, Kara feels a bit emboldened. “Hey Lena…”

“Yes?”

“What if I wanted to grab your butt? Just, y’know, as a hypothetical. For future reference.”

Lena quirks a brow at her, fighting a smile as she contemplates this. “Hmm. Strictly hypothetically?”

Kara scoots a bit closer on the couch. “Sure.”

 “Well, you’ve already bought me dinner…”

“And lunch, technically. Even if I gave it to the bad guys.”

“True. Plus you saved my life, so that gets you some points, probably.”

Kara pauses in her sly scooching. “Oh, hey, wait, no, that’s not-” 

“Kidding, Kara. I know you’d never use that to your advantage. I, however, have determined that strong moral fibre and nobility do, in fact, earn you more points, which is my choice on the matter and you get absolutely no say in it.”

“Oh. Um, alright, I think.”

Lena stares off into the middle distance, tapping her forefinger thoughtfully against her chin. Finally she shrugs. “Yes, I think you’re fulfilled the prerequisites for a bit of grab-ass today.”

Kara snorts, Lena laughs, and soon enough Kara takes her up on the offer.

**

“Hey Kara, remember that time you grabbed Lena’s ass and it made international news?” Nia asks around a mouthful of mushu pork.

“You mean last week? Yes, I remember,” Kara drawls. Beside her/halfway sitting on her lap, Lena snorts.

“That was the best.”

Alex glares. “Um, excuse you, no. No it was not. I had to sift through so much thirsting over my sister on like, every social media platform. It was the worst day of my life.”

Brainy’s brow furrows. “Surely that cannot be correct, Alex. Statistically speaking-”

Alex holds up a hand, cutting him off. “Trauma can’t be measured, Brainy.”

Kelly chuckles and presses a consoling kiss to Alex’s cheek, and it makes the tough agent melt into a doe-eyed puddle of mush that Kara snorts. And she says they’re gross... Kara sneaks a glance at Lena from the corner of her eye, and she catches Lena looking at her. She leans close and jostles her gently as she drops her head onto Lena’ shoulder. “We’re never gonna live that down, are we?”

“Probably not.”

“We have the worst friends.” When this elicits nothing but a chuckle, Kara tips her head back to see Lena still looking at her, a soft smile playing at her mouth and shining in her eyes. And like, this whole thing they’re doing is new, with the kissing and the actual dates and the... everything else. But the thing where Kara catches Lena looking at her and she doesn’t look away? That freakin’ knocks her out, every single time. “Hey,” she manages.

Lena grins down at her. “Hi.”

So yeah. Maybe the initial circumstances weren’t ideal, and she doesn’t love the mockery that’s been heaped upon her by all of her friends and loved ones (including Winn, who’d sent a missive from the future that literally just said ‘LOL’). But the fact is, Kara muses as she surges up just enough to kiss the corner of Lena’s mouth, that she doesn’t regret a thing.

[stellocchia]

I really liked Wilbur's lore stream from yesterday, so you guys are getting a short stream analysis from me

As always dialogue is color-coded: Wilbur, Tubbo, Ranboo

And since I'm the least concise person ever everything is under the cut

The stream is (DSMP LORE) A Year Later

The stream starts with Wilbur singing the L'Manburg anthem to Ranboo. It is interesting to notice that, just like all the streams since he's been back he doesn't start off the stream by addressing chat in any way but already taking with someone in-universe.

"I'm a big big fan of the song (...) (Wilbur notices that Ranboo was muted) so sorry, let's try again: have you heard that song before?" "Yeah I have, I have. I have- I've had a friend that sings it quite a lot" “Good, good, and I was gonna say, it’s obviously based on Hallelujah right? But the thing is, the thing is Ranboo, right? But the thing is- the thing is Ranboo, right? Is that the reason we did it is because Tommy used to sing Hallelujah to the plants" "Oh, to the plants?" "Yeah! In- in the- around the- around the uhm... around the thing! You know the- the caravan? (...) so, my man, Tommy used to sing to the plants to make them grow better and that was the song he used to sing and so I thought what a way to honour Tommy, you know, one of the most- one of the most loyal members or of our fair nation than by naming the song after him, you know? And singing it based on his little- his little Muse. Tommy is a- Tommy is all of our Muse really I'd say"

I cut as much of this quote as I could while still leaving it well understandable and leaving in everything I wanted to talk about, but man is it long... So let's break it down a bit at a time:

1) The friend that Ranboo referenced that sings the anthem a lot is most likely Tubbo considering that they met him later on in this stream while he was singing that very song

2) The memory of the song seems to still be a particularly pleasant one for Wilbur, which probably explains why Ghostbur as well was so fond of it. He speaks about it positively throughout and it generally seems like an overall positive moment of reminiscence, probably because it's a callback to a simpler time when Wilbur too was, you know, happier overall. It's a reminder of a time before the worsening of his spiral.

3) Also interesting that they kept it in canon that Tommy singing to the plants was what inspired the anthem. Especially because I'm not entirely sure if that's the case considering that the actual anthem wasn't written by cc!Wilbur but by a fan upon his request (obviously this is outside the story).

4) Last thing I wanted to mention was Wilbur describing Tommy as a Muse. Muses in mythology are the inspirational goddesses of the arts, music, and science, Tommy aside from the anthem obviously isn't that. But it is interesting that Tommy does take a central role when it comes to motivating people. We could say that Techno's speech on the 16th was inspired by him since it was directed at him. Similarly, Niki and Jack had their arcs revolving around him. Tommy was able to rally the troops with ease multiple times. And Dream's obsession with him itself is the main motivator for, like, 90% of his actions. So, while he may not cover the role of a muse literally it's not a comparison that is too far off...

They headed to the museum afterward and took notice of the Ranboo poster being missing. And then they headed off to L'Manburg (which, by the way, looks amazing, thank you cc!Phil for that one).

"It goes by L'Manhole now apparently" "I- yeah it's kinda- ugh- I'm not a fan. It's kinda rude to L'Manburg's history, you know? It- it's called L'Manburg. It's called L'Manburg. NOT Manberg, not L'Crater or whatever. L'Manhole, I don't care, it's now L'Manburg, it's always L'Manburg, okay?"

It's interesting that not too long ago he was saying that even L'Manburg itself (with an emphasis on the name) wasn't what was actually important, the purpose of it was. He admits later on that he lied in that conversation, but it's impressive how quickly he trusted Ranboo enough to let him see how much he still cared about L'Manburg when he was so intent on lying about it not too long ago.

Wilbur's enthusiasm about seeing the flag is another nice confirmation about him still caring deeply for his old nation.

"Damn, I really went down to bedrock, didn't I? Holy shit I did- I did a number on this place" (I wonder why Ranboo didn't correct him on this, because Ranboo knows that Techno, Phil, and Dream are the ones who actually exploded the country down to bedrock...)

They end up seeing Tubbo on the other side of the crater and head over to him. While they're heading there Tubbo is singing the anthem himself in a very mournful tone.

One interesting thing that I noticed it's that it's Wilbur that heads towards Tubbo's location instead of having Tubbo go to him like he mostly did with Tommy for example. I suppose it could be because Tubbo having been a president himself is in less of a subordinate position to Wilbur than Tommy who's always been a simple soldier.

"It's like looking in a little mirror, look you're wearing my suit still? How long have you been wearing that?" "Oh I just put it on, just for today" (in a similar fashion to Jack bringing out the L'Manburg uniform to reminisce, Tubbo also brought out clothes he strongly attaches the memory of L'Manburg to)

"Ranboo have you met Tubbo?" "Yeah, yeah. I've- I've met him, I mean we've, uhm... we've been around" (Ranboo still minimizing his relationship with Tubbo to Wilbur. Of course, this is because he doesn't trust him but it's interesting that he isn't even honest about that)

After a bit of back and forth, Wilbur starts apologizing to Tubbo. At first, like most other times he's having a serious discussion he puts himself in an elevated position to tower over Tubbo. It's a neat way to show how his own desire for control affects him, having Wilbur literally elevate himself over others when speaking to them. Literally putting Tubbo down in this situation. Which does make the beginning of his apology very obviously feel insincere.

"I'm sorry for making you president specifically before blowing it up and I'm sorry for when I did this *pointing at the crater* and blew all this up and making this whole. I'm sorry that I uh- that I said that you were the president of a crater"

This is that first part of the apology I mentioned. Just to clarify, I don't actually think that it was entirely insincere. It just feels less impactful due to Wilbur putting himself in a position of superiority over Tubbo, especially because it's something we've seen him do before. It's also to be noted that this time, like others before, he seems to be apologizing less out of actual guilt and more out of a desire to earn forgiveness. Which is not a critique by the way. I just feel like that's a misconception Wilbur has, that apologies serve the purpose of confirming to him that he's doing a good job at changing more than to actually make amends for what he's done. The reason why I think that's the case for the beginning part of this apology as well it's because of how fast he went to ask tubbo if he forgave him, which did put a certain level of pressure on Tubbo in this situation.

"I mean it wasn't- this wasn't all you Wilbur" (thank you tubbo for finally dispelling some of those misunderstandings)

"Yeah so me and mainly Ghostbur honestly, like-" "Ghostbur" (some more of Wilbur not being too fond of Ghostbur)

"Right is he [Ghostbur] this obsidian crap then I take it and these- these fucking dumb lanterns up here" (a bit more)

To correct Wilbur's misconceptions Tubbo starts off asking if the other knew Dream, to which Wilbur responds with how much he appreciates Dream and how he's his hero, which makes Tubbo backtrack and blames most of Doomsday on Techno and Phil. Which, as we know, isn't actually accurate and I have a feeling that this misinformation will be harmful later on once Dream is out of prison (though I don't blame Tubbo for backtracking with how enthusiastic Wilbur is, that was the basic conflict-avoidant approach that Tubbo seems to prefer).

"They rained tnt for days" (if this is actually canon then Doomsday was even more of a tragedy than we previously saw it as. It was days filled with fighting and destruction. Then again, Tubbo has misremembered traumatizing events before)

"Techno and Phil, they hated the government. I mean it was partially my fault as well" "But you didn't blow it up" "No I didn't. I would never have wished or anything like this to happen" "So it was just Techno and Phil?" *long pause* "Y-yeees"

Two things to say here:

1) I appreciate someone in canon recognizing that it's not Tubbo's fault for what happened to L'Manburg and blaming the people who actually blew it up, similarly to how I appreciate Wilbur bringing up with Tommy that it was clearly Dream pulling the strings with his exile with Tubbo. It's nice having it stated plainly for people to hear

2) This is the misconception I mentioned. This is most certainly gonna backfire at some point.

After that Wilbur commends Tubbo quite a lot for rebuilding New L'Manburg (once again being dismissive towards Ghostbur) and is clearly enthusiastic about it, even going as far as to say that that mattered more to him than them building him a grave.

"I just, I feel lost without L'Manburg. All my core beliefs, everything died with it" "You feel lost without a nation..." "I have no purpose anymore" "I guess that's where anarchy fails" (I think this may be the first time someone admits it to someone else, even though that lack of purpose and feeling disoriented is very obviously a shared sentiment amongst the ex-citizens)

After that, it's when Wilbur invites Tubbo to join Paradise, the, supposedly burger van with a small house attached to it that wasn't supposed to become a nation. I have a feeling that the proposition coming right after that exchange may imply that Wilbur changed his mind on it. He does purposefully put himself again in an elevated position when making the proposition.

"Would you like to come join me in Paradise? Literally" "Hmmm, I'm not sure Wilbur. I'm not sure I trust you man, I need to- in order to follow someone I need to trust them" "Wait, wait but you- I thought you forgave me! I thought it was, you know it-" "Wilbur I forgive you because I like to hang on to the hope that people can change, but-"

This is what I mean when I say that Wilbur's apologies come with expectations for the person he's apologizing to. By asking Tubbo first if he forgave him when he originally apologized, he already made it harder for Tubbo to refute that. And now we learn that he expected trust to come along with forgiveness. He's not doing this maliciously of course, but he does seem to have some misconceptions on this.

"I know you had that- that at the festival? With Technoblade? I never spoke to you properly about this. I- I could have saved you" "But you didn't" (other people brought this up, but this is a neat little parallel to the one scene in exile where Ranboo was lamenting about how he should have gone with Tommy and Tommy shut him down pointing out that anyone could have gone but no one actually did)

There is a second round of apologies and Wilbur is still standing higher than Tubbo, BUT he does put himself on his same level after he did a bit more pushing and found that Tubbo was standing his ground. He finally puts himself on the same level as Tubbo and openly acknowledges his boundaries which is the first actual real effort to change that we've seen from Wilbur. Which I'd say is a pretty important step for him.

"Wilbur in order for you to gain my trust back you have to prove it, I can't just give it out anymore. I used to be able to but I just- I just can't" (acknowledgement of how Tubbo's trauma also affected him deeply)

"You know I still have dreams, right? Of the explosion. And- and of the fireworks. And- and all of it. I- I still- I vividly see all of it. Every day. It hurts. It hurts a lot Wilbur"

I want to commend Tubbo here for being able to open up like this, especially considering how much he generally leans into denial and how much he usually suppress. And on top of that this is Tubbo acknowledging that both Wilbur's actions (the explosion) and Techno's actions (the fireworks) have hurt him and STILL hurt him and affect him deeply. It's quite a big admission especially for him.

