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gogolucky13 · 3 years

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Dead in the Water

Summary: When the siren calls, you answer. Whether you want to or not.

Pairing: sailor!Bucky Barnes x siren!f!Reader

Word count: 5,624

Warnings: Dub-con (reader is manipulative and uses mind control-like powers). Smut (vaginal penetration, unprotected sex, rough sex, monsterfucking). Angst. Name calling (derogatory). Mentions of deaths and implied murder of a major character (not explicit). Descriptions of a mythical creature (physical attributes are given to the reader but they are fantastical and are otherwise not coded to a specific race). (18+ only please).

A/N: This is my take on a sailor!Bucky and siren!Reader so I hope you like it. I did minimal research for this and essentially made up the mythology to fit this story, so please don’t @ me. A huge thank you to @please-buckme and @dreamlessinparis for looking this over and making sure it doesn’t suck! ily both so much. 🥰🥰 Divider by the lovely @ firefly-graphics. Feedback is greatly appreciated! Happy reading! 💜 follow @gogolucky13-library for writing updates!

Bolts of lightening streak across the blackened sky in lines of bright white. Claps of thunder shake the heavens with ruthless and deafening rumbles. Angry waves relentlessly thrash around him as Bucky tightly grips the piece of wood he floats on. One particularly savage wave smacks him in the face, drowning his senses for a moment in the tangy saltwater. He spits and gulps for air, his eyes burning and face stinging from the sharp drops of rain.

“Captain!” Bucky sputters, calling out hopelessly into the dark of night. “Captain!”

Nothing.

The sea continues its tantrum. Helplessly, Bucky watches as it ravages the last remaining bits of the grand ship he was sailing on only moments ago; the dark water swallowing it whole and dragging it down to its murky prison.

Tales as old as the sea itself passed down from generations caution what would become of those who dared to attempt passing through these wicked black waters. There is no mercy. There are no saviors. Only death.

He warned them. He warned them all of the dangers of sailing in these waters. But before Bucky had the chance to convince his captain to turn back around, the song began to play. The alluring tune quickly claimed the men on board; their bodies and minds falling victim to a voice so sweet and pure it was hard to believe anything awful could come of it. But Bucky knew better, and they didn’t believe him.

It took his friends. It took his father. And now it seems it will take him, too.

With the few ounces of strength he has left, Bucky decides to fight back until he no longer can. If he’s doomed to an afterlife spent in the form of an unforgiving watery grave, he will at least go down with his pride still in tact. But before he begins to battle his way to shore, he takes a moment to honor his lost captain; a noble man Bucky proudly served for nearly four years.

Looking out into the vast, now empty, sea, Bucky tucks his thumb against his palm and touches his aching fingers to his forehead in a shaky salute. “Rest well, Captain Wilson,” he bids. “May you have fair winds and following seas for all eternity.”

He gives one last, longing glance to where the U.S.S. Avenger once sailed. Then, Bucky focuses his attention to the jagged edges of the faraway shoreline. Taking a strong grip of the damp wood keeping him afloat—he thinks it could be part of a door—he begins to vigorously kick against the defiant current.

Cold water repeatedly splashes in his face, blinding him temporarily until he shakes it off; strands of dark hair stick to his forehead in abstract patterns as a result. The weight of his soaked uniform threatens to pull him under with every kick; the wool fabric thick and burdensome. Heavy breaths are forced through his cracked lips as he pushes on and wades through the violent undulations of the sea tossing him around with ease. But as much as it seems he’s fighting against all of Mother Nature, the wind appears to be on his side. Large gusts throw him forward, over large waves and closer to the shoreline; closer to salvation.

In the distance, Bucky can see the silhouette of a lighthouse through blurry vision. A powerful flash of lightening illuminates the sky and accentuates the stone cylindrical building. The sight brings forth the last remaining shreds of hope he thought had gone down with the ship. Adrenaline surges through him, erupting down his limbs and giving Bucky just enough energy to fight through the final few yards of vicious sea.

Once he reaches the rocky shore, Bucky is relieved, but he knows his fight isn’t over quite yet. He struggles to pull himself onto the large boulders surrounding the land; their surface too smooth and too wet to get a proper grip. The tips of his boots slip several times before he finds a divot deep enough to slide his foot into. With a deep breath, Bucky pushes off the rock and hoists himself up, reaching and clawing his way to the steady earth above as the waves continue to whip angrily behind him.

The feel of grass and gravel is welcoming on the palms of his hands when Bucky finally reaches the top. He crawls onto the flat surface, collapsing and rolling onto his back to catch his breath. The rain is relentless as he lays motionless, his heaving chest the only indication he’s still alive. A burst of white followed by a booming clash of thunder rattles Bucky; his heart nearly rupturing at the sudden outburst. Another gust of wind swirls around him, the chill of it seeping through his damp clothes and settling deep into his bones. It’s a reminder that the fight for survival carries on and he must seek shelter now.

A low groan resonants in his chest when he twists onto his side. Slowly, he pushes himself onto all fours, his limbs heavy and tired. When he finally manages to stand on unsteady feet, Bucky glances up to the old lighthouse before him; a stony godsend luring him in for a much needed respite from the merciless storm. Then, with slow, paced steps, he staggers through the darkness to the front door—a deteriorating slab of wood once painted a vibrant red but has since faded to a sinister crimson.

It barely budges when he attempts to push it open with his hands. Taking a deep breath, Bucky squares his shoulder against the door, counts to three in his head, and slams into it. Once, twice, then on the third hit the old door finally gives and Bucky nearly falls inside. He kicks it closed, the sudden silence almost as deafening as the roaring sea and thunder beyond the walls.

The lighthouse is definitely abandoned; cracks blemish the cement floor, paint peels off the walls to expose the brick underneath. As Bucky walks further into the room, torn papers crinkle under his boots; broken glass and leaves crunch wherever he steps. He spots a black wood burning stove in the corner of the room and an immediate rush of relief takes over him.

Quickly, he scrambles over to it. Falling to his knees before the cast iron appliance, Bucky frantically searches for matches and any wood to stuff inside.

“Please, please,” he mutters mostly to himself, but also pleading and begging with the higher power who brought him here to see him through just a little bit more.

It doesn’t take him long to find a half-empty box of matches under the stove, reaching for it with a blind hand. When he pulls it out, Bucky sighs at the sight of it. A soft chuckle falls from his lips, tears begin to well in his eyes as he finds humor in being grateful for something so small, so trivial in any other circumstance.

“Thank you,” he whispers, placing a thankful peck on the sodden cardboard box before sliding it open.

He’s pleased to find five matches still inside—crisp and ready to use—and he lets out another sigh of content. Without wasting anymore time, Bucky slips out of his thick, damp uniform coat, throwing it over the top of the stove, and begins shoving dry logs into the oven. After the inside is stuffed full, Bucky snatches the box of matches and attempts to light one.

His hands are cold and shaking, his fingers numb, and it takes him several tries before finally, a spark ignites. The red tip of the match is quickly engulfed in a bright yellow flame; warm and magnificent. An almost hysterical laugh echos around the stony room when he sees it, causing him to nearly fall over in excitement. Bucky watches the small flame dance for a few moments before laying it amongst the wood.

Gradually, the fire eats away at the bark until eventually, a steady blaze grows, and Bucky is satisfied enough to shut the door of the stove. Standing, he rubs his hands together before holding them over the warming fire, listening as the storm rages on outside. Then, he decides to better inspect his new home for the night.

On the old wooden table by the doorway, Bucky spots a lamp with just enough oil to give him light for a few hours. Reluctantly, he strikes another match to start it up, using the lantern to guide him through his exploration. Taking slow steps, he walks around the circular room, occasionally glancing up towards the distant roof of the lighthouse when a drop of rain falls on him. A spiral metal staircase snakes up the walls to the top of the building, but Bucky is far too wary to chance climbing them. The rust covered screws and the chunks of broken railing lead him to believe it’s safer to stay on solid ground.

As Bucky searches through the cabinets, a white glint outside catches his eye. It causes him to stop and stare; his movements stalling as he waits for it to happen again. It wasn’t lightning, he’s sure of it. The flash was too small, too precise, over the water; almost like a spark reflecting off a mirror.

“Come on,” Bucky whispers, eyes squinting and straining to see the sudden flash again.

Just as he begins to doubt himself—his mind telling him it was nothing—it happens again. Quick, sharp, and almost blinding against the inky midnight sky.

In a flurry, Bucky rushes to the front door. His heart pounds wildly against his ribcage, bewildered and full of adrenaline. Is it a fellow sailor? His captain? The thought of another survivor—of not being alone—brings him a small bout of relief and he’s desperate to figure out what it is.

But then Bucky remembers where he is, why he’s stranded in this lighthouse. Could it be something much worse luring him to his death?

Whipping open the front door, pellets of icy rain instantly bite into his skin. Bucky raises a protective arm to block it before shouting into the dark of night. “Hello?! Who’s there?!”

The only response he receives is the howls of the wind and the crashes of the wild sea below.

Frustrated, because he knows he saw something, Bucky tries again, “Come out and show yourself!”

“I’m not hiding, sailor,” a sultry voice speaks evenly from behind him.

At the unexpected sound of another, Bucky’s heart drops to his stomach as he falls into the door. He quickly turns around to face the mysterious voice, but is only met with the sight of a dim, empty room.

“Who…who said that?” He stammers, holding the lantern out in front of him.

“Come inside, sailor,” the alluring voice speaks again. “It’s cold out there.”

Not because he wants to, but because he feels the bitter chill of night scraping into his flesh, Bucky reluctantly abides the unknown being. Slowly, he takes timid steps back inside the lighthouse. The lantern hangs over his head, illuminating his way and guiding him to his dubious fate.

Suddenly, a fierce blow of wind slams the door shut behind Bucky. The force of the unexpected action causes him to stumble over his feet, the lantern falling briefly to his side. But then, he regains his composure. Lifting the lamp back up, the yellow flame brightens the room and highlights the lower half of the iron staircase.

And there, standing on the landing before him, is something so surreal, it makes him question if he’s still alive. A creature he’s had the fortune of only being acquainted with through tales and stories of sailors before him.

Until now.

Instantly, he knows what you are: death in the form of immaculate, destructive beauty.

Every nerve ending in Bucky’s body goes numb. The soles of his boots fuse with the cement floor as shock holds him in place. His senses struggle to make sense of what he’s seeing, momentarily becoming deaf and blind. The lantern still in his hand begins to shake, his arm weakening from fatigue and fear. And as you begin to descend the stairs towards him, Bucky can only stand and helplessly watch.

As you draw closer, the flame of the lamp reflects off the ornate gold jewelry you wear. The orange light highlights the iridescent glow of your skin, revealing a subtle pattern of scales along your arms and legs. Bucky remains motionless; his heaving chest and roaming eyes the only moving parts of him as he continues to take in your ethereal being.

A sheer white cloth—ripped and torn at the edges—covers your body and does little to hide what’s hidden beneath it. Bucky gulps at the unsuspecting view of your nearly exposed bust and the outline of your waist. He’s entranced by the sway of your hips, undulating like the sea you come from.

For a moment, he’s tricked into falling for your innocent aura, trusting you mean him no harm. But then, a loud clap of thunder snaps Bucky from his mild daze and he remembers what you are. Irritation prickles over his cold skin at the sight of you, a ripple of anger warming him as it sears through his veins. Cautiously, he takes a step back.