"Sorry feels like such a weak word. I feel like there's nothing stronger that I can say" (first time that he's standing on the same level of Tubbo while apologizing)

"You're so strong man. Genuinely. You just- just the fact that you proved to me just there that you have this memories, that you have this nightmares and you still find it in your heart to forgive me. That's... you're a fucking champion man. You- you're a hero"

It's interesting that the reason why he claims Tubbo to be strong here is because he forgave him. It's not something that's inherently about Tubbo, like the fact that he still found the strength to go on and rebuild after the events he mentioned, for example, no. What Wilbur brought up is the one thing that Tubbo did for him. Which tells me that he still clearly has a bit of way to go to learn how to make amends and how redemption actually works, but, you know, that's to be expected honestly.

Wilbur moves on by inviting Tubbo to at least come and see Paradise, just to see what they'd made and Tubbo refuses because he wanted to spend more time reminiscing. Wilbur this time respect Tubbo's boundaries with no pushing which is yet another step forward for him honestly. Wilbur also gives Tubbo a "lucky rabbit's foot" that Tommy gave him to cheer him up and assure him that he had no problems with him not going.

With this their conversation comes to a close and Wilbur and Ranboo head over to Paradise (though not before Ranboo has confirmed with Tubbo that he actually does want to be left alone).

"You know I was gonna say 'this is hard' but obviously it's hard. I mean, you know, I've..." (a bit of reflection on his actions for Wilbur, you love to see it!)

"It's gonna get better! It's gonna get better! And it's gonna be worth it when I see them smiling. All of them. Tubbo, Jack, Niki, Tommy, anyone!" (I'm pretty sure that this is a genuine sentiment right here. It really does seem that wilbur's Big Plan right now is just to make amends and change)

"Do you know who the original L'Manburg group were? Do you know who we were?" "I- I think most of them yeah... I think it was like: you, Jack, Niki, Fundy I believe as well" "Fundy was a bit after. Fundy was after we'd gotten independence"

I wonder if that's an actual misrememberance on Wilbur's part (c!Wilbur, not cc!Wilbur, I'm sure cc!Wilbur remembers this) or just him wanting to put some distance between his good memories of L'Manburg and Fundy. Because Jack and Niki weren't there for the independence war either and yet he singled out Fundy who was. And I doubt that he'd forget about his son being one of the people who lost their first life in the final control room. In addition to that Wilbur didn't mention Fundy before among those he wanted to make smile.

I really think that this was intentional and that it was because, well, Wilbur felt deeply betrayed by Fundy. And we as the audience know that Fundy only ever publicly stopped acknowledging him as his father to be able to stay undercover as a spy, but he doesn't. It wouldn't be so weird that he wanted to erase Fundy from his memories of the time when he was supposed to be happy.

"I try and keep this on the low because I don't want uh- I don't want people to use it against me is the main problem. I do wa- I didn't even tell Tommy, I lied to Tommy" "Yeah?" "I'll be honest I'm gonna tell him soon that I lied to him because if it- it kinda eats away at me. But I told- I told tommy that I didn't actually care about L'Manburg and that it was just like a tool for me to use to gain, you know, power and stuff, but it's not- it's not true. L'Manburg is- was really important to me. And it is still to this day"

Once again I'm surprised how little it took Wilbur to trust Ranboo with stuff he hasn't really told anyone else. Makes you really understand how low of an opinion of himself he has that when the first person that calls him "alright" out loud just gets his undying trust. Especially considering that Ranboo doesn't trust him back and hasn't been the most honset with him so far. It's also a nice spelled out admission for anyone who didn't get how much Wilbur cares about L'Manburg from the longing look he gave to the camaravan's replica in the stream where he said he never cared.

"I wanted history to live on, not as a stain caused by me, you know. I basically took a big shit on the history books it feels like" (just another interesting little insight on Wilbur's view of the situation)

"I've heard about what's Tommy's, you know, moved on... and how jack's moved on, and how Niki's moved on and everyone's moved on from L'Manburg at least partially, but Tubbo man, he's still..." (he only thinks the rest of them moved on because he hasn't spoken almost at all with two of them and he never really listened to Tommy. Also, again, Fundy is not mentioned)

"I don't know where I'd be without you [Ranboo] here right now man, I mean T-Tommy's great and all and he's here but I- I feel like, you know, I don't wanna- I don't wanna string him along too much because he's- I- when I look at him. When I look at him when he's helping me out building things with me I see the same eyes that looked at me when... when... There were some- there weren't some fun times in the ravine of Pogtopia. I wasn't a very well man and I can just see Tommy from that day"

This one was one heck of a confession!

I don't know if this is me misremembering, but I'm fairly sure that this is the first time he's admitted to not being great to Tommy specifically. Again, Tommy is the one person he met with so far that he hasn't apologized to. Heck! He told Tommy to his face that him being sorry for his actions didn't mean he wouldn't do them again. It's a pretty damn big admission to acknowledge that that behaviour (which is the same now, if not worse when only related to Tommy) wasn't good. It also shows that he's at least a bit aware of Tommy's emotions which is rarely shown honestly. Though whether he cares because of Tommy or because being around Tommy makes him feel guilty (which is what you'd expect him to feel) and he doesn't like that is to be determined still, mostly just because the phrasing was a bit uncertain at the moment.

"I know what it's like to have no one- or at least feel like no one trusts you. Uhm, and I- I've realized that if- if no one's with you then how can anyone really know when you've redeemed yourself? So that's why I'm here I guess" (Ranboo's answer to why he trusts Wilbur. Which he doesn't, but still)

And the stream ends with Wilbur saying he hopes Tubbo comes around to try out one of the burgers (though he does repeat that he doesn't want Ranboo to pressure him to join) and complimenting Ranboo a bit more.

[iturbide]

Oh damn, edelgard doesn't have a support with Flayn! Clearly she's racist against flayn!Oh wait, tons of characters don't have supports with flayn, and aren't able to spare seteth and flayn. I guess everyones just closet racist. :/

And Lindhardt didn't say "We aren't bringing edelgard cause she'd kill the dragon."

He ASKED to keep the trip a secret since the location concerned the saints of seiros and a holy weapon. Hell, Lindhardt even TELLS the professor to tell Edelgard about what happened for him.

You can't claim edelgard is racist towards all Dragons, when the only dragons she CAN be racist to all belong to the church she considers corrupt and are her enemies. She doesn't hate Rhea BECAUSE she's a dragon, she hates Rhea BECAUSE she's the head of the church she considers corrupt and the cause of the whole crest system.

Look, if you disagree this intensely with me, you really can block me. I'm not trying to change your mind, but this is my blog, and therefore a place for my opinions; said opinions never get much spread because I have a small follower count and my posts generally don't get reblogs, so blocking me is a very quick and effective way of making both our lives a heck of a lot easier, since you don't have to deal with me and vice versa.

With that said, though, she literally said that dragons were monsters. It is an actual in-game quote from her. I legitimately don't know how that can be spun into her not being anti-dragon.

Also, please not that I'm not saying calling into question that Flayn doesn't have supports with other characters in the game at large. I'm saying that the other House Leaders, who consistently have supports with every member of their house -- which includes Flayn since she's scripted to join if you pick them -- have supports with her, while Edelgard doesn't. I personally find it noteworthy because if you bring Lysithea on board -- whether it's just as a support character or full-on recruitment -- Edelgard can have at least a C support with her even if you eventually go on a Silver Snow run, at which point they can't go higher in their support chain. There's really no reason why Edelgard couldn't have had a C-B Support chain with Flayn, except that -- given her general feelings about dragons on the whole -- she may well have been purposefully keeping her distance from Flayn, knowing that she's actually a dragon. Again, there is the fact that only Byleth can spare Flayn, not Edelgard: it's not that she doesn't dislike either of them, it's that she kept a lot of her feelings under wraps until she was ready to make her move -- after all, she certainly played nice enough doing the archbishop's bidding up until the Holy Tomb mission.

In addition, going from saying "there's an option to spare Seteth and Flayn" to "anyone who can't is clearly racist" is a bit of a leap; the game is coded so that only Byleth has the option to spare several characters, while other units automatically treat them just as enemies. You can't have it both ways, saying that Edelgard's not anti-dragon because the option exists at all or that anyone who doesn't have the option has the same mindset. It's just how the game is coded. Honestly, Edelgard not having the option to spare them because of said coding is a knock that could be made against my argument, too -- but I'll own up to that.

And I really don't understand why Lake Teutates being "associated with the Saints" would be a problem for Edelgard if she wasn't directly opposed to dragons. There is literally a Saint there, and Linhardt seemed to have a feeling they'd meet up with Indech; if Edelgard weren't going to pose a threat to whatever they encountered, why would he recommend excluding her? He also asks Byleth to let Edelgard know "when the time is right" -- which doesn't sound like that time is now.

Here's the thing: Edelgard really, deeply believes that dragons are a problem. It's not just that Rhea's the head of the Church which she considers a problem: if that were the case, she wouldn't have said that Rhea is the leader of the monsters who have been controlling Fodlan. Heck, in the chapter where you face Claude, she asks Byleth "should the one leading the people of the world be someone with humanity or a creature that can merely masquerade as a human at will?" In her own words, several times throughout the course of the game, she makes it entirely clear that she does not regard dragons as human in any sense, and seems to view them without any kind of empathy whatsoever. Again, in the chapter where Flayn was kidnapped she didn't try to accelerate a child's rescue and in the end helped the Death Knight escape; even without knowing the internal politics between her and Those Who Slither, if she viewed Flayn as an actual child she could feasibly have done something to get her out of there sooner and passed it off as Byleth figuring things out themselves, because she's the only one of the three House leaders who has inside information into that situation.

There are very few dragons left, judging by the situation in Fodlan that we see in the game: most of them were massacred by Nemesis and their corpses desecrated to grant Crests to the Ten Elites and forge Heroes' Relics for their use. The few dragons who remain went into deep hiding or ended up associated with the Church (or both, as is the case with Indech and Macuil, who are considered Saints but left). But Edelgard, in her own words, says there are "monsters controlling Fodlan in secret" when confronted with The Immaculate One -- not that this is the monster who's been controlling Fodlan, but that this is the leader of them. Based on textual evidence, including her own personal words, she considers dragons to be inhuman monsters who have been manipulating mankind: that, to me, screams anti-dragon sentiment.

[amazingphilza]

DSMP!OC HEADCANNONS

i dunno if ppl on here make dsmp!ocs for themselves outside art but here’s my long list of headcannons?? idk what to call this, but assume all names have c! before it ofc :]

,, this is kinda messy & probably has a lot of plot holes but i just needed a space to write out all my thoughts LOL

also cw / ment of manipulation & ib: dsmp wiki <3

character origin :

previous life was the l’mantree :D

allegedly planted by schlatt, we will never know who’s my canonical parent(s)

reborn as a dryad after niki burns the l’mantree

i think being a dryad would fit especially since they’re typically nymphs of oak trees :]

appearance :

my character’s mc skin has long light brown hair & is seen wearing a flower crown with petals that are around the color of a pale violet and navy blue

clothing would consist of black shoes & a long light grey sweater that falls down to the legs and covers most of the hands which adorned with 2 black stripes on the upper arms

lore / history :

since my past life was the l’mantree, i would’ve known the ins and outs of the history when l’manburg was still standing, up until niki burned the tree

after witnessing everything, i’d hold a grudge on niki (+ allies?) and loyal to wilbur since he’s the whole person that made a meaning of the land of l’manburg

however i’d still be on edge w any side because i could sympathize with everyone to some extent after seeing some sort of distress from everyone at some point

i think seeing both sides of the spectrum when l’manburg/manburg still stood could change my perspective of some other characters

but at the same time, not everything was completely centered in l’manburg so i wouldn’t know the whole story of everyone’s character

i’m currently writing this just after tommy has left the prison & mostly everyone is treating him differently, so i’d try to befriend him by not showing that i dont care about his past & trauma but also not being fully faithful about our friendship ahaha,,,

he seems like the type that needs someone to see through his past history but tommy would definitely disapprove of my character visiting dream at the prison (i would do it anyway :))

vowing my current life to wilbur, i would help dream escape to revive wilbur & follow along with their plans of chaos

i don’t fully support dream but he is the only way to wilbur, making me comply with dream’s decisions

“growing up” in my past life and witnessing endless conflict, it is the only thing i know and understand; chaos

but i think during the process of helping dream & wilbur i’d keep my connection with them secret, being the person to obtain all the inside information they need

i could see myself as a type of equilibrium like ranboo but in a bad way, i don’t know how to explain it

but i would try befriending ranboo since he seems like he is involved in many things and would know a lot, despite his short term memory

unfortunately i’m not sure how much his character actually knows since i haven’t been able to watch his pov that much but i’m sure there’s a lot in his memory book...

to blend in as a normal person within the rest of the characters, i’d surround myself with connor a lot

not only because he needs more lore, connor is one of the “normal” citizens of the smp so i believe being with him doesn’t bring as much attention to myself, unlike people that’s related to the egg and their noticeable features after associating themselves with the egg

he is currently only on bad terms with techno which is rly good when comparing that to other characters and their relationships with other people

connor could probably sense my real intentions eventually & tell everyone else that i’m not who i say i am but if that’s my flaw & my downfall is caused by connor, so be it! sorry dream & wilbur

i feel like for being a young dryad, i’d still fool around with dream/wilbur & help give tommy an small “advantage” to defeating the two ?

like yes i’m supposed to be on your side but where’s the fun if tommy can’t do anything to begin with?

i honestly don’t know if wilbur was revived he’d actually be his vassal but let’s assume that happens, but either way i’m with wilbur on his decisions

but ya dream seems like the type to punish me for helping tommy and send me to the afterlife to learn & become smarter like wilbur had done or smth

in the end, i just want to give tommy bits and pieces that tease him from ending all the wars and problems he has been faced with

like here’s some info about dream and wilbur but it won’t be no where close to enough

but who knows, ghostbur said ‘villains are just heroes that aren’t convinced yet’ & maybe tommy could eventually grow on me & change my ways,,

maybe me fooling around & teasing tommy with answers he’s been searching for is a way to mask that i want to be a good person

ok but imagine after knowing so much about dream/wilbur, the revive book, & the afterlife & then i switch sides,,,

surely if tommy can’t put and end to them, dream would make sure i’m gone for good instead

but also if me & connor are in good terms & he’s canonically a necromancer & can bring ppl back to life,,,,

personality :

to all besides dream & wilbur, i’d try to act passive and friendly on the outside to get on everyone’s good side

however under the mask i am more mischievous & strive to cause more problems for everyone on the server from the inside out

in a way, i’ve taken up some of dream’s manipulative personality but still very understanding

i’d like to think of my character as a good listener,, trying to do less talking than others so i do not open up about my true self and intentions

i’ve seen rumors about schlatt & mexican dream also being revived along with wilbur & i feel like i’d have some soft spot for schlatt & pick up a few things from his own character, not sure what though

schlatt planted l’mantree theory, dad!schlatt au part 2 !! /j

because of my character’s closed off and quiet personality, i feel like i’d be pretty analytical

i would know how to slip between the cracks with some characters & notice the smallest things to make them question themselves

maybe my character is good at holding their composure, and not that susceptible to being “emotional” in a way so it’s easier to face people

like i understand when a situation is sad, etc but i can’t show emotion towards how i feel about it (i don’t know if that makes sense but ya!)

i wanna try to elaborate more,, like imagine my character before tommy visits the prison, i would be unfazed from when i found out he died to the point he’s released and we find out he’s been revived

everything is a constant blur hehe

i just can’t fully process everything i guess? i dunno if that’s helpful but yeah!

in the end though, my moral compass has been very tainted; despite wanting to show my loyalty, it can be slightly easy to sway me, making me internally feel guilty to other people

but me trying to get on everyone’s good side to impress wilbur/dream to seem useful to them would ruin me before i would even realize that i’m another “pawn”

we know damn well dream is faking it till he “makes it” but yk,,

but i’d be stuck in this kind of dilemma of not knowing what thoughts are my own or just something trickled down from wilbur or dream

there’s like maybe something that clicks in my head like “maybe i wanna think for myself for once” or smth

like who am i really?

powers , bonuses , etc :

since dryads can technically manipulate plants in some ways, theoretically i could control the blood vines to some extent ???

i’m pretty sure dryads can communicate with plants so i could understand what the blood vines are saying as well

maybe i could get a good sense of what the egg is all about and stuff

assuming that i understood anything that was happening with the egg in the first place but anyway—

i guess similar to ranboo like how he can’t really be around water without some type of amour or something, it would make sense for me to primarily reside in a type a forest or be near one ?? who knows

seems a bit morbid in a way because of the whole history but if i can somehow easily get rid of the blood vines without it affecting me (if there is still some there) i think it would be kinda pretty to build a tree base in the middle of the l’manburg crator (iskall tease)

like it can show a sign of some rebirth, not the same government repeated once again but a new era in general

you know how you see like destruction years after it the disaster or smth happened and it gets all overgrown with plants and stuff? ya that’s what i’m going for in my head (mumbo jumbo s7 tease)

i know it’s covered in glass already but i dunno, some broken glass and a giant tree emerging from the whole thing and all the rubble seems cool

i’m not a good builder but i have the vision LMAO

omg puffy is like a sheep human hybrid im pretty sure & like there’s a specific type of dryad that are a protector of sheep & other animals?? i’m not exactly sure but that seems like an interesting element to incorporate somehow

also glatt randomly planting a oak sapling in quackity’s lore stream yes pls feed my nonexistent dsmp character lore /j

i honestly dunno how to incorporate the fact dryads can turn shapeshift into trees when trying to escape something but i read something that if a dryad stays in a tree form for too long they’ll forget who they are and stay stuck as a tree?? which like woah that’s cool & some material but at the same time what—

since everyone’s backstory is kinda a mess, mr beast parent tease bc he planted a bunch of trees /hj

i have realized wilbur saying like “the whole reason i built this nation is gone” & blowing up everything or whatever is kinda a plot hole in like ‘why would i follow wilbur if/when he’s revived when he said this?’ but i’d like to think he was the one that made some meaning of the area lmanburg was on, which includes the lmantree

like he was the one that started everything and created that sentiment of that land, and however he views it now is how i would see it now

he gave meaning to my past life and now in my current life, i feel this obligation to repay him for it

not really lore bc i think it was cc!tommy talking to cc!ranboo about his height & age when he first joined but yk it would funny to make my dsmp character than his just to slightly spite him anyway

canonically 6’4 dryad yes . /hj

also i have no idea anything about hannah and her lore but we do be flower buddies :D

also omg like this isn’t at all important but the way ranboo can pick up grass blocks will just have me at awe, i dunno seems in theme with the forest/plant stuff

and i remember reading like there was something about dryads and apples but i can’t remember but i’d give tommy a bunch of apples /hj

apples am i right chat,,,,,

i’ll just have infinite apples in my inventory, like kill me in game, not like losing lives kinda deal but just in general and boom stacks of apples

“bee i get you’re half tree but do you just poop apples out like they’re nothing??” “girls don’t poop” /j

ok but like no matter how many streams i watch i cant grasp where everything is but omg but no if i was new to the server & stuff, canonically & not, i would feel my character to be the curious kind to explore everywhere

like besides a mini tour from some other person in the server, since my character only knows things in the bounds of lmanburg, i’d go off exploring different places like pogtopia, the sewers, showchester, etc

i feel like my character would be really into history, like they would have questions about what happened to lmanburg after the last war? what was life like before wilbur? what was the whole history about the antarctic empire? i dunno but reading a bunch of books from a library seems really interesting

oh but in theory, me and tubbo are loosely related if you wanna count schlatt as my “dad” because he supposedly planted the lmantree ???

i mean could make sense but it seems like a stretch

also if my character ever got close to schlatt, i’m not sure if this is canon, but i swear one time he mentioned how the whole dsmp sever is just a game/server in a game & he’s the only one that knows that ??? but like imagine if i found that out canonically,,,,,

big existential crisis pls

and i’m not 100% sure how dryad shifting works with like going from female to tree form and stuff but if i’m able to morph into different girls on the server & act as them,,,, the about of problems that can cause in the lore omg

lemme frame niki real quick and get inside information /j

oh ya and like hey bee do you support the government then? yes but no. whatever my “fav” person is canonically (assuming this is based in the beginning of this whole hc) whatever wilbur thinks, i think. head empty. but subject to change as the dsmp storyline progresses and stuff :]

ngl i wanna throw in some like random lore that doesn’t make sense to throw people off but i can’t think of anything

not actually really lore related but my choice of stream music like how ranboo has his undertale stuff that makes everyone cry, i will have in love with a ghost

yup i like in love with a ghost sm & i’m pretty sure their music is like not dmca too which yay but yk theoretically never gonna stream on the dsmp but still a fun aspect to think of bc i love listening to music & it’s very impactful to a story & associating something to it makes it more meaningful :D

like i could imagine the chill pop lofi piano stuff fits witha few lore streams of like exploring the whole smp before my character would really go out with being this lost villain in a way?

tubbo’s gangnam style who?

like i feel like i made my character bad/evil so they could have potential to get better in the future

on one hand, i’ll end up w dream and/or wilbur for the rest of my life, which is okay but i could also switch to be with tommy or even disregard all of them and be with techno/phil or quackity & potentially schlatt even who knows

also i cant wait for more connor lore tho, like as much as i tried to make my character give him more content i wanna see how everything goes with him having connections to schlatt & stuff

anyway i would’ve made concept art for my character but i honestly don’t rly like my art currently but who knows LMAO

and lastly if u read all of this ily /p

i might update this later when there’s more lore but ya

[lady-therion]

Nesta's reaction to the whole mating thing??

Ah, yes! 

I’ve touched on that a little bit on this ask here, but to take that even further: 

One of the things that makes Nesta’s character so special is how much she values her autonomy and independence. She’s not a “people-pleaser” nor she is a “team player.” If she disagrees with you, she’ll push back. If she’s asked to do something, she’ll ask why. If she chooses not to do something, then gods help you. Oh, you’re a High Lord? Doesn’t matter. She’s pretty indiscriminate.

And honestly? How refreshing. Finally, a YA/NA female character who doesn’t automatically obey supernatural characters or think that they’re “better” by virtue of having powers or immortality. Some readers really rag on her hostility towards Fae, but keep in mind: the Fae kept humans as slaves. They fought a whole war over it. If you’re from a BIPOC community like myself, you understand better than anyone that the effects of slavery and colonization can fuck you up for generations. I’m honestly surprised that the repercussions of that aren’t like...ever brought up in a meaningful way? Like the IC talk about it as if it’s all in the past, but honestly I feel like the general sentiment among Fae is that humans are seen as second-class citizens (if not like pets or livestock). 

ANYWAY NESTA’S AUTONOMY: Let’s remember that she’s one of the first people to observe that Rhysand is deeply in love with Feyre. If Rhysand wasn’t in love with Feyre, or if Feyre wasn’t in love with Rhysand, she would DEFINITELY intervene (much in the same way Feyre intervened with Tomas Mandray). Given that, I feel like Nesta believes in love, but would chafe at the idea of bonding because that’s something that she very much can’t control.

And this girl wants to be in control. 

My hope for her character arc is that she really doubles down on her need for independence. I want her to question the myth of the mating bond. I want her to wonder whether her feelings are genuine, or if they’re just a product of a force that’s beyond her reckoning. Most of all, I want her to be able to MAKE A CHOICE. Regardless of whether there’s a bond or not, it’s up to Nesta to decide whether she wants a relationship. I’m very much in the camp of her keeping her autonomy, working on herself, being her own hero, and then deciding whether a relationship is right for her. 

***

Ask me anything and I shall answer with love. 

[aotopmha]

Why do you like sexist shounen trash?

Oh hey, I recognise this kind of anger anywhere!

It's absolutely, very definitely that person who wrote that one hyper-sarcastic post about shounen!

But I mean, I understand this sentiment because shounen in a general sense is not usually very kind to female characters.

But I also think:

1) Some *are* better than others.

2) A story can be good as a whole even if elements of it aren't very good.

And speaking for myself, I actually also don't like a pretty big portion of the shounen I've watched/read or like only certain portions of them. I think a large portion of them aren't actually very good.

The ones I genuinely like are Dragon Ball, One Piece, Yu Yu Hakusho, Noragami, Mob Psycho 100, Death Note, Jujutsu Kaisen, My Hero Academia and Attack on Titan.

I fell behind MHA, though.

Rurouni Kenshin took a while to get going, but I also liked it. I hate that the author turned out to be a gross asshole.

I also like Yu-Gi-Oh for the cheese.

But that's it. Naruto was good for a little bit but then got bad.

Bleach was good for a little bit but then got bad.

Inuyasha was good for a little bit but then got bad.

Fairy Tail was alright for a little bit but then got worse and worse and worse.

Black Clover is ugly derivative nonsense.

The Demon Slayer and Full Metal Alchemist mangas are simplistic and weightless.

I like the main plot of Detective Conan, but it's buried under unimaginable amounts of fluff.

Hunter X Hunter destroys its emotional resonance with bloated and unnecessary amounts of exposition.

Seven Deadly Sins is shallow nonsense.

Not only can't Nisekoi write romance, it also can't write characters and mysteries.

Bakuman is *extremely painfully* sexist and promotes the unhealthy lifestyle of mangakas positively. This is one I used to like, but in hindsight any knowledge I might've gained about the writing process of manga just isn't worth the harmful stuff in there.

Akame ga Kill is schlock of the worst kind: cynical and dark without any kind of empathy, weight or fun behind it.

Seraph of the End kind of started as a little bit of messy nonsense and inconsistently was fine to even more messy nonsense until I dropped it.

I liked Magi for quite a bit for a while, but its exposition became really overwhelming and convoluted.

I think there are some more I've watched but these came to mind right now.

Oh I watch them, but most of them end in nonsense and even the ones I like aren't without flaws. But that's also the case for every story.

As you can see, the trend is that portions of them are good, but their quality generally doesn't stay the same.

When I tally up the statistics I like 11 shounen series and fell out of 15.

So I guess it's about 50:50 of me liking a shounen. Though most of those I like I also don't *love*.

But I think the reason shounen are frustrating above all else is because many fans of shounen don't seem to consume anything else and tout them to be the greatest thing ever.

When I see Naruto listed as having "the greatest female cast" or "best story" or the like I die a little inside because if you know even a little bit about storytelling, you know most of these stories have age-old formulas and tropes driving them.

I think it's okay to love things unconditionally like this, but it's wierd to me to see pretty standard and typical storytelling techniques and character tropes painted as amazing and innovative.

Of course, part of this is that a large portion of shounen fans are children and they probably haven't consumed all that many stories, so anything new is amazing.

But I also see late 20/30-somethings do this stuff and that's the wierd part.

I feel like if you've ever consumed a story in your life, pretty much anything in most shounen is nothing new.