“Stay away from me,” he warns. “I know what you are.”

“You do?” You ask with a slight quirk to your brow. A pause before you add, “So then you know I’m the one who saved you.”

At the ignorant declaration, Bucky barks out a sardonic laugh. “Saved me? Saved me?” He asks rhetorically, his body alight with a fury he’s never known before. It makes him feel bold, daring, and it spurs him on. “You didn’t save me! You’re the reason why my ship is now at the bottom of the ocean!”

“Is that what you think, sailor?”

“It’s what I know,” Bucky seethes, clenching his jaw to fight the urge to continue yelling.

He watches you closely when you start to circle around him. The lantern he still holds never strays too far from where you step.

“It is true,” you slowly begin in a meticulous tone, “I am the reason why you’re here. I saw your ship go down, and I helped guide you to safety.”

The confession stuns Bucky. A realization colder than the ruthless sea dawns on him, constricting his chest and twisting his stomach. Suddenly, he wishes he would’ve succumbed to the riptide; falling to the ocean floor to rest for all of eternity.

This lighthouse is not his salvation. It’s his damnation.

“You brought me here,” Bucky finally says in recognition, his voice so low he barely hears it himself. “You made sure I survived and, and you brought me here…” The words trail as he suddenly recalls the fight against the current made easier with the wind; the gusts practically blowing him in the direction of the lighthouse.

“You evil, vile creature,” he spits. “Stay away from me!”

Even in the dim glow of the room, Bucky is able to see the flicker of black that takes over your eyes at his insults, but just as quickly as he notices it, it’s gone. The white returns and your pupils are back to the serene color they just were.

“Sailor, I saved you. You must believe me,” you calmly plead, taking slow steps towards him.

When you reach a hand out to him, Bucky steps back, bringing the lantern before him to thwart your advances.

“I said, stay away from me.”

He only registers the beginnings of a low growl before you let out a shriek of vexation, rushing towards him at an inhuman speed. The abrupt action causes Bucky to trip, the backs of his knees bumping into the edge of a chair. Before he can catch himself, he’s falling backwards, slumping into the wooden seat as the lantern slips from his grasp and clatters to the floor.

“You should be grateful for me,” you snarl as you tower over him.

The dominance you exert has Bucky’s heart racing in fear. The lowlight of the lantern casts an ominous glow upon your once angelic features, and his eyes widen in panic as he looks up to you, uncertain of what your next move will be. A lump begins to form in his throat and he attempts to swallow it down when he sees you crawling onto his lap. With his hands suspended in midair, Bucky is unsure of what to do. Too afraid to anger you again, he remains still and allows you to straddle his hips.

At Bucky’s relinquishment, your aura is relaxed, composed once again, and that fact brings him only a small bit of comfort. He remains rigid as your hands run up and down his torso, the muscles taut under your frightening touch. With wide eyes, Bucky frantically scans your features, noticing the faint tint of violet on your lips when they twist into a sinister smirk.

Brushing the loose strands of hair from his face, your head tilts in apparent wonder. “Do you know how beautiful you are, sailor?”

You pose it as a question, but Bucky is sure you aren’t looking for an answer. Still under your inspective gaze, he only dares to breathe as you continue on.

“Eyes like the ocean,” you muse, trailing a slightly webbed hand along his stubbled jaw. Then, you bring a gentle thumb to his bottom lip, swiping over it as you lean closer to him and whisper, “Flesh like pearls.”

A fog begins to cloud Bucky’s consciousness the longer he remains wrapped up in your presence; his body and mind no longer working as one. Like a drug, your touch takes over, his eyes fluttering closed at the almost euphoric feeling.

“I’m not…” he sighs, licking numb lips with a heavy tongue, “I don’t want to touch you.”

“Are you sure about that, sailor?” You tease, raising a brow and glancing to the pair of large hands that have found their way onto your shimmery thighs.

Your words pull Bucky from his stupor, eyes snapping open to see that his hands have somehow ended up grasping your legs. Baffled and disgusted, he quickly pulls them away before he begins pushing you off of him.

“I told you to stay away from me,” he weakly argues.

As he attempts to stand, the ground beneath him shifts, a bout of dizziness causing him to stumble into the decaying table beside him. With shaking hands, he clutches his head, scrunching his eyes closed as he waits for the lightheadedness to pass.

“See, you aren’t well,” you try, stepping towards him and sliding your hands up his biceps. “I can help, let me help you.”

“No!” Bucky bellows, ripping his body away from yours.

Spinning around to glare at you, his chest rises and falls erratically, nostrils flaring as he tries to even his breathing. But the moment he catches sight of your trembling bottom lip, he feels his boiling temper immediately begin to simmer.

You remain quiet as you stare back at him with eyes full of dejection. Then, you turn and methodically walk to the other side of the room. Bucky’s gaze is firmly set on you, watching closely as you stop in front of one of the small windows to peer out at the stormy night.

His stare never wavers, and after a few tense minutes, you finally break the silence.

“I didn’t mean to upset you,” you softly say with a muted sniffle. “I’m by myself all the time, and it just gets so lonely out here,” you confess in a saddened tone.

A deep, frustrated sigh forces itself from Bucky’s lungs, his gaze dropping in defeat to the dirty floor. Shame consumes him like a heavy weight settling over his shoulders at the thought of upsetting you, and it’s riddled with regret at raising his voice. With your back still facing him, he looks up to where you stand, and like a moth to a flame, he begins to take slow strides in your direction.

He knows he should fight it. He knows he should care that you’re tempting him. And he knows he should try and stop the wicked manipulation in the form of your sweet voice and heartbreaking words, but in this moment, he doesn’t.

The pull Bucky feels is too strong. The growing want—need—to have you coaxing him closer, luring him into the haunting abyss of your being and to what he is certain will be his death. Beguiling ideations continue to devour him with every step he takes until he breaks; a complete fracture of the body and mind.

Is this how you took all the others before him? With empty promises and false hope? It’s a chilling thought, but the warmth he feels from your enchanting presence ceases any further contemplation on the matter, and all he knows now is you.

The silhouette of your delicate frame—poorly hidden under the thin garment you wear—is all he sees. The cool, slick texture of your unearthly skin under his fingertips is all he feels. Sinking his nose into your damp hair, the scent of ocean and air is all he smells. And when he finally brings his lips to your neck, the zesty saltiness of the sea is all he tastes.

Is he dreaming? He doesn’t remember where he is or how he got here; no end or beginning as the lines between reality and fantasy blur together.

As he stands behind you, Bucky can’t get enough. His hands roam from your waist, up along your arms to reach around to your front. Eagerly, they sink under the milky fabric covering your chest, desperate for a feel of your bare skin. He closes his eyes and breathes out a contented, relieved sigh into your hair at the contact.

No longer in control of his actions, he grazes his lips over the shell of your slightly pointed ear to whisper, “I’m sorry.”

In an instant, you’re spinning around in his arms. Your lips meet his in a desperate kiss; strong, forceful, almost as if you need him as much as he needs you. Bucky pulls you into his body, your thigh brushing against his growing erection, and it elicits a needy whine that gets trapped in his throat. A pained tingling sensation shoots through his body, and a growing hunger claws at his insides as Bucky deepens the kiss, pushing his tongue past your lips to entwine with yours.

He can feel his mind going hazy again; feels the dizziness returning with each kiss and touch of your hands on his skin, sucking the life from him and draining his soul. But Bucky doesn’t care.

He’s ravenous, and his aching appetite can only be satiated by you.

Blindly, Bucky reaches for your backside, firmly gripping it in the palm of his hands before they seek the suppleness of your chest. A groan rumbles in the back of his throat when his palms brush over the peaks of your hardened nipples. As he gently rubs his thumbs over the sensitive buds, soft whimpers fall from your amaranthine lips; the sound a beautiful melody to Bucky’s ears.

Then, he feels your fragile hands trailing down his arms, tugging his shirt open and roaming over his exposed chest, leaving goosebumps in their wake. And it isn’t long before they reach below his belt, palming at his erection that’s straining painfully against his trousers. The sensation drives him wild, and he’s panting desperately against your mouth.

He needs more. He needs to appease the yearning desire to be yours or he thinks it’ll kill him.

With gentle hands, Bucky guides you to the tattered mattress that sits beside the iron stove. Tenderly, he lays you down, kicking off his boots and removing the remainder of his clothes before crawling on top of you. The warmth of the fire soothes his bare figure almost as much as your touch.

Loose strands of his dark hair fall forward as Bucky hovers over you, body and lips trembling in anticipation. The tip of his member nudges at your slick entrance before he feels your soft hand wrap around the shaft, guiding it inside you. A chorus of pleasured moans and satisfied sighs pass between your open mouths at the indescribable sensation. Slowly, Bucky pushes himself fully inside you, pausing once he reaches the hilt.

Everything around him seems to still in that moment. The storm outside ceases its outburst; the wind stalls to a gentle breeze, and all Bucky can do is stare down at you, mesmerized and enraptured by the feel and look of you.

“Sailor,” you whisper with the hint of a smile, reaching up and tucking an errant lock of hair behind his ear.

With his hands firmly planted on either side of your head, he looks down to where your bodies connect and watches himself slowly appear from inside you. Then, without warning, he snaps his hips forward before picking up a steady rhythm.

Your silky walls grip him tightly with each stroke; the ridges along them creating a pleasant friction against his stiff member. Bucky feels himself getting deeper, deeper inside you, and a pressure begins to build in his lower abdomen.

“Yes,” you sigh, snaking your hands up his arms and around his neck, pulling him down and guiding his lips to yours.

He kisses you, hungrily and passionately, as he chases his release. A moan falls from his dry, chapped lips as he continues to thrust into you. And just as he feels himself reaching his peak, a clap of thunder rattles the windows and shakes the floor. The vibrations of it resonate deep into his bones, halting his movements as the deafening sound startles him—the heavens warning him of the trap he’s been lured into.

Blinking and shaking his head several times, Bucky frees himself from your trance. The harsh realization of where he is, what he’s doing, is a heavy blow to his chest, dousing him in icy horror. Disgust warps his features as he looks down at his naked form on top of yours.

“What is this?” He snarls, pulling himself out and scrambling off of you. “What have you done to me?!”

“Sailor?” you solemnly call, leaning up to look at him. A sadness darkens your features, but it does nothing to mar your devastating beauty.

“Don’t,” Bucky snaps, brow creased deeply in indignation. “Be quiet.”

The fire crackles beside him, red and dying. He can feel the sharp stings of his body and mind becoming one again; a poignant reminder of what you’ve done to him, what you will do to him.

You remain on the mattress below him, poised and taunting with a coquettish smile—not at all intimidated by his obvious outrage towards you. This infuriates Bucky even more.

He knows this is a game to you. A sick and twisted game of trifling with his thoughts and emotions, with his destiny. And as he stares down at you, still glowing in the fading light of the fire, he mourns the life he didn’t have.

A home in the country. A lover to call his. A family of his own.

How can something so beautiful be so unequivocally evil?

The remnants of a coy smirk lingers on the corner of your amethyst stained lips as you hold a hand out to him. “Come back to bed, sailor.”

“Ahhh!”

A feral growl rips through Bucky’s lungs at the sound of your gentle yet wicked voice as he leaps toward you. A blinding fury tears him apart, burning his eyes with unshed tears.