It's the thing of Harry Potter or 1984 being the only book (series) people have ever read.

I'm fine with people loving what they love, but I really recommend people to consume different things to diversify their perspective on storytelling and step outside of their comfort zone once in a while.

A more diverse consumption of media gives you a more diverse set of perspectives to think about and might familiarise you with points of view you might've never thought about before.

It helps avoiding stagnation and isolation, which in turn breed ignorance and possibly hurtful perspectives.

I get your anger, anon. I really do.

But I also don't agree shounen can't be good or is always bad or sexist.

Honestly, I can't tell if this is just angry at shounen or condescending towards me because I veer into discussing shounen.

Whatever the case, this is my take.

[mc-critical]

What’s your opinion/analysis on Mustafa (Mahidevran’s son)? I noticed his character had a bit more of an ambiguous reception from the fans of the franchise than I initially anticipated. I’ve personally always found Mustafa to be likeable, the only critique of his character I’ve been able to somewhat get behind is that we don’t really get much of his personality aside from the typical “nice guy” persona or that the show’s writing seems a little biased towards him at times but even then I’m not sure.

I pretty much covered what I think Mustafa as a character is built on and his personality traits (and additionally what I think on the personality criticism) in the latter part of this ask. While I agree he may be idealized, he isn't just some perfect prince without any flaws or mistakes whatsoever, and his character and all the factors that sealed his ultimate fate are always interesting to analyze.

I think more detractors of Mustafa's have been popping up more recently than before, at least as far as YT, Instagram and Twitter are concerned, but this currently more ambiguous reception than expected is not surprising for me in the slightest. It's precisely the writers supposedly idealizing Mustafa and their favoritism over him what they view as the problem, mostly because they think the historical Mustafa is not like that. (and some even claim with confidence that he actually, 100% betrayed his father historically) I love MC Mustafa a lot, he's my favourite prince and I consider him the one best suited for the throne, but these sentiments are possible to get behind - not so much with his idealizing, because we see that he has a shadier side of himself he simply chooses not to show that often and his strenght is also his flaw in every way, but more with the favoritism of the writers. I've always viewed this favoritism as a double-edged sword: the big amount of screentime and arcs that, while usually pretty good, actually do damage by overshadowing Mehmet as a character in S03 is a part where I get the fan irritation. I'm not big on Mehmet overall, but if someone actually got it bad thanks to the Mustafa favoritism, too, it's definetly him. I also could understand why someone would get annoyed in the narrative and characters worshipping him almost consistently. While yes, I know why that is and I don't have a problem with it, because it's thematically appropriate and we can't blame Mustafa for the writers putting his death as the climax of the show's themes, I get why someone else would have a problem with this when it's so frequent. I would especially get someone not being okay with nearly all stuff around Mustafa's death feeling almost conveniently tragic. And that gets even worse when it includes the build-up, which the writers made to be.... basically everywhere, so it becomes something recurring for Mustafa's character from the beggining. While that sense of tragedy is one of my favourite things about the show and I love how Mustafa was the culmination of it and the way this whole build-up everywhere got an even better pay-off, writing-wise... yes. Only if anyone actually used that argument. Additionally, this favoritism is a contrast to all of Mustafa's mistakes and how they impact SS's view on him. The favor of the narrative voice contrasts with the build-up to the character's end. And they both help Mustafa's development.

I also have seen other reasons Mustafa is disliked, which I honestly don't get and I want to ruminate on them for a bit. Yup, I haven't encountered such opinions in quite a while (probably because I don't lurk around those corners as much as I used to, since I disagree with so much stuff), but still, people claiming that Mustafa is manipulated by his mother. Which... what? I'm sorry, but have you guys even watched the show? Why do you drive a general conclusion only from a one and done scene? (E48, I mean) What's worse is that who they make Mustafa out to be is right there: if you want a person who ends up listening more and more to his mother's every word and makes mistakes because of it, MCK Bayezid is right. there. (this isn't shade on MCK Bayezid, don't get me wrong, I find him a very interesting character, especially in regards to where his flaws come from, and I'm sad I haven't encountered discourse about him that explores them, but that particular flaw they're accusing Mustafa of, is courtesy of MCK Bayezid most out of anyone.) As a contrast, Mustafa has a very out of the box mindset and independent spirit and if he actually listened to Mahidevran a bit more in S03-4, he would have been spared some of the trouble. I also don't get the claims that Bayezid and Cihangir's characterizations are centered way too much on their love on Mustafa and that's why Mustafa is worse off as a character. (I have encountered these, as well) I'm not saying that every brother minus Selim wanting Mustafa to be on the throne if they don't get that chance, isn't a narrative bias to an extent, because it clearly is. But it also is a narrative bias that is capable of being tied to Mustafa, but independent of him. It does put the princes on way too outlined narrative roles, but that's both tied to and independent of Mustafa. Besides, saying that Bayezid and Cihangir only have their love for Mustafa going for them is such a disservice to their characters. It's only a part of their characters, not the entirety of them and most of the scenes where they shine the most for me are those barely connected to Mustafa. {side note, because I have heard people say that Selim suffers from Mustafa, too, even in regards to his conflict with Bayezid. And unpopular opinion maybe?: I don't think Selim's character is butchered because of the Mustafa favoritism. He has a more outlined narrative role because his purpose was more to show the way the concept of loyalty works in SS's head and how much can that be twisted, to the point SS picks the one person who he perceives as obedient and loyal. Selim being the "black sheep" of the family actually does favors to the character, because not only does the audience have the chance to root for him more that way, but we see the much needed development of a person no one expected to go as far as he did, rendering his motives to do what he did in a pretty understandable light.}

Another argument I have heard is that the narrative should have made Mustafa more complex, not this "righteous hero almost everybody seems to love". While I would also love a Mustafa that would go through a more detailed character arc when it comes to his relation to SS and how far he's willing to go in the throne war, I don't know whether would there be such nuanced complexity with these writers. The closest Mustafa's character archetype got to a similar arc is, again, MCK Bayezid and I'm not sure would the archetype be able to evolve past that. I show bias, here, I admit, but that's probably because I haven't encountered an adaptation of Hürrem and SS's story which doesn't portray Mustafa in either of the two extremes (and MC Mustafa is the most nuanced Mustafa out of all of them) and we have kinda seen that kind of a different spin of Mustafa's archetype in the franchise, so maybe that's why I wouldn't have as much confidence in retrospect.

But again, I would love a more ambiguous Mustafa done right, even though I'm pretty satisfied with what MC gave us, despite of all. MC Mustafa has enough complexity which works with the message the writers are trying to deliver. There isn't really a reason to dislike MC Mustafa sympathy-wise, because he doesn't have too much negative traits. I do get the favoritism criticism to an extent, even though not fully, but there're also other criticisms of him which, while I understand where they're coming from, I truly can't get behind.

[tanadrin]

How /did/ things change after 2001? I was born in that year and everyone says it was different before, but I've never really gotten a sense of how.

It is difficult for me to emphasize just how different the world you see on the evening news is now, from what it was like before 2001, at least as I remember it. There’s a scene in Farscape, where after years of trying to get home, the astronaut protagonist John Crichton finally makes it back to Earth with his alien friends in tow, and when he’s reunited with his father, he’s shocked to discover his dad has gone from this optimistic, forward-looking, hopeful dreamer to a nervous, jingoistic conservative. His attitude is basically, “yes, there’s dangerous aliens out there who may or may not be trying to kill us--but the galaxy is a place full of wonders you’ve never dreamed of.” His father, in the meantime, has retreated from his hopes for a science-fiction future, and views his new alien friends with suspicion.

It’s not a subtle metaphor, but it’s true. The 90s--at least in the US, at least as I remember them--were a relentlessly optimistic period. Even if things were not yet at their ideal state, there was very much a sense they were heading there; politics was mostly down to what exact flavor of the neoliberal consensus you preferred, Clinton or Bush, and the international triumph of liberal democracy was either a fait accompli (cf. the erstwhile USSR), or just around the corner (cf. hopes for China’s liberalization in the wake of market reforms). Yes, in retrospect, this was kind of a dumb world view. If you actually lived in Russia in the 90s--to say nothing of the Balkans--it was a rough decade, and a lot of the relentless optimism of the period in the United States was down to the privileged position we viewed the world from.

The blunting of that optimism--the reminder that we were still embedded in history, and the final triumph of everything good and just was not foreordained--would not in itself have been a catastrophe. Terrorism was not a strange concept in the 90s, and even Al-Qaeda-style terrorism had its predecessors in attacks on American ships and embassies. 9/11 itself was confusing and chaotic and sad, but 9/11 wasn’t the catastrophe. The catastrophe came after, in how we responded.

I think something broke in America between 1945 and 1991. Something shifted, in a nasty way we didn't realize while we were occupied with communism and stagflation and the civil rights movement. I don't mean to say that America before 1945 was the Good Guys. But the American state and the American political class viewed the world with... humility? Like, sure, the can-do Yankee spirit before 1945 had its own special kind of arrogance (and greed, and hideous bigotry), but it still thought of the world in terms of obligations we owed other countries. By the time the Cold War ended, and the US was the sole remaining superpower, that wasn't how we viewed the world. It was still sort of how we told each other, and our children, what the world was like. We certainly talked a big game about democracy and human rights. But as soon as that principled stance was tested, we folded like a cheap suit. What we should have done after 9/11 was what we had done after every terrorist incident in or against the United States before then: treated it like the major crime it was, sent a civilian agency like the FBI in to investigate, and pursue the perpetrators diplomatically. What we did instead was treat it like the opening salvo of a war--in fact, invented a war to embed it within, to give ourselves narrative justification for that stance--and crank every element of paranoid jingoism instantly up to 11. It has never abated since.

Some of this is the little things. The TSA and the Department of Homeland Security--a name I thought was creepy Orwellian shit right from the get-go. The terror alert levels. (God! remember those?) The fact that airport security--despite being just as ineffective today as it was on September 12--is still routinely humiliating and invasive and just a total waste of everybody’s time. Some of it is the big things. The way security, and the need for security, trumps all other demands including the state’s obligation to protect civil rights. And the fact that this just isn’t even up for debate anymore. 9/11, as Chomsky presciently observed, was a boon for authoritarians everywhere. Suddenly, “counterterrorism” was the magic word that let you get away with anything, like “anti-communism” twenty years prior. At the most extreme end, this led to things like anti-atheism laws being promulgated in Saudi Arabia in the name of “counterterrorism,” but you don’t have to go that absurd to find ways in which the security state has fostered authoritarianism. In every aspect of our lives, this new, fearful outlook on the world justified a gradual ratcheting down of freedom, the gradual empowerment of petty tyrants everywhere, and the weak protests, fading into silence, of people who still believed in liberty as an important organizing principle for modern society. It wasn’t even that you’d get called a terrorist-sympathizer or anything that blatant. It just ceased to be regarded as important. It wasn’t that you were wrong, or misguided, or evil. You were just a non-serious person, someone whose opinion was clearly irrelevant, whose head was permanently in the clouds, if you thought that stuff still mattered. And that never went away.

And I think a big part of what changed between 1945 and 1991 was that the US started to believe its own jingoism. When did this start? Vietnam? Earlier? Korea? I don’t know. It’s hard to pinpoint, given that my understanding of the cultural zeitgeist of the decades before I was born mostly came from my dad’s old Doonesbury collections. I don’t know how to describe what we became--what we, hideously, revealed ourselves to be--except as a kind of machismo. A kind of ruthless, General Ripper-esque us-versus-them psychosis that gripped us where the Soviets were concerned, and never let up. And we still believe it. It still infects every atom of our political discourse. We don’t question the necessity of drone strikes, only who to drone strike and how much. We don’t really question the massive powers we’ve afforded the executive branch to wage war and conduct espionage--including kidnappings and torture--and we’ve kind of forgotten that we still have a prison camp in Cuba full of people who have never been convincted of any crime. In a way, we lost faith in law entirely: by God, we couldn’t try terrorists in American courts! (Why not? What’s wrong with American courts? Don’t we have faith in our own laws, at least?) No, justice wasn’t a matter for the law to decide anymore. Justice was a matter for the military only: justice came in the form of strength of arms. Ergo, shooting Bin Laden in the head and calling that justice; ergo, Jack Bauer; ergo, blowing up Yemeni weddings. Keep America Safe. I can’t begin to tell you how alienating and horrifying so much of the last 20 years has been, if the most consequential news stories of your childhood were the OJ Simpson murders and a discussion of the President’s cum stain.

In my opinion, the seminal text of the post-9/11 world was released in the year 2000. In the original Deus Ex video game, the year is 2150, and the world is a dark, depressing place. You, the game’s hero, work (initally) for a UN counterterrorism agency while a plague ravages the world. You hunt terrorists whose existence has provided the justification for an authoritarian crackdown on dissidents everywhere. You visit a Hong Kong firmly under the control of the CCP, you fight genetically engineered mutants created by huge businesses run amok, FEMA (no DHS then) controls the federal government, and, it turns out later in the game, the bombing of the Statue of Liberty that precipitated the creation of your organization was a false-flag attack used to justify its existence in the first place. Drones patrol the streets of NYC, and the whole thing is steeped in late-90s militia movement-style conspiracy theories about the Illuminati and the New World Order, that look weirdly out of place now that these things are more clearly aligned in the popular consciousness with right wing extremism, when back then they were just seen as kooky weirdos in Montana--but every year since then, we’ve been inching closer and closer to that world, and you know what? It wigs me out a little.