“I said quiet, you foul creature!” He shouts, falling back to the bed and on top of you.

Roughly, Bucky clamps a strong hand tightly over your mouth, determined to silence you. A crazed look takes over his features, distorting and clouding the blue of his eyes as pure, unadulterated rage fills him up. It quickens his pulse, igniting his veins and scorching through him right down to the marrow. Looking down at you, he stares intently into the cold depths of your eyes.

He sees the face of his father. He sees the face of Captain Wilson and the rest of the men he’s sailed with. He sees his world crumbling.

“Is this what you want?” He snarls, tone vile and nearly unrecognizable. “Is this what you want, stupid bitch?!”

Gripping the base of his member, Bucky guides it back to your entrance. The edges of his vision burn red, nausea churning in his gut as he slams into you. A muffled cry bleeds from your violet lips and the pitiful sound only spurs him on more. Harsh and unrelenting, Bucky forcefully drives into you over and over again.

The fringes of his sanity begin to unravel again; coming undone to the point he doesn’t know who he is or what he’s doing anymore. Except this time, there are no mind games or heady persuasions.

He can feel your walls beginning to flutter around him; can hear your breathy, wanton moans spilling from your glittery lips, and he hates it. He hates that you’re enjoying this.

But he hates it even more that he is, too.

“Shut up,” Bucky barks at you, each syllable punctuated with a sharp snap of his hips.

He withdraws his hand from over your mouth and replaces it with his lips. Strained and forceful, the kiss is nothing of that between two lovers.

As his release draws closer, the muscles of Bucky’s abdomen begin to tighten, his stomach clenching. Faint tingles shoot through his body with each thrust deeper inside you and he breaks the kiss to catch his breath. He slumps over you, resting on his elbows by your head.

The cool sensation of your hands on his arms, on his neck, sends a prickle of goosebumps over his skin. But the sound of your voice—soft yet so powerful—against the shell of his ear sends a shiver down his spine.

“Be mine, sailor.”

He chokes on a cry, burying his face into the curve of your neck as he regrettably accepts his wretched fate.

“I’m yours.”

With one final thrust, Bucky spills inside you.

Exhaustion immediately consumes him as his mind works to bring him back to reality. Still on top, he can feel the pounding of his heart; the streaks of tears on his cheeks; and when he pulls back to remove himself, his world tilts. It flips upside down, black bleeding from the corners of his vision until his entire world is consumed in darkness; a blank picture of nothingness.

Bucky wakes the next morning to the bitter pang of a headache. Sharp and unforgiving, it nearly splits his skull in two. A tired groan resonates deep in his chest as he attempts to sit up, but then he ultimately decides against it and resolves to laying on his back, eyes still closed.

In the distance, he can hear the rhythmic lull of the sea; the songs of passing seagulls. And for a moment, he pretends he’s back on the ship, waiting for Captain Wilson to call down for him to get his sorry ass out of bed and up on deck with the rest of the men.

But it doesn’t come.

Reluctantly, Bucky pries his eyes open. The fire in the stove is out and the space beside him is empty. The vacancy brings a crease to his brow, and it deepens when he peers down at his clothed form.

Was his mind just a victim to the hysteria of being lost at sea? His dreams seized and held hostage by the perilous night?

It’s a pleasant thought, a wishful thought, that he settles into for only a moment until his attention is snatched by the creaks of the opening door. Sunlight pours into the room, bright yet not at all welcoming, because there, standing over the threshold, is you.

Bucky blinks a few times, raising an arm above his head to shield his eyes from the blinding light. It halos around you, casting a celestial glow, and if he didn’t know any better, he would think you were an angel taking him to the gates of heaven.

But you are no angel, and there will be no pearly white gates where you’re taking him.

Slowly, you raise a confident hand, reaching it out to him.

“Come sailor,” you say, voice soft, gentle, and full of the dulcet tunes that have brought so many men to their knees. “Let’s go home.”

Bucky is silent; there is no argument and there is no fight.

Steadily, he rises to his feet. The sound of his boots scuffing on the floor echoes off the cement walls, but he doesn’t hear it. His body and mind have had enough—completely surrendering to you. And when he slips his hand into yours, it’s a callous touch; no rush of butterflies in his stomach, no stutter in his heartbeat. No anguish or regret.

There is simply nothing.

You lead him out to the rocks, guiding him down to the sea. On the horizon, dawn begins to kiss the sky, burning an ominous glow of red.

At the shoreline, Bucky pauses. He looks to the sky once before turning his gaze to you.

Calm and satisfied, an insidious smile spreads across your lips as you give his hand a gentle tug, pulling him along. The water swallows him up, welcoming him into a cold embrace; bound to it—and you—forever.

#bucky barnes x reader #bucky barnes x you #bucky barnes x y/n #bucky x reader #bucky x you #bucky x y/n #bucky barnes smut #bucky barnes angst #bucky barnes

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handsmotif · 4 years

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The Queercoding of Pinky and the Brain

This originally was just me infodumping to my friends on discord, but I decided it might be interesting to some people on here, so I polished it up and made it an actual essay lmao

To start, we’re going to break this into 2 sections -- the relationship between the mice, and Pinky’s relationship with gender, because queercoding doesn’t just mean gay!

For a 90′s show, Pinky and the Brain (and its mother show, Animaniacs) was very progressive for its time! But there were still lots of things that they couldn’t slip by censors, and thus, that’s where we have to read between the lines. And that is something I wanted to clarify here before we dive in, the actual meaning of queercoding. It’s NOT the same as queerbaiting. Queerbaiting is when the people producing certain media purposefully dangle the possibility of queer representation to lure in audiences (most prominent examples are BBC Sherlock, Riverdale, and Supernatural I GUESS? who knows abt that last one anymore), but never follow through, purely for profit. Queercoding is when media producers WANT to write in queer representation, but can’t, usually because the censors won’t let them. So, they must resort to subtext. (example: the policemen from Gravity Falls) It could also be unintentional, simply assigning certain characteristics associated with the LGBT community to characters. (example: Bugs Bunny, many Disney villains) Either way, it heavily relies on the audience picking up subtext, but whether it’s malicious or not varies, depending on the media. Bugs Bunny is an example of positive accidental queercoding, while a lot of Disney villains are negative examples.

Now, to actually discuss the gay little mice! Pinky and the Brain, whether it be intentional or not (based off comments from Maurice LaMarche, Rob Paulsen, and Tom Ruegger, signs strongly point to intentional, but it’s never been explicitly confirmed), is an example of positive queercoding.

There are many moments that I could pick out to discuss here, but we’ll start with some VERY on the nose gay metaphors.

Remember Romy? If you don’t, that’s their actual biological son! Romy came about due to a cloning accident, where their DNA got combined and spat him out.

There’s SO many things I could say about Romy. Every appearance he makes has an overarching gay metaphor as the plot. His first appearance in the episode Brinky (yeah it’s literally titled their ship name), it deals with his dads (WHICH I ALSO WANT TO POINT OUT, he DOES call them both dad, and they do both call him their son) disapproving of the fact that he wants to leave home and not follow in their footsteps of taking over the world. Brain even goes as far as disowning him whenever he tells him, which is certainly something a lot of queer people can unfortunately relate to. Also seen a lot in this episode is Pinky and Brain arguing even more than a married couple than usual, which pushes Romy away even further. Later, when Romy eventually does leave, and Brain starts to regret chasing him away, he tries desperately to reach out to him, but Romy doesn’t want anything to do with him. They end up tracking him down to an apartment building, where Romy is now living with his human girlfriend. When questioned about their relationship, the girlfriend, named Bunny, goes off on a tangent about how people shouldn’t judge others based on labels or relationships (hello?), and that Brain needs to be more tolerant. Brain apologizes and Romy forgives him. Happy ending.

Romy’s only other appearance is in the comics. Essentially, the plot of this one is that Brain wants to become the president of the local high school’s PTA, but he needs Romy’s help to make it look like he has a normal home life. He also enlists the help of Billie, the obligatory Woman introduced to make sure Brain doesn’t look as gay as he actually is, that he has a crush on. She pretends to be his girlfriend, and Pinky pretends to be Romy’s uncle, while they make up the story that Romy’s actual mother was lost at sea. Because if the organization found out that Brain has a son with a MAN??? THINK of the controversy! Anyway, the plan works, and Brain actually manages to get elected as president. Throughout this though, Pinky gets WEIRDLY jealous that Brain keeps brushing him aside for Billie. To the point where during Brain’s inauguration, Pinky actually dresses up as the wife/mother lost at sea and storms into the room.

[ID: Comic panels of Pinky, Brain, and Romy on stage at the inauguration ceremony. Pinky busts into room wearing drag, saying, “Yoo hoo! I’m back from years lost at sea to be with my son and ungrateful husband! Narf!” He then hugs Romy, while glaring at Brain. He goes on to say, “I’ll stand by your side, even though you left me behind!” The people in the audience begin to question this, saying, “Oh great fuzzy bangs!”, “What’d she say?!”, “He deserted her to be with that other woman!”, “What kind of monster is he?!”. Brain then rips off Pinky’s wig and says, “This isn’t my wife! This isn’t even a woman! It’s my roommate, Pinky.” Pinky replies, “Well, yes... But Romy really is my son! Poit!” And Brain responds, “N-Nonsense! He’s my son!” More people in the audience angrily speak up, saying, “What’s that?”, “He lives with a guy who likes to dress up in women’s clothing and the both claim to be that kid’s father!”, “Grumble! Mutter!” /END ID]

Needless to say, this doesn’t end well for them. What we can conclude from this is that homophobia exists in the Pinky and the Brain universe, and our characters are directly affected by it.

Moving on, And-There-Was-Only-One-Bed is a pretty common occurrence with these two. Their cage is big, they have plenty of room for two beds, but? They choose to sleep together? Even in some times where this has been inconsistent and they DO have separate beds, they’re always RIGHT next to each other. (what if we put our minecraft beds together ❤😳)

I would like to mention the episode, You’ll Never Eat Food Pellets In This Town Again! This episode is interesting to say the least. Deals with a lot of the meta of the show. Anyway. In this episode, Brain has a nightmare that he’s in a loveless marriage with Billie. You know, the woman he’s supposed to have a crush on. In the end, he wakes up from the nightmare in the same bed as Pinky.

Speaking of female love interests, Pinky is seen having multiple relationships with characters of different species. Any time this is brought up by Brain, Pinky counters with Brain being too intolerant. An honorable mention with this is in Wakko’s Wish, when Pinky is with Pharfignewton, and Brain’s constant pestering about their relationship could be read as jealousy. Pinky needs a mousy date, after all!

Something else I would like to mention is in one episode (I forget what it’s called, I’ll try to look it up later and edit this), Brain is applying for a job. The employer asks Brain if he’s married, and Brain hesitates before saying he “has a roommate,” but that he’s occupied with his own things, which then cuts to a shot of Pinky applying lipstick.

Leading into part two of this essay, Pinky’s relationship with gender! Pinky has always been very gender nonconforming, and loves to wear dresses, do his makeup, and make himself look pretty. For the most part, this is played pretty straight, and not as a gag, like a lot of shows tend to do! It’s just a casual fact about him that he likes to present femininely sometimes.

This does play into their taking over the world plans pretty often, where Pinky wears drag, usually either to sneak into somewhere. Like in one of their earliest appearances on Animaniacs, Noah’s Lark, where they pose as a couple to board Noah’s, and I quote, “love boat.” After boarding, Noah says to himself, “Who am I to judge?” Okay. Yeah. Alright. Anyway.

I actually had less to say on this than I thought I did, but I wanted to make sure to emphasize that Pinky at the very least is coded as being Not Quite Cis, and that he’s played a key part in helping a lot of people watching the show figure out that they’re also Not Quite Cis.

Wrapping this up because I’m hungry, but I want to throw in some more honorable mentions that I really do not see any type of cishet explanations for:

They literally go on a romantic date at a very fancy restaurant in Brain’s Night Off. This is played extremely casually, and the only remark from anyone that they receive is that they are “much smaller than the usual clients.”

Pinky, on at least one occasion, daydreams about him and Brain being a married couple, and wanting to be a housewife (the original malewife ❤)

There’s an issue in the comics where Pinky has a crush on another male mouse, and when Brain gets annoyed, Pinky reassures him that he thinks Brain is cute and quite the catch too

Brain attempting to kiss Pinky in the reboot??????

Brain actually did conquer the world once in the Halloween special, because Pinky made a deal with the devil for it, and thus Pinky got sent to hell! Brain actually went to hell and gave up the world to bring him back

Brain was extremely close to conquering the world once more in the Christmas special, but after reading what Pinky’s feelings for him were (nothing romantic, just Pinky basically just praising Brain for being so hardworking and an amazing mouse, and lamenting that he never gets anything for it), he gets so emotional that he sabotages himself and wishes everyone a Merry Christmas instead

TLDR; these mice are very queer and need therapy, and are probably the most heavily queercoded characters that I can think of in children’s media.

#animaniacs #pinky and the brain #patb #brinky #FLOPS ON THE FLOOR this took a long time to write

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the-descolada · 3 years

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Penny and Winter as Symbolic Human Machines

So honestly, I’m really impressed by how well done the ending of RWBY Volume 8 was with regard to character arcs being fulfilled, especially for Penny and Winter. I’ve seen a lot of takes, some that I somewhat agree with, and some that I just don’t, that Penny’s death was “bad writing,” and I think that, subjectivity of what constitutes bad writing aside, this is ignoring a lot of aspects of V7/V8 that made for a very compelling narrative, and feels heavily based in just people wanting Penny to not have died.

And I get this! Penny is one of my favorite characters and I’m very sad that she died; however, I really actually loved how fitting her death was for her story and the broader story of RWBY as a whole, so I wanted to do a write-up of my whole rant on this so that people could read it and see my thought process for why this only made me love Penny’s writing more. I’m not necessarily going to ascribe value to the writing itself in this analysis, as that is highly subjective, but I am biased so that’ll shine through some.

V7 through V8 had a lot of moments that frankly I hadn’t picked up on right up until the end that worked to build a dynamic interplay between Penny and Winter’s characters. Specifically, Penny's role is of a literal robot becoming less of a machine in the thematic sense and more of a person throughout, contrasting with Winter, who, while she is helping Penny realize herself as more of a person and less of a tool, is going through the opposite experience herself. This is essentially textual - it’s explicitly said by Winter herself in less words during the Maiden power transfer scene in V8E14.

When we as the audience reconnect with Winter at the start of V7, she is firmly entrenched as Ironwood’s confidante and second-in-command, serving as a face of the Atlas military as it squeezes Mantle. It’s safe to say that not many Mantle citizens like her very much, but she is insulated from this and continues to follow orders without regard for the welfare of the people. Ironwood at this point is already extremely authoritarian, even though he hasn’t graduated to full on dictatorship and declared martial law yet, and his will is also imposed on her through bringing her into the fold with the chief purpose of grooming (god this word feels grossly fitting given their dynamic) her to become the next Winter Maiden.

Winter, despite holding a a significant level of power and authority due to her military rank, has very little agency in this decision. She insists that her choice to take up the duty as Ironwood ordered is something she’s grown into and chosen, but it’s alarmingly clear that this is not the case; nearly every action she takes in V7 is still fully in the purview of Atlas (read: Ironwood)’s goals. I would go so far as to suggest that Ironwood giving her this position within the military after she escapes her father’s influence is intentionally conditioning her to view him as the sole way out of an abusive situation, and to disguise the fact that this new situation is just as abusive as the first below the surface.

Penny’s role in V7 is completely in opposition to this; while she is still theoretically under the control of the Atlas military, she is presented as the Protector of Mantle and seems to be beloved by the people. Our immediate image of her in Atlas is one of emotion and caring; she is overjoyed to see her friends from Beacon again, and this continues throughout the volume as she talks about what it means to be a person with them, Ruby and Winter especially. When things start going wrong and she is accused of killing people through the doctored footage from the rally, she is horrified at the prospect of being seen as a monster and continues to make every decision with the aim of protecting everyone around her, even at the expense of what her “duty” to Atlas might be. It’s clear that she is growing into her own agency, rather than being beholden to what Ironwood wants for her, and this helps prove to herself that she is her own person, not simply a tool of the military, not a machine.

The climactic scene of V7 takes these two character arcs running in strained parallel and drives a wedge between them, even as they battle a common enemy side by side. Winter’s devotion to Atlas (read: Ironwood) results in self-destructive tendencies, uncaring for her personal survival if it would further a goal that she ultimately and ironically does not truly believe in. Penny, however, begins to entirely shake this duty, risking even the Maiden power going to Cinder if it means saving Winter from dying. To her, personal feelings (ding ding ding!) and personal friendships mean more than duty to a state, or even (as we see later) her own well-being. Self destructive tendencies aside, this loyalty to people she earnestly cares about, who earnestly care about her, is loaded with symbolism that separates her from the metaphor of machine.

The result of the V7 finale reinforces the track the two of them are on; Winter, having been molded into a machine of the military, fails in her duty, while Penny, who has begun to recognize herself more and more as a person, succeeds at keeping the power from Cinder. She still has a massive amount of self-doubt and deep-seated fear that she doesn’t count as a person, but the Maiden power, being the perfect thematic symbol of “maidenhood”, goes to her, proving her to be a “real girl” and reinforcing the ongoing narrative. Winter, battling her own mixed feelings over being chosen for the power, never questions this; it’s clear that she, too, recognizes that Penny “was always the real Maiden, while [she] was the machine.” This also reinforces Penny’s narrative being heavily trans-coded, but I think that’s pretty obvious and doesn’t need to be reiterated. The two of them part sides here, one remaining with the Atlas military and one actively rebelling against it.

As Ironwood starts going off the deep end at the end of V7 and throughout V8 and starts sacrificing everyone around him to fuel his own narrow and tyrannical view of how to save Atlas, Winter simply...falls in line. She is continually forced to follow harsher and harsher orders, and any choices she makes as part of that, with only two exceptions, still are entirely in service to Ironwood. She has become, in essence, a machine locked into a set path, a path she, conflicted as she may be, follows all the way up to a choice she cannot abide - mass murder. Even orders that would result in her sister’s closest friends’ deaths she follows unquestioningly - it’s unclear whether she would have actually gone through with it, since the option is taken off the table by forces outside her control, but she certainly says as much in her conversation with Marrow. Only the prospect of annihilating the entire city of Mantle finally snaps her off the track Ironwood has set her on, making her recognize that all of this has never been for Atlas at all, but for Ironwood’s own ego. Fittingly, finally seeing Ironwood as her enemy and not a savior, she is tasked with taking him down herself.

Contrasting this, Penny’s role in V8 is entirely one of rebellion. The entire volume is her building her agency more and more, making decisions based on what she thinks is right and what she values. She rarely listens to any one person telling her what to do; even her father, who she loves dearly, isn’t able to make her do something when her sense of justice is on the line. Ironwood no longer has his hold on her for the most part; any attempt at manipulating her into doing something against her own morals is met with defiance, supported by her friends’ love for her. She has to be outright hacked to be forced into doing his bidding, and she fights this all the way down, her own inherent personhood pushing back against this attempt to dehumanize her. In this sense, even her becoming organic symbolizes this; she and the people she cares about defy this dehumanization of her, finding a way to free her from the last remaining vestiges of Atlesian influence and further reclaiming her own agency.

And what does she do with that agency when she is faced with oblivion? She simultaneously affirms it by making her final choice in a desperate situation, defying Cinder’s attempt to rip her power away, and also gifts it in the form of the Maiden power to the woman who she is watching attempting to also shake the shackles of Atlas, symbolically showing Winter her own inherent humanity. This decision, though dire, is in recognition of what is most important to her: her friends. Even believing half of them are dead, she gives up her life to ensure the rest survive. In the final moment she has with Winter, she reassures her that she won’t be really gone: the memory of her choice and who she is as a person will live on through Winter’s continued choices, through her agency.

In the end, neither of them were machines; just two hurt people fighting back against a brutal world that sought to strip their agency away. The tragedy in this conclusion, that that brutal world took one of their lives away, is fought just as defiantly. Penny knows that gifting the power in her soul to Winter means that her death won’t be meaningless, that her agency will last beyond her mortality and might result in the world finally being freed from the threat of destruction. It’s because of hope, not despair, that she makes her final choice.

#rwby spoilers #rwby8 spoilers #my writing #CRITICAL ANALYSIS TIME #i've been meaning to write up my rant on this for months #rwby #winter schnee #penny polendina

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baya-ni · 4 years

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The Queer Appeal of Sk8

Recently @mulberrymelancholy reblogged a post of mine with a truly galaxy brain take about how Sk8 “is a show made for queer fans” and generally how sports anime often depicts love and relationships in a way that’s more accessible and relatable to ace/arospec people than other mainstream media does.

Just, *chef’s kiss* fucking brilliant. I urge you to read their post here (note I’m referring to the reblog not the actual post).

And basically, it got me thinking about this concept of Sk8 as a Queer Show, and the kinds of stories and dynamics that tend to attract queer audiences in droves, regardless of whether its queerness is made explicit or hell, whether that queerness was intended.

And that’s what I’ve been pondering: What are the cues, markers, or coding, in Sk8 that set off the community’s collective gaydar?

I obviously can’t speak for the community. So here’s what aspects of the show intrigued me and what, for me, marks Sk8 as a Queer Show beyond the subtextual queer romances: a punk/alternative aesthetic, Found Family, Shadow as a drag persona, and The Hands.

1.) The Punk Aesthetic

All three of the above screenshots are taken from Ep 1, and every single one of them depicts background characters. They’re nameless and ultimately unimportant characters, yet each of them designed so distinctly and so unique from one another, one could mistake each of them for the main character(s) of another story.

Of what little I know about Punk subculture, I do know this: that the ethos of Punk is heavily built around a celebration of individuality and non-conformity. Sk8 seems to have incorporated this ethos into the very fabric its worldbuilding, and the aesthetics and culture upon which it takes inspiration appeals specifically to a queer audience.

I don’t really need to explain why Punk has such deep ties with the queer community. For decades, queer people have found community and acceptance within punk spaces, and punk ideology is something that I think is just ingrained in the queer consciousness as both lived experience and a survival tactic.

Therefore, a show that adopts punk aesthetics is, by association, already paying homage to Queer culture, intentional or not.

Queer fans notice this- like recognizes like.

2.) Found Family

This also needs little explanation.

Too often, queer individuals cannot rely on their “born into” families for support and acceptance. Too often, we are abused, neglected, and abandoned by those who we were taught would “always be there for us.”