In 2000, Deus Ex was an absurdity, a fever dream of cyberpunk and early-internet conspiracism. It’s a shame that tonally speaking it’s been dead on for the two decades after. But honestly, I think the biggest thing that’s changed about the world since 2001 is our cultural capacity for optimism. I don’t mean in a sentimental way--although if you compare other texts heavily influenced by the post-2001 political milieu, you definitely see a sharp contrast with the optimism of cultural artifacts from earlier eras; science fiction was hit especially hard in this area (cf. RDM’s version of Battlestar Galactica). But I also mean this in a political/ideological sense. We cease to imagine that the world can be made better. We cease to imagine the possibilities that are afforded to us if we are willing to strive for our ideal society, even if we, personally, may never reach it. We make deals with the devil, we let the CIA violate the constitution and federal law six ways from Sunday, we don’t question the prevailing political-economic consensus even if it’s setting the planet on fire and pitching us headlong toward social disaster, because we forgot what it was to feel like those sunlit uplands we’ve been hoping for were just around the corner.

In the same way that my Catholic faith was eventually done in because the ethical principles I was taught were at odds with the manifest monstrosity of the organization that taught them to me and the metaphysics it espoused, my patriotism and my faith in America was done in because when I was a schoolkid, I really did believe that democracy and human rights and equality under the law were important. Some people probably had their illusions--if they ever had any--about the US government stripped away long ago, but I was a white kid from a reasonably prosperous part of town, so it took until the 2000s and my growing political awareness to realize just how flimsy these principles were when they were put to any kind of test. It made me angry; it still makes me angry. I was raised to believe there are some principles that are important enough that you don’t compromise them ever, no matter how scared or worried you are. Just as I was old enough to understand what was going on on the evening news, the United States betrayed everything I had been taught the United States stood for. And as a nation, we never turned back; we never apologized; we never repented. America, as an abstract entity, never was what I thought it was as a kid. But I think it could still become that, if it tried. Alas, very few people seem to believe such a thing is possible anymore. Most days, I’m not sure I do, either.

[goingoverthegardenwall]

Chapter 8: Babes in the Wood

In this last hurrah of explicit homages to animation of the past, the most obvious discussion point is Merrie Melodies and its ilk: Babes in the Wood is essentially a full-episode reference to the bouncing musical shorts of yore, where everything can sing’n’dance and the villain is a blustery bozo who’s defeated with a sight gag. If we expand to children’s entertainment in general, as we did with Greg’s Beatrix Potter episode, then The Wizard of Oz is our logical next step: the song welcoming him to Cloud City owes everything to Dorothy’s introduction to Munchkinland, complete with the fact that our hero has just entered a dream.

And look, there’s nothing wrong with talking about the obvious. But as we near the end, I think it’s a little more interesting to instead explore the very beginning. So let’s go back to a newspaper cartoonist in New York—the one who inspired fellow New York newspaper cartoonist John Randolph Bray to become an animator, which in turn led fellow New York newspaper cartoonist Max Fleischer to become an animator, because it turns out that just like the birth of superhero comics a few decades later, the birth of American animation hinged on print artists who dreamed big in the city that never sleeps. 

A boy named Zenas was born in Michigan on September 26, 1871. Or maybe he was born there in 1869. Or maybe he was born in Canada in 1867. He said one thing, and a biographer said another, and census data says another, and I wasn’t there. It’s similarly unclear when or why he started going by his middle name, but by the time he took his first job at age 21 (or 19 or 17) as a billboard and poster artist in Chicago, he was calling himself Winsor McCay. They sure did know how to name ‘em in the 19th century.

McCay began his newspaper career as a freelancer, but moved to New York in 1903 to work for the New York Herald, where he wrote a variety of comics before hitting it big with Little Sammy Sneeze. McCay’s art was always brilliant, but his gag work was formulaic to a fault: the joke for Sammy Sneeze was always the same, he would sneeze and ruin everything right before the last panel. That devotion to formula would continue in his second big comic Dream of the Rarebit Fiend, where a fantastical events would occur for ever-changing characters before the lead woke up in the last panel, revealing it was a dream.

That second formula was the basis of McCay’s masterpiece. Already a successful cartoonist in the two short years since he’d moved to New York, his fame skyrocketed with Little Nemo in Slumberland, which used the same “wake up at the end” formula but with recurring characters and a running story. He toyed with the medium like none had before, playing with panel arrangement and innovating the portrayal of motion in comics, and his art skills only improved with this full-color strip. His success led to the vaudeville circuit, where he turned the act of drawing into a performance, and this combination of stage entertainment and his continuing comic work led him to seek new ways to dazzle the crowds.

By 1910, the earliest animated shorts had already started to emerge, and McCay was inspired by pioneers like James Stuart Blackton and Émile Cohl to try animating the characters of Little Nemo. Under Blackton’s direction, McCay singlehandedly drew around four thousand fully colored frames to produce his first animated cartoon, presented at the tail end of a filmed short about said cartoon in 1911. As mentioned, animated shorts were already a thing. But none of them looked anything like this. (If you’re concerned that there might be racist caricatures in it, don’t worry, there definitely are, McCay had a lot of strengths but overcoming garbage prejudices was not one of them).

The sheer quality of his work, continuing with the legendary Gertie the Dinosaur, directly led to the invention of the rotoscope as a means to mass-produce cartoons of similar finesse. The influence of Winsor McCay over animation as we know it is hard to overstate (and let’s stress again that this was his side gig, and he was just as influential over comic art): as crazy as it sounds, it’s safe to say that Over the Garden Wall would not exist if not for a story about the whimsical adventures of a little boy who traveled across a land of dreams from his bed. 

“Where’s Greg, Wirt?”

Babes in the Wood is delightful and goofy and lighthearted exactly once.

In the same way our fourth-to-last episode mirrored our fourth, this third-to-last episode mirrors our third: Chapters 4 and 7 focus on Wirt, but 3 and 8 are Greg’s. It’s not simply a matter of who the main character is, but what these episodes are about: Greg’s love of fun clashing with his drive to help others. Both times he's spurred by the desire to help others to go off on his own, both times he gets distracted by whimsical wonders involving funny animals and physical humor, and both times he ends up deciding to help out anyway. But despite switching his goal from making the whole world a better place to just helping his brother, the stakes are actually far higher now, so the fun has to be that much more fun if we want the full horror of the ending to sink in.

There��s no tonal shift in the series that’s more devastating than Greg falling prey to the Beast after nearly ten minutes of goofiness in Cloud City. It turns a moment of welcome relief from the growing tension of Wirt’s despair into a dagger in the heart, and the knife is twisted when we learn in our next episode what the Unknown truly is.

That despair is evident well before Wirt explicitly gives up. We get our second opening in a row featuring Beatrice in a hopeless search, and things aren’t much better for the boys. All sense of progression from the first episode feels lost, with Wirt reverting to mumbling poetry and Greg reverting to Rock Facts. Their boat is an outhouse and Greg uses a guitar as an oar, because (if you’ll pardon my French) they’re up shit creek without a paddle. When they land, Greg’s victorious bugle is a ridiculous sign of hope, but he soon drops it in the same way he abandons the guitar: in Schooltown Follies he takes instruments to help others, but this time he loses them.

Wirt’s frustration with Greg threatened to boil over in The Ringing of the Bell, only to be cooled when the Woodsman interrupts them. This time there’s no such interruption, so after Greg’s total failure to read the room gets to be too much, his brother finally snaps. It crucially isn’t entirely unjustified, as Greg’s antics might be funny to us but have not been appreciated by Wirt, and despite Greg’s age excusing his lack of emotional intelligence, it’s still gotta be frustrating for a teen to deal with that behavior nonstop. And Wirt’s “tirade” reflects his depression, because he doesn’t even seem that angry: he doesn’t shout or rave, he’s just openly irritated as he argues that they’ll be lost forever. This is apathy and fatigue, because he’s lost the energy to be furious.

But the most chilling part of the exchange isn’t Wirt cruelly blaming Greg for their mess, or abandoning their search. It’s when, after Wirt asks if they can give up, Greg responds with a chipper “You can do anything if you set your mind to it!”, a sentiment that the Beast will fiendishly repeat verbatim while tricking Greg. It’s such a generic positive expression that Greg hangs a lampshade on it, but it shows the darker side of the power our minds have over our well-being. Sure, it’s a great lesson that focus and dedication can help us achieve our dreams, but if we use that focus and dedication towards self-destructive behavior, there’s no limit to how badly we can hurt ourselves. 

After a goofy sort of prayer (incorporating lines from the classic Trick or Treat poem, which will become super relevant an episode from now), Greg is whisked away by so-creepy-it’s-funny cherubim to the score of a so-overwrought-it’s-funny song. His flight aboard the bed/cart pulled by a donkey across the sky feels legitimately magical, but we soon switch to the surreal world of 1930′s songs and physics.

Cloud City is such a stark contrast to the tone of the episode so far that it instantly feels delightful, and such a stark contrast to the tone of the entire series that it lends a special sort of wonder to Greg’s dreamland. References to old cartoons are everywhere in Over the Garden Wall, and before we delve into the tension of our last two episodes, we get one last gigantic celebration of the past with a sequence straight from the golden age of animation. 

The transition alone is enough to make this scene hilarious, but the actual jokes help quite a bit: Greg’s growing impatience with the numerous Wizard of Oz reception committees is my favorite gag of the night. Everything is cute to the point of being cloying, including our three angels that look and sound an awful lot like Greg, and the parade that he leads seems like such a fun and peaceful affair after so much time wandering alone. It’s easy to get as roped into it as Greg when we first watch it. But considering the events of our next episode, the scene destroys me every time I rewatch it, because there’s a very specific place Greg is being welcomed to.

Babes in the Wood gets a lot less cute when it becomes clear that it’s a welcoming committee for a dying child. Greg and Wirt are drowning, and this is the episode where the shock wears off and the cold sets in and the younger and weaker of the two looks into a bright light. Greg’s near-death experience is hammered in when we get to The Unknown, but for now it’s being rationalized in a way that brings him comfort.

The cold is Greg’s enemy, and the same childish tone is used to show that he’s willing to fight for his life: thus, the North Wind segment is ironically more hopeful to me than the parade’s warm welcome of death. This third song sounds enough like a Randy Newman number that I’m honestly still convinced it’s an uncredited Randy Newman performance, and it jolts us back to reality for a moment as we see the effect this bitter wind has on our babes in the woods. The boys are starting to freeze, and we again see Beatrice searching for them, getting so close before an owl that looks remarkably like the one we saw in our first episode scares her off. The episode doesn’t want to lose us completely to the sky, and this grounding helps keep the stakes clear as we complete Greg’s dream.

The Popeye-esque battle between Greg and Ol’ Windbag is a hoot, between the latter’s grumbling anger and the former rolling up his sleeve to get back into the brawl. Its conclusion is hidden from us, so we have no idea how Greg gets him in a bottle, but that fits right in with the weird logic of this throwback and allows us to meet the Queen of the Clouds.

I ought to bring up the theory that everything we see here is an illusion created by the Beast, even though I don’t really subscribe to it myself. The most obvious “hint” is that this sequence directly leads to Greg deciding to join the Beast with an off-screen promise, but we also have the old man in the welcoming march wearing an outfit just like Wirt’s and holding a lantern, perhaps a reference to the Beast’s intended fate for Greg’s brother. Plus there’s lines in the songs that seem like they’re luring Greg in, especially the assurance that the wonders of Cloud City “ain’t gonna lie,” which sounds a lot like what a liar would say. Both the Queen of the Clouds and the Beast pointedly call him Gregory instead of Greg, but so does Old Lady Mrs. Daniels (and Wirt when introducing him in Songs of the Dark Lantern). 

While it’s a neat enough idea, I think the Queen of Clouds is pretty clearly on Greg’s side for real: she seems upset at his fate in a way that doesn’t make much sense for an ally of the Beast. I also think it’s more meaningful for Greg to truly have the choice between happiness and responsibility, between the possible peace of rest and the definite struggle of life, and for him to choose the latter right as his brother is giving in. But I’ve got no beef with folks whose interpretation of the show is enhanced by this theory, so believe what you want to believe about this ambiguous situation.

Either way, we cut back to Wirt instead of Greg when the dream ends, and he’s still annoyed as he’s trying to sleep. Greg’s strange new seriousness is already cause for concern, and asking Wirt to take care of the frog is even more alarming, but even that doesn’t compare the horror of realizing where he’s actually going. Or rather, with whom.

This is another reason why I think the Queen is an ally: while it’s obviously dangerous for Greg to go with the Beast, that’s what it takes for Wirt to snap out of his funk. It’s a hell of a gambit, but as soon as he starts to awaken, he’s immediately concerned for Greg’s safety despite whatever anger or resentment he had, sparing no time or thought to the branches creeping over him as he runs after his brother. 

The quiet distortion as we follow his frantic search is soon met by the Beast’s song, but even as he blames himself for Greg’s plight, Wirt is no longer content to wallow in despair. Because it turns out that these brothers are more similar than they seem, and neither is truly capable of letting the other suffer. In the folk tale for which this episode is named, two children abandoned in the woods eventually die and are covered in leaves by small birds (with some versions seeing them enter heaven), but as we’ll see in our next episode, this isn’t a folk tale.

The thrumming noise intensifies as Wirt slips on the ice, then we add visual distortion as he plummets into the freezing water. He’s saved, but this isn’t water that sees him reborn: the distortion finally breaks as Beatrice asks the episode’s terrible question, and we’re left in the cold.