And so, a universal experience for queer people has been redefining the meaning of Family, having to build our families from scratch, finding brothers, sisters, mothers, and fathers in people with whom we have no blood relation, and forming communities tied together by shared lived experience rather than shared genetics.

And this idea of Found Family is also built into Sk8′s narrative.

Like, for example, the way that Reki promises MIYA that he and Langa will “never disappear from [his] sight,” filling the void that MIYA felt after his friends abandoned him.

And in the way that JOE becomes a paternal figure for Reki, teaching him ways to improve in skateboarding, and ensuring that Reki doesn’t self isolate when he’s feeling insecure.

And in the whole Ep 6 business with Hiromi acting as babysitter to the Gang.

Hell, even ADAM (derogatory) is associated with this trope. Abused as a child, he finds solace in an underground skateboarding community and culture he helped create- his own found family (or some powertrippy version of it anyway).

Again, queer fans see themselves depicted in the show, but this time in the way that the show gives importance to Found Family relationships between its characters.

3.) Shadow and Drag

This is one that’s more of an association that I personally made. But I was intrigued by the way that Hiromi adopts his SHADOW persona. He wears SHADOW like a mask, and adopts a personality seemingly so opposite to his day-to-day behavior.

Further, the theatricality and general “gender fuckery” of his SHADOW persona, to me, just seemed so similar to a the characteristics of a drag persona (I don’t know a whole lot about drag but enough that I’m drawing superficial similarities).

There’s also this aspect of a “double life” that he, and actually all the other adult characters of the show, have to adopt, which is a way of living that I’m sure a lot of queer viewers see themselves reflected in.

4.) The Hands

Ohhhh the Hands.

One of the things I noticed very early on is the way the show constantly draws our attention to Reki’s hands, which I thought was a little strange for an anime about skating. After all, skating doesn’t really involve the hands, or at least the show doesn’t really draw attention to hands within the context of skating.

I count 3 times so far between Eps 1-9 in which hands are the focus of the frame.

First, when Reki teaches Langa how to fist pump after Langa lands his first ollie, second, when Reki and Langa make their Promise, and finally, when Langa saves Reki from falling off his board.

And you know what they say, twice is a coincidence but thrice is a motif (no one else actually says this I think I’m the only one who says this lol).

I’m not really certain why hands seem to be such a shared fixation among queer people (at least among those I interact with). All I know is that gay people are just fucking obsessed with them.

I have a Theory as to why, and at this point I’d love for other people to chime in and “compare notes” if you will, but I think it basically has to do with repression. And in the same way that queer people have had to redefine the meaning of family, we’ve also had to redefine intimacy.

Being overtly physically affectionate with someone of the same sex, even if they’re your significant other, or often specifically BECAUSE they’re your significant other, can still be dangerous, even now despite the “progression” of society. Queer people know this, this vigilant surveillance of our environment and ourselves, always asking ourselves, “Am I safe enough to be myself?”

Already, Western culture is pretty touch-averse. That is, it’s considered taboo to touch someone unless they’re a family member or a romantic partner. And to touch a person of the same sex in any way that could be misconstrued as romantic (which is most things tbh) is a big no no.

There’s just A Lot to unpack there.

But basically I think that queer people, by necessity, have had to learn to romanticize mundane or unconventional ways of being physically intimate so that we can continue to be romantic with one another without “being caught” so to speak.

Kissing and hugging is too obvious. But a handshake that lingers for just a second too long is much more likely to go unnoticed, braiding someone’s hair can easily be explained away as just lending a helping hand, touching palms to “compare hand sizes” is just good fun.

But for queer people, these brief and seemingly insignificant touches hold greater meaning, because it’s all we are allowed, and all we allow ourselves, to exchange with others.

God, I’ve gone off and rambled again. What’s my point? Basically that the way the show draws attention to Reki’s hands, and specifically how they’re so often framed with Langa’s hands, is one of the major reasons why I clocked Sk8 as a Queer. It’s just something that resonated with me and my own experience of queerness, and I know that I’m not the only one who noticed either.

So in conclusion, uhhhh yeah Sk8 the Infinity is just a super gay show, and it’s not even because of the homo-romantic subtext (that at this point is really just Text).

Because what’s important to understand is that Queerness isn’t just about same-sex romance.

Queer Love isn’t just shared between wives/girlfriends, husbands/boyfriends, and all their in-betweens. Queer Love can be two best friends who come out together, queer siblings who rely and support one another, a gay teacher who helps guide one of their questioning students, a queer community pitching in to help a struggling member.

And that all ties with another important thing to consider, that what we refer to as the “queer experience” or “queer culture” isn’t universal. In fact, it wrongly lumps together the unique experiences and struggles of queer BIPOC all under one umbrella that’s primary White and middle class.

So I think what drives a lot of my frustration about labeling a show like Sk8 as Queerbait is this very issue of considering queerness and queer representation within such narrow standards, and mandating that a show must pass a certain threshold of explicit queerness to be considered good representation.

I get that someone might only feel represented by an indisputable canonization of a same-sex couple. That’s fine. But labeling Sk8 as Queerbait for that reason alone ignores the vast array of other queer experiences.

The aspects of Sk8 that resonate most deeply with my own experiences of queerness is in the way that Reki and Langa share intimacy through skating (intricate rituals heyo). For me, them officially getting together ultimately doesn’t matter- I’ll consider Sk8 a Queer show regardless.

Similarly, @mulberrymelancholy finds ace/arospec representation in that very absence of an on-screen kiss. A bisexual man might find representation in Reki, not because he enters a canon relationship, but in the depiction of Reki’s coming of age, growing up and navigating adolescent relationships. A non-binary person might feel represented through CHERRY’s androgyny.

That’s the thing, I don’t know how this show will resonate with other members of the queer community, and it’d be wrong to make a judgement on Sk8′s queer representation based on my experiences alone.

That being said, Straight people definitely don’t get to judge Sk8 as Queerbait. Y’all can watch and enjoy the show, we WANT you to enjoy these kinds of shows, and we want you to share these shows and contribute to the normalization and celebration of these kinds of narratives.

But understand that you don’t have a right to tell us whether or not Sk8 has good or bad queer representation.

And even members of the queer community are on thin ice. Your experience of queerness is not universal. Listen to the other members of your community, and respect that what you might find lacking in this show may be the exact representation that someone else needs.

#and scene #i was up till 4am writing this instead of doing my hw #bc i hav Opinions dammit #sk8 #sk8 the infinity #sk8 meta #sk8 theory #queerbait

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kaypeace21 · 4 years

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Analyzing the 5 plays in this drama club poster .From the bts pics of stranger things 4.

So... some of ya’ll know I'm going through the st s4 films given to us by the official st twitter + the films reffed in the show itself or mentioned by the Duffers in interviews .

So I decided to look at the plays mentioned here. Because even if we don't see the monologues in the show directly - the Duffers wouldn't name drop anything unless it inspired them in some way. Similar to films name dropped in the show. Tw : for some dark themes .

This is just a quick little analysis I decided to do since we probably won't get any new st content today (3/22). Nothing too deep. Just mentioning things that caught my interest especially cause these plays have a lot of narrative connections to the st s4 movies I've been watching.

Invitation to a march (Authur laurents)

Reminds me of the stancy/jancy love triangle. "A young woman is having second thoughts about doing the right thing and marrying a respectable , rich, kind, young man with good prospects.By way of a prewedding diversion, this woman becomes interested in the passionate but poor and entirely unsuitable son of a local landlord.Basically, the plot concerns the efforts of Norma Brown to choose between a conventional fiance who "puts her to sleep" but is wealthy (like what her own mother did) or go for this new-poor guy. The play is principally interested in how this youthful love triangle affects the three mothers involved (whether the kids like it or not)

12th night (Shakespeare)

- viola (el) wrongly assumes a family member (hopper) is dead. She dresses up as a man named 'cesario'. A girl named Olivia falls for 'cesario' (violet dressed as a man). "Finally, when 'Cesario' and Sebastian (violet's twin brother: assumed to have drowned - Will) appear in the presence of Olivia there is more wonder and confusion at their physical similarity. Taking Sebastian for 'Cesario', Olivia asks him to marry her, and they are secretly married in a church. Cough if Olivia is 'straight' cause she fell for Viola (as a doppleganger dressed like her twin brother).Mike being into el who multiple characters in s1 said looked like a boy and specifically like Will is...suspish and a hint he's not straight lol. just like Olivia they're both into guys . plus, this play just has a butt load of love triangles (ugh i hated that aspect). There was also romantically coded letters (which was in the s4 films) . One character is also thrown into an insane asylum and framed as 'insane'.'Pretending that Malvolio is insane, they lock him up in a dark chamber. Feste visits him to mock his insanity'. We all know the psych hospital will be narratively important- talked about it more here.

The seagull (Anton Chekhov-russian)

similar to how I believed s4 will show m*#even already broken up since the months between s3-4 : act 3 (s3) ends with Nina begging for one last chance to be with Trigorin before he leaves/moves away. They kiss and make plans to meet again in Moscow.And in act 4 there's a timeskip where it shows they've been broken up for a long time between acts- and its established they never actually loved eachother. Do i even have to spell out why this parallels the m*#even ending in s3? There is also a play within the play (this is common in a lot of the st films- they have plays- or a story within a story- which illustrate certain themes or emotions of the characters within said film : blackswan, children of paradise, highschool musical, Rushmore, book of Henry, welcome to marwen, never ending story, romancing the stone, wet hot American summer, etc).The play is Konstantin's latest attempt at creating a dense symbolist work. There is also alot of love triangles in the seagull. TW!: for se#ual ab*se/su*cidal thoughts/ inc*st (here and in other play segments). The seagull motif reminds me a lot of Jonathan's rabbit story.Konstantin romantically into Nina shows up to give her a gull that he has shot. Nina is confused and horrified . Trigorin sees the gull that Konstantin has shot and muses to Nina on how he could use it as a subject for a short story: "The plot for the short story: a young girl lives all her life on the shore of a lake. She loves the lake, like a gull, and she's happy and free, like a gull. But a man arrives by chance, and when he sees her, he destroys her, out of sheer boredom. Like this gull." This immediately reminded me of jon's rabbit story and some of the movies on the s4 list . Like in forrest gump- Jenny (who is poor) was se*ually ab*sed as a very young girl by her father. As a child she runs away into a field-away from her alcoholic father yelling at her -there she prays that she can "be a bird so I can fly far far away" .

Jenny as an adult struggles with this unresolved trauma- being with ab*sive partners, doing dr*gs, and having su*cidal thoughts . She as an adult when contemplating su*icide, jokes 'you think i can fly like a bird ?' while looking down at a bridge.God-i'm worried about jonathan (Jenny was also a musician sort of like jon). In another s4 movie example ' mystic river ' :(in the 80s) a preteen baseball playing boy is r*ped by men in the woods. He later says he wishes he could become an undead monster to not feel the pain of that experience - cause quote " if I'm not human anymore maybe the pain will stop" (Will) . slightly off topic but he also has another personality, imagines a alternate word that dissappears when he turns his head. And as a less direct animal parallel to the play - the boy from the film also imagined his perpetrators as monsters and wolves to cope.In 'getout' the photographer character sees a dead deer in the woods and it represents a parent/his own childhood tra*ma relating to his past. similarly in 'prince of tides' the 2 siblings as kids were ra*ed by men. The older brother remembered it and the younger sibling developed DID (so didn't remember but she would draw wolves- as the perpetrators/villains in her picture stories she created . In the film they also had an ab*sive dad and were very poor. She also tried k*ling herself multiple times-but started to get better after remembering the source of her pain and trauma. There is also the theme of multiple attempted su*cides in the play- and the play ends with yet another attempt- and the audience is left unaware of the artist's fate at the end of the play.