Every even-numbered episode of Over the Garden Wall, perhaps by virtue of airing twice per night, ends in a mood-setting cliffhanger that grows tenser and tenser with every iteration (or at least it does until the end). First we got a leaf symbolically caught in a fence, then the Beast’s introduction, then the fallout of Adelaide, and now the capture of Greg. Getting trapped has always been a threat for these roving heroes, but the greatest threat of all, that of Wirt trapping himself, has been handled. Things look bleaker than they ever have, but despite the glee of Greg’s dream contrasting with the harshness of reality, Wirt’s ability to climb out of the pit of despair keeps hope alive: even in absence, Greg’s influence looms large.

Rock Factsheet

Dinosaurs had big ears, but everyone forgot because dinosaur ears don’t have bones.

Where have we come, and where shall we end?

Most of these were mentioned in the main analysis, but it’s great that we hear Wirt’s description of Into the Unknown right before the episode itself shows us what happened.

[hamliet]

Hey I love your Witcher metas/fic and I just wanted to say I've been reading some comments about the stuff they've changed on the show and one of them is that they've made Cahir too bad/unredemable which made me think how the people who haven't read the books will view Ciri since she becomes a relaly dark character and who accoring to the author was meant to be evil and monster because almost veryone made her out to be one.(pt 1)

Also having recently finished the books the hansa are definitely the highlit to me in the later books don’t get me wrong Sapkowski is a great author but I just couldn’t find myself to care for Ciri’s SL post Time of Contempt her becomign dark had a lot of potential but the whole Rats and after that verged on torture pron almost especially since she was only 13-14 Yennfier also desrved better than being a frozen statue and then tortured until she’s aved but again that’s my opinion.             

Hello! Eeeeep, thank you for reading my metas!

You bring up so many interesting topics! Do you mind if I blabber a bit about… well, all of them? :P

I’ll get to Cahir last, because I have more to say about him.

So this is purely a taste thing, but I hella loved Dark!Ciri. She wasn’t whitewashed to become likable, which makes her one of my favorite main characters ever (most main characters I find rather bland when compared to side characters, because the writers want to ensure you like them and thereby sanitize them of interesting qualities). Honestly, my three favorite characters are Yennefer, Ciri, and Cahir.

I am definitely expecting the fandom to argue that Ciri is either Still Good 100% and doesn’t need no redemption, or a Terrible Role Model for Young Girls and think of the children! The point of Ciri is that she’s not a role model but that doesn’t make her someone you can’t admire. She’s not an object for people in her world to view as a savior, and in that way I found the books very meta. That said, I also get why people did not like how Dark!Ciri is handled, and that’s completely valid too. I think Mistle in particular was… yeah.

I would agree about torture p*rn specifically when it comes to Bonhart’s behavior. (I think Ciri’s age comes across as rather contradictory, but I’m pretty sure she was 14-15-16ish in the later books?) But I had to set the book down during The Tower of Swallows because of Bonhart’s treatment of Ciri.  I’ve thought about writing a meta on what Bonhart represents in the books (or aims to represent, because I don’t think it’s entirely successful). Bonhart’s treatment of Ciri in ToS can be justified as not gratuitous depending on what’s done with him in Lady of the Lake, and imo I go back and forth debating whether it was justified or gratuitous. I do think Bonhart turned into a stereotypical cackling villain by the end and his attempted assault of Yennefer was unnecessary and was a sharp change in his characterization. (Sapkowski, in general, doesn’t write great villains–mostly because the main enemies the characters have to overcome are themselves.) That said, Ciri’s defeat of him towards the end was absolutely narratively perfect, and hence I waffle.

For Yennefer… I too wanted more of her, so I am with you there. Yet, I also think it was perfect for her to be turned into a jade statue temporarily, because Yennefer is a control freak. For Yennefer to utterly lose control of everything and wind up a prisoner at various points was a good way to narratively face her flaws and grow. But I would have liked more of her struggles in those situations, especially in Baptism of Fire and ToS.

Now, Cahir.

I disagree strongly with the sentiment that the show made him irredeemably evil. That said, I also think the show’s writing is very, very flawed–not just of Cahir, but of everyone. Many of the writers are apparently Marvel writers which… shows. And not in a good way.

A lot of that is probably my perspective from how I consumed the story, as well. I watched the show before I read the books, and I remember when Cahir appeared again in episode 5 of The Witcher. The moment I saw who they had cast and his storyline there, I told the friend I was watching it with that he was clearly a conflicted Byronic hero archetype and would likely have an arc along the lines of Loki in the MCU and Kylo Ren in Star Wars. Look, it’s not a coincidence they cast attractive actors with unusual facial structures to play these roles, nor is it a coincidence that people keep debating if they seem redeemable or if they’re fully committed to the dark side. 

(NB: I think it’s more than a little racist that all the actors for these type of Byronic characters are white, but I also don’t like the “they’re actually poor sad white boys we shouldn’t feel sympathy for” argument. These characters are written to be sympathetic and complex, and it’s not the actors’ faults (for Cahir, Eamon Farron is incredibly talented); just… cast PoC in these types of roles for the love of God.) 

Is Cahir darker compared to what he was in the books? In some ways, yes. Did the message of what his character’s arc is meant to be translate to the audience of only show watchers? I honestly think it did, because it did to me as I watched it. I messaged the friend who got me into The Witcher “he’s a conflicted wounded bad boy” and asked if he would have a redemption, likely through a love relationship (Thor and Loki’s relationship is love, but brotherly; Kylo and Rey’s is romantic). I did not know anything about the books’ arc for Cahir then, but this is exactly what does happen. 

[celestial-depths]

Harry Potter has always been much less progressive than its fandom: a retrospective

In June 2020, Harry Potter author J.K. Rowling decided to use her platform to devalue trans people by ridiculing a headline with trans-inclusive language and going on to spout hateful nonsense like insisting that recognizing trans women as real women makes the experiences of cis women somehow less valid. I’m not going to repeat her baseless arguments here because I’m not really interested in picking them apart, as more qualified commentators than me have already done that, and doing so would be like throwing rocks at a house of cards anyway. Instead, I want to reflect on the fan reaction to her statements. The response has been overwhelmingly negative, with many fans expressing feelings of disappointment and surprise over her choice to further vilify a group of people who are already marginalized and vulnerable to violence and discrimination. I was disappointed, too, but, sadly, not surprised. Not because this isn’t the first time in recent history when Rowling has aligned herself with TERFs, but because I think her writing and interviews have always suggested that her politics are way more regressive and conservative than what most of her fans may have assumed. Me and Harry Potter go way back. I’m in my thirties now, and I remember reading the first two books at the age of eleven, just before the global Harry Potter hype had really taken off. In fact, I may have been among the last wave of readers who got to start the series without the faintest idea what the books were even about. At the time, I had a habit of reading books without checking out the blurbs first because I enjoyed the feeling of diving into a story and being taken completely by surprise, so I didn’t even know that wizards were involved when I started reading. I couldn’t have been at more perfect an age to discover the books. For pre-teen readers like me, they were the perfect mix of escapism and relatability. It was wild adventures and magic combined with the everyday reality of a school-aged child, which is probably why I felt more connected to it than I did with other fantasy books I also enjoyed, such as The Lord of the Rings. Harry would learn spells and fight dragons in one chapter and worry about homework and making friends in the next one, which was why it was always easier for a kid like me to daydream about going to Hogwarts than it was to imagine fighting orcs in Middle-Earth (sidenote: this is also why I was never a big fan of the HP movies; they kept the exciting highlights but they left out the slice-of-life parts, which instantly made them seem less relatable to me). My generation also got to grow up with the series. I read the first book at 11, and the final one was released when I was 19, so I was always roughly the same age as Harry during my first read of each book. But by the time I read that final chapter, I was no longer as enamored with the series as I used to be – not because I’d grown bored with the series, but because its politics had started to worry me over the years. I didn’t like the story it was telling between the lines, and I certainly didn’t like the note it ended on. I wasn’t really involved in the fandom during my first years of being a fan of the series, but I did step into it around the time Harry Potter and the Order of the Phoenix was released. I was fifteen, I was extremely excited about the release of the first new HP book in three years, and I soon found myself spending hours in fan message boards speculating about future plot twists and discussing my favorite characters. The fandom had its flaws – you don’t know the meaning of the word “petty” unless you’ve witnessed the absolutely brutal fights adult human beings in the HP fandom had over their Hermione Granger shipping preferences – but overall the community was inclusive and open-minded. The fans were a diverse bunch of people who generally seemed to agree that the world of HP was as progressive as they were, since the main message most of them picked up from the books was that one should not discriminate anyone based on the qualities they were born with. I agreed with that reading of the books for a long time, but as I grew up I began to pay closer attention to what the books were actually depicting and what it was leaving out altogether, and I eventually started to wonder whether the series was progressive as it was made out to be. The story was seemingly preaching a message of inclusion, yet all the characters were straight (no, Dumbledore doesn’t count because his sexual orientation was never brought up in the books), cis, and able-bodied, and non-white characters were barely there. What is there to be inclusive about when there’s hardly any real diversity among the very, very vast cast of characters, especially not among the main heroes? Moreover, HP’s way of using non-human characters as metaphors for discrimination yielded very questionable results. The series used house-elves as a metaphor for slavery, yet it ends with the conclusion that the enslavement of house-elves was only wrong when they were treated cruelly, and that they actually preferred slavery to freedom, which was why Hermione was depicted as being silly for fighting for their emancipation. That’s a load of yikes. Werewolves, the series’ metaphor for the HIV positive, were violent, tragic, and uncontrollable, which is... also not great. And don’t even get me started on the books’ take on goblins, who bore extremely uncomfortable resemblance to antisemitic caricatures. The series built a hierarchy between species and used it to address real-life inequality between groups of people, but it never dismantled or even properly questioned that hierarchy, In fact, the biases towards and unequal treatment of other species was ultimately made to seem natural and right. So, there’s that. The books were also littered with awful fatphobia, which doesn’t comply with the anti-discrimination message by any means, and the apparent importance of personal choices and accomplishments got lost by the final two books. For instance, the penultimate book explores Voldemort’s origins and concludes that he was simply born evil, either because he lacked a mother’s love or because he was born from a loveless union (a rape, if we’re being specific, though the books doesn’t recognize it as such, and that’s a whole another can of problematic worms). I don’t even have the time to unpack all the twisted ideas about gender roles that plot point suggests, but my main point here is that it seems like Voldemort never chose to be evil, and apparently neither did his followers, as most of them seem to be villains because they were sorted into Slytherin, or that they were sorted into Slytherin because they were already villainous. At the age of 11. Even the two Slytherins who actively choose to do the right thing in the end (Draco and Snape) do so out of cowardice (Draco) or selfishness (Snape). Meanwhile, as the series progresses Harry’s goodness is less and less predicated by his actions and more based on the virtue of simply being the Chosen One, all the way up to the point where Harry ends up resorting to torture and mind-control – two of the three “unforgivable“ acts as determined by a previous installment in the series – and suffering absolutely no consequences, because he is the hero and nothing the hero does can be bad. The world of Harry Potter, which steers towards being morally ambiguous around the midpoint of the series, ends up being disappointingly black-and-white and deterministic by the end. Choice ends up having very little to do with anything. And then there’s the gender issue, which bothered me most of all. The series exhibits very old-fashioned and restrictive gender roles without ever really questioning them, throws around casual sexism, and it paints a really appalling picture of femininity through its overly sentimental, subservient, frivolous female characters, whose only motivation for doing anything is far too often devotion to a male character or their children, and who are always defeated by their pesky female emotions. Rowling is a self-declared feminist, and I distinctly remember this one writing of hers where she was congratulating herself for championing characters like Hermione Granger over characters like Pansy Parkinson, and that’s her view of feminism I guess? Putting down one female character in favor of another? Pitting women up against each other, urging them to be good girls instead of bad girls – doing all that instead of paying attention to the structural, cultural, ideological reasons why gender expectations and inequality are harmful? Honestly, I don’t think that HP is pro-women at all; the female characters lack agency and are constantly sidelined in favor of male characters, and the series valorizes a very narrow view of womanhood that’s obsessively centered around motherhood and sacrifice.   Overall, the HP series seem to idealize this aesthetically and ideologically old-timey view of society where the world is unrealistically white and straight, and where static hierarchies prevail. The story does not end in a revolution, rebellion, or reform because the story isn’t really about progression; it’s about following traditions and preserving pre-existing power structures. The epilogue of the series really hammers down this point: in the final chapter, the main characters have grown up, married their (white) childhood sweethearts, assumed the roles and biases of their parents and named their kids after their dead relatives, joyfully returning to the origin point of a cycle that brought death and destruction into their world as if there was never anything wrong with that cycle to begin with. So, yeah. I’m not really shocked to see J.K. Rowling expressing awful opinions about trans people because the world of HP was already built upon a whole bunch of awful, traditionalist ideas. As a teen, I’d been read the series through the hopeful lens of my own set of values, but by the time that final book was released, I’d become disillusioned with Rowling and the series, and I no longer took HP for the forward-looking, inclusive story I had made it up to be. I didn’t stop liking certain aspects of the books, but I did stop thinking of Rowling as someone to look up to. For some time, I hoped that Rowling was simply misguided and that she would eventually listen, learn, and rethink. But she keeps proving herself as someone who absolutely refuses to see past her privileged, white, and straight point of view despite all of her resources, and who has inexplicably chosen to crusade against trans women, of all the people in the universe, as if the world wasn’t already hostile enough towards them. So, fuck her. But you know what? The HP fandom doesn’t have to take its cues from J.K. Rowling. The fans don’t have to condone her discriminatory views or agree to read her books in the light of her backward politics. They’ve never done that. From Wolfstar to Black Hermione and from Gay Draco to Trans Snape, the fandom has always been a nurturing environment for fan interpretations that aim to add diversity and complexity to the books, whether Rowling agrees or not. Long live the headcanon. (The fans have also learned to tune out Rowling’s unnecessary comments when they feel like it. Two words: wizard poop. That alone should suggest that the things she says aren’t always worthy of anyone’s attention.)

[hellzyeahthewebwieldingavenger]

Spider-Gwen: Ghost Spider #4 Thoughts

 The very, very, very end of Spider-Geddon and...a surprisingly great issue!

Covering this comic is very strange for me because I’m coming at it from two places mentally speaking.

Firstly I’m jumping into the fourth and final tie in issue to an event comic having not read the prior three issues.

Secondly I’m jumping into Spider-Gwen, a series I abandoned long ago, back in volume 2 issue #10 to be precise, which was published over 2 years before this issue was. It also had an entirely different writer/artist team back then.

Frankly I picked this up purely because I knew Mayday and some RYV characters were going to be in it. In that regard the issue was rather pointless, they cameo and do little else.

However I’m actually glad I bothered with the comic all the same. I was expecting this to be fluff and filler at best. An insufferable worshipping of Gwen Stacy, as so many comics (including Spider-Gwen itself) was when Spider-Gwen got big back in 2014-2016.

To my delight that wasn’t the case.

I admit to being rather lost with some plot points such as Gwen having a symbiote (this was brought up in Spider-Geddon #2 but it was unexplained there too) and how exactly Gwen can transverse dimensions.

However the rest of the issue was mostly good. Now I read Secret Wars: Spider-Verse, Web Warriors and Spider-Geddon #0-5 but I didn’t read any other Spider-Gwen or Ghost Spider issues so to me Gwen’s sense of loss over Noir and Spidey-UK felt rather unearned and cheap. It wasn’t that I didn’t think she’s be upset over losing a comrade but the deep sense of loss and words towards little habits within their respective relationships didn’t ring true to me. However that may have come up in issues I didn’t read so I’m willing to be corrected on that.

But based upon my reading Gwen feeling as sad as she did was a bit of a stretch. I also felt the milking of Spidey-UK’s death from a reader point of view was questionable because...did anyone honestly love that character? Spider-Man Noir I can understand, he has a fanbase (and this issue hammered home how asinine a decision it was to kill him back at the start of this event) but Billy Braddock? Who cares really? He was used for some cheap pathos in Web Warriors and that was about it. Now that being said I did love the idea behind him being buried in Lady Spider’s dimension as she was English (although if memory serves that was never confirmed outright, she may have simply lived in 1800s New York). I did wonder where the Hell Lady Spider was throughout this event though.

The addressing of Noir’s death though was much more necessary and as stupid as it was to kill him I do give Marvel credit for having an issue which addresses that. His fans deserved at least that much, particularly I think the Noir/Felicia shippers who are undoubtedly out there. I also very much appreciated how May, MJ and Felicia had different reactions to his death respectively.

Another great thing was that the general addressing of grief, sadness and death in the issue felt respectful. It felt real even though as I said the specifics of Gwen’s relationship with Noir and Spidey-UK didn’t quite ring true. It’s like it would’ve been perfect dialogue and execution if used for another character’s death.  A small detail I especially  liked in this regard was Gwen’s drumming as a coping mechanism. One of my major complaints in Latour’s issues was how Gwen’s hobbies and passions were underused and underdeveloped. She was a drummer but that didn’t factor that much into the stories I read. So to see McGuire embrace that is as welcome as Miles’ artistic talents in ITSV.

Now I admit, those of you who recall my thoughts on Latour’s Spider-Gwen book might be calling me a hypocrite here. Because another of my frequent complaints was how doom and gloom and glum Gwen typically was in that series from the outset, yet here I’m praising that.

I think the distinction is this. Latour came out the gate defining Gwen as grieving and guilt ridden, reeling from a tragedy that happened an undisclosed amount of time ago (but still making with the yuks and gags). Not only was this tonal whiplash but it also was a shitty way to set up a new ongoing series. It began world building for Gwen in media-res of extenuating circumstances and circumstances which were incredibly derivative of Peter Parker.

Where McGuire succeeds in this issue is by having not only a distinctly different tragedy but also the benefit of this occurring both after Gwen’s world has been built up and in the aftermath of a huge event. It’s totally realistic and earned that there would be a mourning for fallen warriors after a war. It’d be disrespectful for that not to be the case; in fact it’s kind of disrespectful that that mourning happens in a tie-in issue not the main book!

By having this issue actually deal with the aftermath it re-contextualizes the prior issues of the event. Spider-Geddon as a whole was definitely a bloated poorly written inconsistent mess. But this issue as a coda treats it with the weight the main book never had. There is an emotional realism to the story even though we are dealing with something as wacky as inter-dimensional travel and totem vampires.

This emotional realism is pulled off so well you even feel a little something for Karn’s death, you even feel bad he died alone and so violently even though again, no one is a fan of that character. No one gives a shit about him.

Part of this realism comes from McGuire from this one issue apparently being an inherently better writer than Latour ever was, at least for Spider-Gwen. Latour in all this works I’ve read emphasises style, and wants you to ‘watch’ the story unfold rather than feel like you are right there with the characters. You can ‘see’ Spider-gwen is upset but McGuire takes you inside her head and writes her grief from the inside out. Latour might’ve used internal narration but he rarely pulled this off, probably because he was too busy making a clown show on the side with stupid ass Spider-Ham cameos, wacky humour about the Bodega Bandit or building up Evil Daredevil instead of you know, the ACTUAL main character.

His Spider-Gwen work felt a lot like watching things sort of just happened rather than experiencing things unfolding like in this issue.

What further enhances this story is the deliberate or accidental metatext behind the story. No I am not talking about how Stan Lee had recently died when the issue came out, though that did make me tear up thinking about it.

Gwen has been rebranded Ghost Spider (though her recap page doesn’t quite admit that weirdly) and this is an issue about Gwen dealing with ghosts, dealing with death, spreading the grim news as a reluctant messenger of death. That angle just works in this issue and if embraced would work brilliantly as a new element to the character to latch onto. In no small part because, as the issue itself acknowledges, Gwen Stacy’s legacy is inherently linked to death.

That might be admittedly a radical departure from the punk rock youth vibe the series began with, but not only was that rather squandered by Latour (with bullshit like Hipster Electro and Hipster Kraven the Hunter, go fuck yourself seriously!) but at the end of the day that vibe is perhaps rather...shallow...for an ongoing character...??????

Other elements of the issue I liked was the artwork. It’s not much like what Rodriguez was going, which was I admit very distinct and gave Spider-Gwen’s series a unique identity. But this art is still lovely and works very well for the subject matter. What is particularly nice was the different period outfits Gwen adopted as she made her travels through the multiverse. Also, though this isn’t strictly ‘art’ per se, the word balloons at Karn’s funeral have a cool moment where everyone speaks a salute to Karn and the combined word balloons look like a spider. That was just a cool touch.

My final note is that McGuire has one of the best Peter Parker moments I’ve seen in a long time, and considering the quality of Spencer’s run that is not damning with faint praise (as it would’ve been just over a year ago). In the scene Spider-Gwen and 616 Peter discuss Gwen needing some time off and Gwen asks if that is selfish. On the one hand this is a little bit derivative of Peter Parker, King of Guilt and Responsibility. On the other hand I guess most heroes would ask this of themselves. Peter Parker surprisingly gives a very mature answer.

Now this answer is very much in character and logical for Peter, but it’s also something too often writers neglect in favour of writing Peter in a repetitive manner that renders him a caricature. Peter acknowledges it is selfish but that that is not wrong, He says the world will always need saving but the heroes get to pick their battles and have to sometimes rest, that indeed they deserve it.

Though a mere moment in a story not about him McGuire writes a Peter Parker who truly feels like a mature adult, that feels like the Peter who is truly the sum of his experiences.

Were this teenage or college aged Peter he wouldn’t have been likely to say that. If it was friggin Slott’s Peter Parker definitely not (even though he’d have still gone to play with Miles in the park rather than do his actual job). But a Peter Parker who’s insanely experienced and knows his limits? Yes absolutely he’d know he’s entitled to down time and more importantly needs it. It’s demonstrative of how guilt is present in his character and yet is not the defining trait. Responsibility is, and there is a responsibility to himself. Spidey-UK even echoes such a sentiment earlier in the story.

So with all that said I must admit this issue was a tremendous triumph from where I’m standing, I’d recommend you read it and would go so far as to call it the best issue of Spider-Gwen I’ve ever read sans her debut.

Does it change my feelings for Spider-Geddon as a whole?

No, it still sucked and was still pointless beyond resurrecting MC2 Peter (which in my book makes it worth it, sorry Spidey Noir fans, I’m sure he’ll be back eventually) but this last issue took it out on an unquestionable high note.

[makeste]

BnHA Chapter 199: One Whole Bird

Previously on BnHA: Aizawa’s winning class A team reflected on what they could have done better. Tsuyu and Kirishima were unexpected bummers due to their recent internships still weighing heavily on their minds. Shinsou was also frustrated with his performance, despite everyone telling him how good he did. Aizawa and Vlad told All Might and Midnight that today’s exercise is also a test for Shinsou to see if he should be admitted into the hero course. It’s not clear whether or not Shinsou is aware of this, but we’re all rooting for him! The second round of battles got underway, with Team KendouKuroMangaToadette facing off against MomoYamaTokoKure. Class B’s Kuroiro was revealed to have a quirk that allows him to move freely within anything black. This applies even to quirks like Dark Shadow, and once the match began, he basically dove into DS and rode him back to Team A’s location. Now he’s getting ready to throw down with Tokoyami, who has dramatically thrown his cape aside and is preparing to unleash the new technique he developed during his internship with Hawks.

Today on BnHA: Hawks is back! In flashback form. But he’s back, you guys! So apparently Tokoyami first interned with him after the sports festival, only to learn that Hawks mainly selected him to get the good gossip on the whole USJ attack. This frustrated Toko enough that he redoubled his training efforts, and when he went back to intern at Hawks’s agency for real after getting his provisional license, he impressed the #2 hero by being able to keep up with him. So Hawks took him on a cute lil nighttime flight above the city while A Whole New World from Aladdin played, and then they landed on a tower somewhere and Hawks was all, “hey dude you should learn to fly for reals,” and then the flashback ended. Back in the present, Kuroiro sneaks up behind Aoyama and grabs him and hauls ass. Tokoyami then reveals his new technique: Flying For Reals. He retrieves Aoyama, who fires his laser to break up the shadows around them, making it impossible for Kuro to hide. Things are looking good for Team A, but then a mushroom suddenly sprouts from Momo’s nose, reminding everyone that there are still three other Team B members to take care of, and things are only just getting started.

(As always, all comments not marked with an ETA are my mostly-unspoiled reactions from my first readthrough of this chapter. I’m caught up with the manga now at chapter 222, so any ETAs will reflect that.)

ooh, and we’re opening with what I assume is an internship flashback!

well yeah, Mighty Wings is the type of quirk that allows you to do that. when you can individually control hundreds of little godmode wings that are strong enough to even carry people to safety, you don’t really need much in the way of backup

ah, so it’s confirmed this is Tokoyami’s narration

apparently the U.A. sports festival earlier in the year was the first time Hawks had ever taken place in the whole drafting process

hold up, so did Toko intern with him for both the jr. internship and the real internship? like, he did the weeklong thing following the sports festival, and then went back and interned there for real later? or was it only the first and not the latter?

lol Hawks is flying off to go save some other hapless soul. some out of control drunk dude at a bar in Cantina

I assume Cantina is a specifically a reference to the very famous Mos Eisley Cantina in Star Wars, even though it’s also a common enough word in its own right

lmao his sidekicks are all “yeah so Hawks is just generally better than us in every conceivable way and we just have to live with it”

these guys crack me up

so during his workplace experience Tokoyami just spent the whole time chasing after Hawks with these guys and handling the cleanup with them. so naturally it wasn’t long before he started having doubts about the whole thing

I was literally just about to say “because you’re both birds” and then Hawks was like “yeah, duh”

Tokoyami is asking if he’s joking, because Tokoyami doesn’t have a sense of humor so he probably genuinely needs to know

Hawks says he’s 20% serious. holy shit. that honest to god is what he said lmao

he says he wanted to talk to someone from class 1-A about the League of Villains, and he figured if he had to do so then he should pick someone he thought could keep up with him and who showed promise. and since Tokoyami finished in the top three he went with him

and of course we know from chapter 186 that he had selected Todoroki as well, but Endeavor got him instead

interesting that both he and Bakugou picked the highest ranking agencies on their list and ended up being disappointed. it seems like the people who had the most fulfilling internships were the ones who went with agencies that hadn’t necessarily made huge names for themselves, but were perhaps a little better at this whole teaching thing than some of the big shots

ah, and then Hawks did agree to take him on for a For Reals Internship later on, though

that means Tokoyami actually reached out to him despite his lackluster previous experience. makes me wonder if Bakugou would actually decide to go back to Jeanist’s agency once he gets his provisional and once the kids are allowed to do internships again

(ETA: so I’m honestly not sure if we’re even going to get back to internships again, at least not for a while, but one theory I’ve seen floating around is that Bakugou will intern with Miruko instead of Jeanist, and I gotta say, I really like the idea of that. for so many reasons. but basically it makes a lot of sense; Jeanist is still laid up, Miruko is a top 5 hero, and her personality aligns with Bakugou’s a whole lot more than Jeanist’s did. all this plus Fuck Yeah Girl Power, so hell yeah I’m all for it.)