The tempest (Shakespeare)

Prospereo - (the perceived antagonist) is a wizard with monstrous looks, storm powers , and ability to create monster-dogs

He wants revenge on a man who tried ra*ing his family member & revenge on his other family member who wronged him years ago. I mean... pretty much my did theory.But in the end.Prospero decides to show his enemies the mercy that they did not show him twelve years earlier. He tells Ariel to bring the men to him, he will restore their sanity and then renounce magic forever.Prospero breaks the spell that the men are under .

Diary of a scoundrel (Alexander Ostrovsky-Russian)

- I suppose this could loosely relate to Jonathan? Glumov, is a young man from an impoverished family lacking status seeking entrance into society's pampered class. A 19th-century Russian scoundrel must scheme his way out of his meager life in a small apartment -whatever it takes.He has a quick mind and some talent for seeing through the hypocrisies of people around him ( Jonathan does make a lot of social critiques about society). That gives him some advantages. A tale of one man's mission to finagle his way into upper-class society and find a cushy job. Set in 1874, this social comedy follows Glumov, a Russian youth who begins his ambitious ascent to social esteem. He progresses by wit, guile and rhetoric. Pitting one stupid person against another, he soon gains his ends. To reach these goals, Glumov will lie, flatter, and cater to the vanities of the wealthy. Unable to contain his disgust with his victims, Glumov decides to relieve his unvoiced satirical comments by recording his schemes in a diary. But he is tripped up by his uncle's wife, to whom he has made passionate love on his way to success. At the end of the play, his diary is stolen and his duplicity exposed, but he can nevertheless suceeds. The author is much more critical about the high society itself than about the main character, so the play keeps attracting generations of directors by opening possibilities for political criticism while also avoiding naming names of the current rulers.The play's aim was to overthrow bourgeois tradition and establish a class-conscious art called eccentricism giving a deliberately comic portrayal of reality.

I suppose I notice some possible commonalities- besides s3 critiquing the wealthy/capitalism in comedic ways . jonathan since s1 has worried about his family's finances / had some resentment toward the rich . In some of the s4 movies ‘orphan’ & ‘ girl interrupted’ someone reads their diary out loud to get at them (in girl interrupted the winona character’s diary even had critiques of her new friends). Alot of movies also have someone (usually a teen/young adult) making a documentary about their life -which could narratively replace said diary? A few movies have a poor guy adjusting to snobby rich social circles (or being poor and then getting money)- titanic, kingsmen, karate kid, the craft , godfather, wardogs,into the spiderverse,flashdance, and many others . And movies like wardogs has a poor-young-character do shady things to finacially support his family . There’s also that whole uncle’s wife thing- which makes me uncomfortable for obvious reasons (but I’m just thinking of Lonnie’s creepy gf who was into him). A few movies had the guy’s step mom innappropriately hit on him- orange county & you got mail. And him trying to avoid her advances. Or...not to mention ... it may be a problematic coincidence /trope. But in enter the void -the guy who needs to finacially support his sibling/ does dr*gs -hooks up with his dr*g dealing friend’s married mom (who would give him money). Or in gilbert grape- the poor teen-who has to finacially support his siblings/single mom-has his endgame relationship be a girl his own age. But before that he h*oked up with a married woman -who would give him money. Don’s plum -young film guy-propositioned by older female film director (for dream job). Not even mentioning the other films that have the guy hooking up with toxic older women (like ‘the graduate’). Or analyze this-where the therapist accuses him of having an Oedipus complex (not touching that one... but the guy in ‘enter the void’ a 100% had one). It’s possible those movies were just- inspo for s3? A coincidence? Or s3 was foreshadowing for this in s4- but unlike s3 it will accurately be played as wrong and a sign of Jonathan recreating past tra*ma caused by Lonnie (cough like the photos) /being desperate for money. And not played ‘comedically’ like how it mostly was in s3. But shown as self destructive (for Jon) and immoral on the Woman’s end. Like... Billy and Jon are character foils. Both are older siblings into rock music, with ab*sive dads who shoved them into walls. Both lose it (and beat steve to a pulp when Steve accidentally triggers their daddy issues). In s3 it’s established womanizer Billy has mommy issues, than he tries ho*king up with someone his mom’s age, and the characters ref ‘back to the future ‘ and Steve incorrectly says it’s about “alex p keaton trying to bang his mom.” This could illustrate his subconscious issues with parental figures/adults cause of Lonnie’s possible past se*ual ab*se . One film the friend even says to the guy “you don’t have friends!” guy b: i have friends! him: no you have acquaintances! ADMIT IT! YOU’RE AFRAID OF MEN!I mean-Jonathan liked Nancy- but he initially hooked up with her cause he wanted to prove he didn’t have ‘trust issues’ from his dad. Also it’s prob a bit of a reach (and maybe a coincidence)- but the fact Murray in the same breath compares Steve (Nancy’s then bf) and Lonnie ... uh... if you think too long about it ... it’s very sinister . Especially because in s3: muray tells Joyce that despite her wanting to be with a nice guy, she’s curious about “the brute” Hopper despite him reminding her of a past “bad relationship”(aka Lonnie). Like- yeah connect some dots. Quite a few films (other than forrest gump) also have the character who (as a kid) was r*ped by their dad/parent- begin to do dr*gs/be pr*miscuous as adults since they never learned to properly cope with their trauma (’girl with the dragon tattoo’, ‘black swan’, and ‘magnolia’). Unfortunately the whole relative doing such things to kid-relatives is in at least 30+ movies.

Personally, i would be MUCH happier if Jon had a age appropriate romance- and had not a single creepy adult near him. A few movies actually imply Lonnie gets yet another ‘new model’ replacing his gf in her 20s with a new gf- who is ‘barely l*gal” and just turned 18. so there’s that possibility as well- that she’s jonathan’s age.I just want Jonathan-happy &safe. GOD. IS THAT TOO MUCH TO ASK?

#byler #byeler #will byers #mike wheeler #Jonathan byers #nancy wheeler #joyce byers #jim hopper #murray bauman #stranger things #el hopper #s4 theory #stranger things theory

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zoradementio · 3 years

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Deltarune Theories and Observations Part 2

Since it’s been like three weeks and this game still hasn’t left my god damn brain, here’s some more things that I felt like noting or theorizing.

~Parallels of Noelle and Kris~

So, I ended my last Deltarune longpost with a comparison between Kris and Susie. But, interestingly enough, Kris and Noelle also have a lot of similarities. Both of them have an older sibling figure who was a very prominent crutch in their lives (Asriel for Kris, Dess for Noelle). Yet, in present times, this elder sibling is not present (though Dess’ is a bit more permanent, whether she died or went missing.) And compared to these older siblings, Kris and Noelle are the more introverted sibling, with Kris barely having a social life until the start of the game and Noelle being the biggest pushover since a card tower. Then, there’s their parental dynamics. Asgore and Rudy are both the carefree, laidback father figures, with Asgore immediately throwing Kris in a bear hug when seeing them and Rudy encouraging Noelle to ask Susie out and playing Dragon Blazers with her. This contrasts with the more proper, if strict mother figures. While Noelle’s mother is certainly the more egregious, if the fact that Noelle would rather stand outside her home’s gates likely for hours on end than to attempt to ‘bother’ her mother during work for a house key, there are a few signs of Toriel being a little strict in some areas. Apart from some dialogue from Bratty about her kissing Asriel and anything involving the big school dance being signs that Toriel does not approve of her kids, or any of her students for that matter, getting into anything even remotely romantic, the flavor text for the closet in Kris’ Dark World room being ‘You could wear whatever you want’ suggests that Toriel imposes some sort of a dress code on Kris and likely also Asriel when he was living at home. They’re also the two characters most susceptible to the SOUL, in other words you the player. Kris’ is a bit more direct, as they are the character we control in both their movements and what they say. While Noelle, considering she has such a weak will, she is fairly mailable if we impose our will onto her, as demonstrated in the Pipis Route. Finally, they both have a strong attachment towards Susie, though whether Kris’ is romantic or not is not entirely clear as of yet. Oh, and speaking of Noelle...

~The Return of Noelle~

In at least one of the future chapters, I believe Noelle will make a come back as a party member. I don’t think Toby Fox would make it this easy to just lose whatever equipment you put on her, especially if you give her the Jevilstail or if the Pipis Route has been fully completed you will lose a component of the Twisted Sword, which will presumably be available in future chapters. Therefore, I believe that Noelle will be playable again, at least at some point.

~Misanthropic Dysmorphia~

So, many people have seen the connections that Kris has to Chara (or The Fallen Child) from Undertale. They both love chocolate, are the adopted children of Toriel and Asgore, and seem to have an affinity for knives. But if there is one more connection they have, it’s that they both seem to hate humans. Now, while don’t know the reasons as to why Chara hated humans, it was enough for them to want to slaughter an entire village of people, going overboard with the body count when only 6 souls were needed to break the barrier. While Kris likely isn’t as genocidal as Chara was, their distaste for humanity runs just as deep. However, Kris’ misanthropy manifests as a form of body dysmorphia. As a child, they wondered when their horns would grow in like their brother and parents, showing that, at least at that point Kris didn’t understand the biological differences between themself and those around them. Not only that, but in Chapter 2, when going upstairs in the library and reading the book ‘How to Care for Humans’, when looking at the pages Kris immediately closes the book when seeing the pictures of humans in seeming disgust. It wouldn’t be too much of a surprise if Kris hates the fact that they’re human, seeing as that is the big thing that makes them an outsider to Hometown. It would also explain why they seem to hate the SOUL/Player, even if you play as pacifistically as possible and don’t do anything to intentionally upset Kris like throwing away the Ball of Junk in the Light World. After all, Kris’ description in the Dark World as soon as you enter it in Chapter 1 is ‘A body containing a human SOUL’. Apart from just generally being upset that some outside force is controlling their actions, Kris is also likely pissed that a human is the one controlling them, because, assumedly, you or anyone else that plays Deltarune is going to be a human. That could be just some extra salt in the wound, that even Kris’ own soul is not only human but not even their own.

~Darkner’s History(?)~

This is something strange that I don’t think a lot of people think about. So, I notice a lot of people point out that Ralsei knows that both his Dark Fountain and the Fountain from Chapter 1 are located in a supply closet and a classroom respectively. Most people point to this as evidence that Ralsei knows something, however Ralsei isn’t the only one with knowledge of the Light World. Queen does have a line or two about knowing that her Dark World is within a library. So clearly, Darkners have at least some awareness of the Light World, or at least enough about their enclosed spaces and possibly limited to appointed rulers or some such. What isn’t so clear is how long these Dark Worlds have lasted. Sure, portals to the Dark Worlds seem like only a recent thing, there is talk about the history of these characters. Just within Chapter 1 there’s King overthrowing the other three card kings and taking the throne all to himself, Jevil meeting a mysterious figure causing him to go mad and thus needing to be locked up by Seam, a presumably long series of puzzle makers syphoned out before Roulxs became the Duke of Puzzles, and some kind of falling out between Queen and King (which also brings up the question of when and why was Queen’s laptop in the abandoned classroom). My point being, despite these Dark Worlds being open for maybe a day or two at best, there seems to be almost years worth of history to these places. It could be a case of ‘one day passes inside, but only about an hour has passed outside’ thing or it could be that Dark Worlds still technically exists even without a Dark Fountain. So far, though, I can’t offer any concrete answers to this. And actually, since I brought up his suspicious behavior once again...

~Communication Issues~

I already talked about how Ralsei is suspicious in an out-of-universe perspective here, but in universe he is acting rather suspicious. Namely, around Susie. When Kris and Susie return to Castle Town, Ralsei tells Kris to gather everything in the adjacent classroom and bring it here. Everyone becomes their Darkner counterparts and Susie is naturally excited to see everyone, especially Lancer. Ralsei then says, and only says, that ‘when the Dark Fountain was sealed, that area returned to a normal classroom. And when Lancer decides to become one of you KEY ITEMS, Ralsei doesn’t explain that Darkners become regular objects in the Light World, causing Susie to think Lancer ditched them when Kris and Susie leave to work on their group project. And during the Chapter 2 epilogue, Susie even suggests finding a way to bring Ralsei and Lancer into the Light World, despite that seeming to be an impossibility. That’s not even mentioning the post Spamton NEO dialogue where Susie is the first to bring up the oddities of the whole scenario, and Ralsei immediately chooses to shoot down any questioning. Ralsei seemingly keeps Susie out of the loop on a lot of important things about how the Dark World works. Now, Susie doesn’t really question these things, but that’s mostly because 1. she is a very ‘only cares about the here and now’ type of person and is very excited about the whole Dark World shenanigans her, Kris and Ralsei get up to, and 2. this girl is dense enough to not immediately catch on the Noelle is crushing so hard on her a neon sign saying ‘SHE LIKES YOU’ would be a more subtle message. Now, it could be that Ralsei sees Susie in a much more ‘need to know’ basis, that since she is isn’t really the group plan-maker, she doesn’t need to know the intricacies of how the Dark Worlds, the Fountains, and everything works. It also could be that the player, and by extension Kris, are more important and thus will be needed this information more than Susie. However, I still hesitate to say that Ralsei is malicious in action. What I think would be the most likely reason, if his explanation of the Roaring and Queen’s reaction to it are any indication, it looks like Ralsei’s fatal flaw is assuming his knowledge is common knowledge. After all, he assumed that Queen was opening another Dark Fountain because she wanted to destroy the world, when that couldn’t be further from the case. In all likelihood, Ralsei could be overestimating how perceptive Susie really is when it comes to putting details together.

~Only One Ending...?~

This is something a few people have been debating for a while now. Back when Chapter 1 was released in 2018, Toby Fox said that Deltarune would only have one ending. However, with the addition of Chapter 2′s Pipis Route, many of us are wondering if that was a flat out lie or not. My assumption goes one of two ways. Option A: It was true at the time. During the three year development of Chapter 2 a lot, and I mean a LOT, of things about Deltarune have changed. Initially the game was going to be another mostly solo development similar to Undertale. But, with the larger workload and Toby Fox working on other projects like developing music for the Pokemon games, and on top of all of that going through some pretty bad wrist pains, Fox decided to get a small development team for Deltarune. There were debates on whether to switch Deltarune’s game engine to something like Unity, before settling back to Game Maker. And even when Chapter 1 was released, it was more of a proof of concept than anything, with barely any of the rest of the story being written down. It wouldn’t be too much of a surprise if Toby Fox decided to add some more endings because he thought that would work better for what he was going for. Or, Option B: It will be one ending, but in the same way the Normal Ending in Undertale is ‘one ending’. See, while Deltarune likes to emphasize that ‘your choses don’t matter’ and in Undertale ‘your choses do matter’, in actuality, the choses in both games have roughly the same weight. Sure, in Undertale it seems like your choses have more of an impact, but the basic story beats of the game are all the same. You will always fall into the underground, get quasi-adopted by Toriel, go through a wacky puzzle romp with Papyrus, get hunted by Undyne through Waterfall, guest star in Mettaton’s shows with Alphys as your guide, and finally make it to New Home. And there were still some minor questions in Undertale that really had no bearing on what you answered, such as Toriel’s question of if you prefer cinnamon or butterscotch. But because Undertale frames it with ‘your choses matter’ and Deltarune frames it in ‘your choses don’t matter’ we see it as such. So, when it comes to the endings, there really are only three endings in Undertale. The True Genocide ending, where you go all the way through with killing everyone and everything in the Underground, the True Pacifist Ending, where you SPARED everything you came across and completed the necessary friendship side quests, and the Normal Ending. Now, the Normal Ending sounds like a pretty narrow term, considering there’s like at least around 10 different variations of this ending, but the basic plot beats are still the same: You finish the fight with Asgore, fight Omega Flowey, and using the power of the other six souls you (as Frisk) are able to return above ground. Most of what makes this ending different is pretty much flavor text at the very end, with Sans and which ever other characters that are alive/befriended chiming in. I feel like Deltarune’s ending could play out in a similar vein, with larger plot beats being consistent, but specific character’s reactions and what not would change up the ending slightly. And, if we are only given one ending, I feel like there would be a good reason to word it like that. Similarly to what was said some time after on Toby Fox’s twitter about the True Pacifist ending, ‘This is the best ending, nothing more’ when people were wondering if there was a way to save Asriel from his fate in the end. So, if we are told there will be only ‘one ending’ that implies that there’s going to be something we’ll want to change. And what will this change be? Well...

~Don’t Forget, I’m With You In The Dark~

I believe that the ending of Deltarune will involve sealing the Castle Town Fountain. A lot of what’s set up in Deltarune seems to be leading to this. From the suspiciousness of Ralsei, to the premonition of the world ending if too many fountains are open, to the fact that Darkners are unable to consciously interact with the Light World. I’m pretty sure that we’re going to have to say good bye to Ralsei, Lancer, Rouxls, Seam, Queen, and all the rest of the Darkners by the end. And let’s face it, this ending would be the best punch to the gut that the game could offer. But I don’t think it will be all sad. After all, the Darkners will still be with us in spirit, will still be with us in the dark.

#deltarune #deltarune theory

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umbralstars · 3 years

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Alright now that I've talked a bit about his province it's time to talk about the man himself. We should all be aware of the few bits of canon info we got about Rufus, but here's my own general thoughts about his character and the relationships he has with his family.

Rufus is 13 years older than Lambert and wasn't exactly thrilled when his parents decided to make Lambert heir instead because of him possessing a crest while Rufus didn't. Rufus understands logically why Crests are useful for rulers to have (the legitimacy they offer along with a powerful Relic if a ruler needs to defend the state is useful and he won't deny that) but doesn't believe a Crest necessarily makes one automatically a good ruler. Recognizing early on the faults in Faerghus' system of governance, and feeling like he has something to prove, Rufus was hell bent on leaving his mark on Faerghus whether he's king or not.

Rufus is actually an incredibly intelligent politician who studied not only the governing systems of old, but also tried to learn as much as he could about foreign governments so he could reform Faerghus. He's been reform minded since he was a teenager. Even spent a good portion of Lambert's formative years impressing his ideas onto his younger brother, until Lambert knew enough to start coming up with his own ideas and debating solutions with Rufus. While the brothers were never the closest, Rufus implicitly trusted Lambert because his brother was just willing to trust and listen to him and that meant a lot to Rufus. He did more than his fair share of criticizing his younger brother, but at least he knew Lambert could find appreciation in that.

As Grand Duke of Itha, Rufus had a certain view on wealth and how a government should be structured.

He firmly believes that wealth should be used to glorify the state through great public works and that a well educated populace along with a well fed and protected populace led to the greatest societies. He still lived large and made it known, but he had a more patriotic attitude towards his wealth and believed he had a moral obligation to spend it on Faerghus' greatness. Under his rule, Castell Itha went from a cultural backwater in Faerghus to having one of the largest public libraries (something that would be replicated in Fhirdiad with Lambert turning the Fhirdiad College of Sorcery's library into a royal one open to the public) in Fodlan and having better urban planning than many cities in the Empire. He personally encouraged the creation of great works of art, poetry, and new magical techniques all for the good of Faerghus. He believed that Faerghus could be a cultural powerhouse and he was going to make it so by Sothis.

Rufus' aspirations weren't just limited to Itha either as he was of the opinion that Faerghus' incredibly decentralized governance style was holding the Kingdom back from greatness. Ever since Loog, the Kingdom had been an almost confederation of various states who paid homage to House Blaiddyd and the royal court but devolved so much power on internal matters they were functionally independent. The Kingdom's codes of chivalry were mostly developed and lauded by the crown as a way to retain some centralized authority and respect, but the various states in Faerghus could pretty much beef with each other as they pleased. Nowhere worse was this problem than in the northern reaches of Faerghus. Because much of the north has sided with Loog there was never any consolidation, so the north was made up of hundreds of duchies, counties, baronies, etc that could give the Holy Roman Empire a run for its money.

Rufus saw all of this as a blight on the Kingdom and made it his life's mission to fix it when he became Grand Duke. Lambert and him were working towards a goal of essentially a federalized monarchy with a strong centralized government. It's the entire reason he started to consolidate power and take out anyone who dared to get in his way. He also has a very 'my way or the highway' outlook on the other noble houses and wouldn't hesitate to screw them over if they don't fall into lines or prove to him that they're incapable of leadership.

Rufus can also be incredibly petty and spiteful if he feels he's been offended in some way. House Galatea is the big example of this. Galatea had been having financial problems for decades before hand, and the Count spurning Rufus on his betrothal request for peaceful inclusion in the Grand Duchy he considered a grave insult. Rufus didn't incite the rebellion as some claim but he did capitalize on it because he wanted to show how weak Galatea was and undermine the Count's authority. A more bloody example came when a smaller noble house in his domain tried to kill Rufus and his heir to take the riches for themselves. While they failed on both counts, Rufus decided to purge the entire family and their supporters with having the ringleaders tried and executed leaving the rest to flee for the Alliance.

The only House he begrudgingly respects is House Fraldarius because he does consider Rodrigue to be a capable leader and they do somewhat get along. They encountered each other a lot and, while Rogrigue is critical of Rufus' certain proclivities, they were able to be amicable to one another. He dislikes how many nobles fled to House Fraldarius due to the perceived aggression on the Grand Duchy's part. But for him, as long as Rodrigue was on Lambert's side with the reform measures he can share power in the north. He and Margrave Gautier have always disliked each other for numerous reasons, but the two don't clash over territory so they can tolerate each other's presence.

Rufus is also a mixed bag of being extremely charismatic, but pretty much only becomes so to woo people or get what he wants. In all other aspects of his life Rufus was domineering and stubborn with his beliefs and in his social life. He was and still is extremely piss poor at handling emotions and this includes his own. He could also be cold and ruthless when it came to pursuing his goals and was willing to do shitty things to get results.

Speaking of doing shitty things yes the man is a prolific womanizer, and every single relationship he has with the women in his life and his children is unique. He does frequent brothels and has done so since he was in his late teens. He courts heiresses to incorporate their houses into his territory or for purely political gain. Many of the children he has had may very not consider him a father at all simply because he's never been in their lives for whatever reason. At bare minimum he makes sure his mistresses and his bastards have at least a comfortable living situation, but that's about it. Rufus is obviously not incapable of loving people or considering his children family, he just doesn't a lot of the time while he never wishes ill upon them. There are a few instances where this was not the case and he was much closer to his mistresses and children, but they were honestly few and far between.