-- YOOOOOOOOOOO

he can -- you can fly, dude? since when lmao what the fuck

(ETA: what is he doing here, though?? I thought he was flying but then a couple pages later Hawks is like “you should learn how to fly” and then a few pages after that everyone is shocked by his new “bitch I can fly now” special move. so it seems like that’s something he came up with after this scene. is he just jumping with style here or what)

Hawks likey! kid’s got some potential

now it’s later that night and Hawks is telling Tokoyami he did good

OH MY GOD

THIS IS THE CUTEST AND BEST THING THAT’S EVER HAPPENED. OH MY GOD. YOU GUYS. I CAN’T IT’S TOO FUCKING PRECIOUS OH SWEET JESUS

(ETA: so as you can see I was enchanted by this scene even before I learned about its significance as a beloved fandom meme. anyways so we all agree that this internship was destiny.)

TOKOYAMI IS SO OVERWHELMED. HIS POETIC SOUL IS SOARING LIKE AN EAGLE

OH MY GOD!!

HOW DOES HE REMEMBER THE CORRECT PERCENTAGE BREAKDOWN FROM A JOKE CONVERSATION THEY HAD LIKE SIX MONTHS AGO

SERIOUS QUESTION WHY IS HAWKS THE BEST CHARACTER IN BNHA. ANSWER ME. SOMEONE

AND LOOK AT TOKO’S FACE OMG

AHHHH

it’s so personal, though. like I honestly feel like he’s baring a bit of his soul to this kid, and for someone with a personality like Hawks’s that is huge

he says he’s not especially interested in nurturing the next generation, “but...”

well that’s fine dude. you’re practically still a kid yourself and you’ve got more than enough on your plate

but the fact that he does have so much on his plate makes me wonder what’s going through his head right now. because the whole workplace experience was before he started his undercover mission, but this scene is taking place afterward. and he always plays it cool, but that shit is dangerous, like one-wrong-move-and-you’re-dead-or-worse types of danger. and that’s not even taking into account the bad-for-your-soul parts that come with having to turn a blind eye to certain things for the sake of maintaining your cover for the greater good

so basically, despite what he says, he may just be feeling a bit more sentimental or brooding or whatever than usual, and maybe that’s what brought this on. he never particularly wanted to be a mentor, but hey, might as well give it a shot. life is short

so Toko’s asking what he meant when he said Tokoyami was wasting his potential

and Hawks says that while Tokoyami is doing a lot to cover his weak points, he shouldn’t neglect improving his strong points

one moment please while we process these Hawks feels ladies and gents

aaaaaaand done

my boy just wants to be free. okay. that’s fine. I’m fine it’s all good

nothing to see here, just some solid mentor advice pulling some double duty as a deeper look into Hawks’s psyche at the same time. just Horikoshi things

and we’re back in the present!

that was a much lengthier flashback than I anticipated, and thoroughly enjoyable! very nice!

so Kuro is blending back into the shadows and for some reason everyone is surprised

what else would he do. I mean. if it ain’t broke

so now he’s mocking them from somewhere in the piping, bragging about how they can’t tell where he is

oh shit!

so he’s planning on targeting one of the others? tbh that probably would have worked just as well even without the red herring, since they can’t see him coming

like, this would have worked no matter what though. but I guess it did get Aoyama to lower his guard

LOL MY POOR GLITTER BOY

FIRE YOUR DAMN LASER KID

ooooh

it’s so gross that he refers to it as an umbilical cord and now I’m never not gonna be able to think of it as that

so anyway, I’m guessing that this special move works by having Dark Shadow fly somewhere and then instead of retracting the shadow back to him, he pulls himself toward Dark Shadow

LOL

what, y’all didn’t see those flashbacks with Hawks just a few pages ago. pay attention to other characters’ life stories

ah, here are the mechanics explained to us in a cute little comic

“Dark Shadow can fly so one day I was like, ‘ohh... pick me up so I can fly too. fucking duh’”

also has the bonus advantage of distracting opponents with how shockingly adorable it is

so now he’s plucking Aoyama out of Kuro’s clutches

I bet Aoyama’s pissed that his cape broke in the process though

LISTEN HERE BITCHES, Y’ALL ARE GONNA NEED PLAN B, C, D, ETC. BEFORE YOU CAN EVEN COME CLOSE TO TAKING OUT MY GIRL MOMO HERE. YOU’RE GONNA RUN OUT OF LETTERS OF THE FUCKING ALPHABET YOU AMATEURS

she said, but also I’m still pretty sure they’re gonna lose fffff

since Aoyama and Tokoyami are now perfectly positioned, Momo’s telling Aoyama to use his navel buffet

ah I see, eliminate Kuro’s potential hiding places by blinding him with Aoyama’s splendor

so Dark Shadow is covering himself in Kuro’s cape and Aoyama is letting ‘er rip

this is such an odd and perfect sound effect and I’m really impressed with Horikoshi for coming up with it in English

aha!

GOTCHA MOTHERFUCKER

now Momo’s calling Hagakure to action, and for a moment I was like ‘why’ but then I remembered her special move

but before we get to that, please enjoy this Yaoyorozu Momo “just as planned” panel

yessssss now get ready for --

...

okay what is plan B

...

and the chapter ends. of course

chapter 200 is gonna be some wild times isn’t it. lol

[littlemisssquiggles]

Pretty random question, but do you think that RT could wind up killing Ruby or Oscar off? Idk, I feel like if they did it right then it could be really sad. What are your thoughts?

…Uhmm…no?At least not in a permanent way. I’d like tobelieve that Ruby and Oscar both have a strong set of plot armour in theirarsenal. Ruby because she’s our series main protagonist and Oscar because…okayI’ll be blunt here: The CRWBY Writers axing Oscar would honestlybe a rather absurd plot decision given the context of how Oscar wasfirst introduced into the story.

Oscaris meant to more or less replace ProfessorOzpin at some point as the newest incarnation of the Wizard of Light. The CRWBYkilled off Ozpin to bring Oscar in and right now, they’re supposedly integratinghim into the main group and plot indicating that he might have a bigger role inthe story. I mean he certainly does just as much as Ruby given his connectionto the main series antagonist: Salem.

IfOscar dies and it’s a permanent thing then the first question I would ask is: What was the pointof creating his character?

What was thepoint of killing off Ozpin to introduce us to this new child character that wasmeant to replace Ozpin only to kill him off after spending seasons makingaudience members invest in his character and story arc? Why do all of that atall if that was his endgame?

I’msorry. This is mostly my personal Pinehead bias talking but I really do thinkkilling off Oscar for good after killing off Ozpin to get him instead soundreally dumb. Feel free to disagree with me if you will but that’s how Ihonestly feel about that.

Butto really answer your question Momfriend, in the event that the Writers do planon kill either of these two off, I can only see it being done for like the series finale.

ForRuby, I can only picture the Writers’ writing her final swan song as hersacrificing herself for the fate of humanity. While I technically don’t believethe CRWBY would actually kill Ruby, this is one way I can see them doing it ifthe thought ever crossed their minds.

Maybethey can even pull a River Song in Doctor Who where Ruby dies bravely to stop Salem and Oscar useswhat bit of the God’s light he had left in him to bring her back with a literalkiss of life.

Imagine if…in the end, the Writerspull a bit where Oscar is able to share his immortality with Ruby Rose so theyboth become immortalbeings whose love ends up shaping Remnant and its history for many,many generations.

Theycould become the epitome of soul mates wherethey’re attached at the soul and if one of them dies, the other dies as well.So they die together but are reborn separated with their memories intact. Butno matter where they respawn they always find each other again and relive theirlove.

That could be sweet.But I doubt the Writers will do something like this. Makes for a kickass AUthough.

ForOscar I can more picture him dying temporarily onlyto be revived later. Not as a new character but as himself. His true self. Hiscomplete self. I’ve been repeating this theory for the longest time where Ibelieve Oscar is truly Ozma---the reincarnation of his original form reborn inModern Remnant.

Ihave this picture in my head where Salem captures Oscar and takes him to her Dark Domainwhere she performs some kind of dark crucifixion ofsome kind. I’m not sure if you’re an Avatar fan as well but in its sequelseries, the Legendof Korra, it is revealed that the Avatar is in fact a combination ofa spirit and a human soul.

InKorra’s second book, the Avatar spirit---Raava is ripped out ofKorra---the current Avatar and whipped right before Korra’s eyes.And with each beating, Korra loses his connection to her past lives going downthe lineage until the Avatar cycle is reset and Korrabecomes the first and last Avatar.

Somehow I’ve picturedOscar suffering a similar fate like that where the reincarnation cycle is reset with him as theLast Wizard of Light. The last life. In my vision, Salem uses her dark magicto force Ozma or what she believes to be Ozma’s soul out of Oscar’s body. Ozpindescribed himself not just as one man but a culmination of them. So it’s my assumption thatwhen the Merge occurs, the souls of the other Wizards don’t truly die ordisappear but become a part of something I dubbed the Wizard Persona which they share with their current successor.

Ithink all thesouls of the past Wizards live within Oscar.He just hasn’t done anything to really connect withthose differing souls beyond Professor Ozpin. However I do think they are allthere with him. My Pinehead headcanon is that Salem will strip Oscar of his connection tothe other Wizards, killing them one by one until all that remains isOscar’s feeble soul.

Similarto Korra’s experience, picture…Salem extracting the souls of each of theWizards before Oscar who are a part of him. Picture Salemkilling each and every one of them for good, right before Oscar’s very eyes andwith each disconnection, Oscar feels his soul suffer as if he’s being torn in two.

Salemdoes this because she’s trying to get to Ozma who she’s trying to find amongthis mess of men. Unfortunately for Salem, she never finds Ozma and it isrevealed later that Oscar has been Ozma all along---his true reincarnation of him as the younger revived version of hisoriginal self. So Oscar technically dies but he’s brought back one last time tocomplete the mission he promised to fulfil all those years ago in his firstlife as Ozma.

Mytheory is that Oscarwill meet the God of Light or at least one of the Gods in the Realm BetweenRealms again. Since Ozma met the Godof Light, I think it’d be a cool contrast if Oscar met the God of Darkness and it would fit with the theory I have where Ibelieve the Godseach contribute to the creation of life inspite their differences.

My theory is thatBrother Godsdon’t just represent light and darkness but also body and soul. Dark represents the body while light represents the soul.

Mytheory is that through a consult with the God of Darkness, Oscar will learnthat he has been Ozma all along. He is the original form---the body ofOzma---that the God of Darkness brought back with his power. But when questionedof why the God of Darkness would do such a thing, he informsOscar that he did it in aid of his brother. The Brothers may differ in theirsentiments and levels of mercy shown towards mankind and while the God ofDarkness might not share much what fate befalls his so-called greatest creation,he does care and believe in his brother; even if he might never say that to hisface.

Let’s say, the God of Darknesshad a hunch that his brother’s experiment with Ozma’s soul mightfail at some point. There was no way he could keep doing this forever and atsome point, humanity would fall again by Dark’s premonition. So as one lastfailsafe, in addition to reviving the God’s Champion: Ozma, each Brothercontributed an additional trump cardto aid Ozma in the event that he failed to see through with his mission.

TheGod of Light’strump card were the Silver EyedWarriors---beings he blessed with his eyes to destroy the Creaturesof Grimm. The finaltrump card, the one Darkness had a hand in, was the creation of Oscar.

Godof Light was never able to revive Ozma’s old body. It was a feat out of hispower. But not Dark’s. While the God of Light revived Ozma’s soul, Ozma’s old body wasreborn and granted a new life and a new nameuntil his truepurpose will be realized. Destiny has a way of trailing back to where it’s supposed tofall after all and eventually Ozma’s revived soul would ultimately merge withhis revived body, reviving the hero---the champion known as Ozma completely. Ozma was theChampion of the Gods. The Wizard of Light andOscar is Ozma.

Thisis why I’m standing with the Merge not killing Oscar. It’s supposed to make himcomplete.Ozma will be made whole again. Oscar will be made whole again. That’s my headcanon and boy do I love it.  

Do you knowwhat would be interesting?

What if… the Gods being gods foresaw their greatest creation bringing abouttheir own damnation? What if…the Godsalready knew Salem was going to bring about humanity’s destruction but wereunaware on how to stop it.

Sothey introduced players and trump cards intheir game of Fate against Humanity. It’d be funny if RWBY is revealed to be one big game that theBrother Gods have been playing this entire time alongside another known God.

Possibly a third God---A higher being who warnedthe brothers that their greatest creation would fall and rise to destroy themboth and themselves.  Picture…this third Godbeing the Creator of the Brother Gods.  Perhaps there isa female Goddess---AMother of theCosmos who is the mother of the Brothers of Light and Darkness.

AlrightI think this is where my headcanons needto stop since I’m getting ahead of myself here. But it’s cool to think about,right? Hope I actually answered your question fam.

~LittleMissSquiggles (2019)