Since I mentioned his family other than Lambert and Dimitri it’s OC time.

Rufus and Emyr

Darya Artemi was probably one of the few women Rufus ever truly fell and love with. He initially approached her in the same way he had heiresses in the past with just intentions of courting her along with her soon to be lands, but somewhere along the line he genuinely did fall for her. When Emyr was born and it was discovered he had a Major Crest Rufus jumped on the opportunity to make him the heir. They never did legally marry, but she was Duchess Consort in everything but legality. Darya was mostly fine with having an open relationship with Rufus as long as he was around for her and their children.

Rufus as a parent is just as domineering as in every other aspect of his life. He could be caring but extremely strict as well and pushed for perfection in everything Emyr did. He wanted his son to be the perfect heir for the province he was building, and be like him in many aspects. Emyr did love his father and wanted to live up to every expectation.

When Darya died, Rufus experienced one of the first major depressive episodes in his life. He pulled away from his children, threw himself into work and all of his vices, and became even harder on Emyr than he was previously. If her death wasn't enough, some of his mistresses felt an opportunity to get ahead and tried to fill the void or even remove Emyr on a few occasions. The houses never really leveled out again and both Emyr and Rufus clung to the perceived stability they had before Darya's death to their relationship's detriment. They never could come close to breaching those vulnerable waters.

When Emyr ran away with Katya, it came after years of strife between him and his father that did permanently damage their relationship. Rufus was devastated when he lost Emyr and Katya along with a good portion of his family. He grew even more depressed, lost control of the court entirely, and never could form anywhere close to a good relationship with his nephew. He lost a good number of relationships during the four years before his death in friends and family. He spent the last years of his life guilt ridden, dogged by horrible rumors, and trying to keep together a country which was begging to rip itself a part.

For Emyr's part, he never did wish for his father to die in the way he did. In some ways he did love Rufus even after everything. Emyr is like his father in many ways and terrified of becoming him in many others.

TL;DR: Rufus is complicated.

#fe3h #fire emblem three houses #fe3h oc #rufus blaiddyd #emyr artemi blaiddyd #fire emblem #rufus analysis #oh he is my beloathed #a good ruler until he lost control of everything #and pretty complicated personality wise #he's got his good and his bad parts #blaiddyd bastards #a lot of this IS for my own personal writing and so obviously a lot of it is very embellished #but feel free to take any aspect of this if it jives

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askaceattorney · 3 years

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Dear Anonymous,

I still have yet to play (or watch) DGS2, unfortunately, so we’ll have to save that part for another time, but I’d love to delve into the shared adventures of this adorable duo in the first game.

When Ryuunosuke first meets Susato, she’s nothing more to him than an ally in his defense in court.

He doesn’t see her again until he and Kazuma find themselves at the end of their rope.

It makes you wonder if she’s the one who founded whatever School of Interrupting at Just the Right Time so many Ace Attorney characters apparently went to, doesn’t it?

When she appears, “calm and dignified, in our desperate final moments,” to use Ryuunosuke’s words, she causes quite the stir. Luckily, the five minutes granted to her by the judge to present some crucial evidence is all she needs to help him and Kazuma pull off the first turnabout in Ace Attorney’s history.

The mysterious legal assistant’s wish for Ryuunosuke’s good fortune was granted, apparently.

Thus Ryuunosu-- Um... Is it okay if I call him “Ryu” for short? Thus Ryu’s life was saved by a humble young woman who had the courage and decency to collect, summarize, and present the evidence that turned the case around in the nick of time. After leaving to finish his acquittal procedures with a humble bow, she disappeared, never to be seen by him again.

Or so he thought.

Similar to Phoenix and Maya’s first encounter, Ryu and Susato's second meeting occurs under the most tragic of circumstances. His close friend and classmate has been found dead in his cabin on the ship he managed to smuggle himself onto. Unlike Phoenix and Maya’s situation, however, it’s the lawyer (or soon-to-be lawyer) who is initially blamed for his death. To make matters worse, the young woman who helped to save his life isn’t feeling quite so compassionate this time around.

Her anger and distrust are understandable, considering that the evidence seems to point to Ryu as the culprit, on top of the fact that Kazuma was her foster brother. Luckily, she’s polite and reasonable enough to hear Ryu’s side of things, and even claims that she wants to believe him, so the two of them are at least able to treat each other civilly.

That is...until he tries to start investigating.

There’s a bucket load of energy beneath that demure countenance of hers, it turns out. Her move even has a special name -- the “Susato Toss.” Who would’ve thought she came straight out of Street Fighter?

Thankfully, she still has a reasonable side.

By presenting evidence of his innocence, Ryu not only vindicates himself, but finally starts to gain Susato’s trust.

Sadly, her trust only lasts until a certain world-famous detective shows up to accuse Ryu of being a Russian revolutionary.

It’s hard to blame her, of course. Who wouldn’t trust THE Sherlock Holmes’s logic?

Nonetheless, her determination to find out more about Kazuma’s death is strong enough for her to begrudgingly continue the investigation with Ryu. One notable moment occurs here when he attempts to gain favor wither her by appealing to her love of mystery novels.

She’s no fool, of course, and only dislikes him even more for expecting her to fall for it.

If I didn’t know any better, I’d say this was the “main characters don’t get along until they’re forced into a situation together” cliché. This situation may not fit that cliché perfectly, but it’s not too far off if you ask me.

When Ryu is finally allowed to investigate outside the cabin, Susato begins to show a bit more sympathy for him.

I have to give her some credit for that -- it takes a special kind of person to show compassion for a possible murderer. It also seems like she’s beginning to see Ryu as more of a human being than a heartless criminal. Baby steps, as they say.

From that point on, their dialogue begins taking on a more friendly tone. Thus Susato, whether on purpose or by fate, takes on the role of the first official assistant in Ace Attorney’s history. And boy, does she pull it off like a pro.

To make a long story short, their cooperative efforts combined with the ridiculous logic of a kooky detective (as well as the assistance of the less kooky Detective Hosonaga) bring them to the truth of Asougi’s death in the end. While this clears Ryu of the crime and offers some much-needed closure for both him and Susato, his death still affects them deeply.

Something wonderful stems from this tragedy, though -- a crucial moment, not only for the two of them, but also for the Japanese and British Empires.

With Asougi’s passing, the exchange program between Great Britain and Japan is forced into suspension, unless, somehow, a replacement attorney can be found before the ship reaches London.

It’s a shame it has to end this way after all they’ve been through together, but that’s just the way it goes someti--

...Oh. Well, then. Who would’ve seen that coming? (Besides us, I mean.)

And strangely enough, the young woman who once saw Ryu as a cold-blooded murderer has this to say about him becoming an attorney:

Thus a new attorney/assistant pair arises from the ashes of one attorney’s passing (pun fully intended), and the two of them step into a new journey in their lives together. And thankfully, it wasn’t exactly the cliché it appeared to be -- the two of them are now trusted friends, and Susato even offers to let Ryu toss her three times as punishment for not believing him. (It doesn’t quite end that way, but that’s beside the point.)

The first leg of said journey takes place in the “centre of the world” the incredible city of London. What a place to begin, am I right?

Thus their incredible legal adventure begins (or adventures begin, I should say) in beautiful Victorian Era Britain. To describe their encounters here briefly (and so I don’t spend a whole year on this essay), they learn together how the British court system works...

...about its imperfections...

...how it feels to pull off a turnabout in a British courtroom...

...and perhaps most importantly, about the value of trust.

To say nothing of their misadventures with Mr. Holmes, his young genius assistant, and several other unforgettable British folk.

And a fellow Japanese immigrant, too, of course. Who could forget him?

You know, I’m starting to wonder if he might be one of Larry’s ancestors.

The game throws one final curveball for the great legal duo before it ends. After telling Susato she’s the world’s best legal assistant, Ryu gets a very unexpected response from her:

When he attempts to confront her about it, all he gets is another Susato Toss.

What could someone like her, who’s already proven her worth as a legal assistant several times, be hiding? Unfortunately for Ryu, he’s unlikely to find out soon, since her father’s illness has called her back home, leaving him to pull off his next turnabout on his own. She doesn’t go without leaving behind as much helpful evidence as she can muster, of course.

But, as fate would have it, a storm prevents her ship from departing for at least half a day, giving Ryu and his new flatmates a chance to see her off. On top of that, it gives Ryu the chance to find out precisely what inspired Susato’s words of doubt.

He catches her preparing to throw a copy of the British Empire’s Code of Law into the sea. What would cause her to do such a thing?

It turns out she broke one of the rules by tampering with the scene of the crime, and another by concealing that fact. Her intentions may have been good, but her conscience became a little too heavy for her to let it go. She takes it a step further by claiming that, for one moment, she began to doubt the law.

She may not be wrong in stating this (she learned it firsthand in the British courts, after all), but it still caused her to see herself as a failure of a legal assistant. Luckily for her, though, Ryu had learned some things himself in the time they spent together.

While her methods were questionable at best, Ryu recognizes something in Susato that sets her and every just person apart from a criminal: a desire to protect the innocent. Whereas Chrogray used her tampering as a way to protect himself, her only desire was to protect Gina’s life and to ensure that Ryu would be able to prove her innocence in the end. In other words, her faith in the system may have been lacking, but her desire for justice, like Ryu’s, never faltered for even a moment. With that knowledge in mind, the two of them can part with a better knowledge of the law, a better understanding of each other, and smiles on their faces.

So, to sum it up, Ryu and Susato go from being friendly acquaintances, to a murder suspect and suspecter (for lack of a better word), to investigative partners, to full-fledged legal partners, and finally, to a legendary legal duo. Will their relationship ever go any further than that?

Also, full disclosure -- it’s been a long time since I watched Dai Gyakuten Saiban, so I had to do a hefty amount of re-watching in order to remember some of these details...hence why this essay took so long. Thanks for waiting!

And hey, how’s that for good timing?

Don’t know about you, but I’m eagerly looking forward to revisiting this unforgettable saga. And, y’know...doing it the proper way instead of depending on fan translations.

-The Co-Mod

#Anonymous #Susato Mikotoba #Ryuunosuke Naruhodou #Dai Gyakuten Saiban #Mod Post #Co Mod #Character Essay

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rip-a-dip-dip-you-potato-chip · 4 years

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what have I created?

idk if yall like this, but they just exist not i guess :/

ok the the first one is Royalty AU

first things first, when I say Royalty AU, I don't mean the classic shit we've all become accustomed to. Im talking about the good old Chinese royalty! And I want to emphasize that these guys will/should be dressed in century appropriate attire. As someone thats read a handful of 'marinette, princess of china' fics from the ML Fandom, I've noticed a common trend. Marinette wouldn't be in the culturally appropriate clothes, always ballgowns. Not that there's something wrong with it, its just most of if not all these fic are set in China, so I'd expect Chinese royalty to dress as THERE dress code calls for. And since this AU takes place far in the past like, it won't make sense for any of the characters to be in royal clothing that wasn't from there region. I'm not trying to white knight/gatekeeping. Im Guyanese not Chinese. But since JTTW and Monkie Kid take place in China, it's only right. In my opinion that it. You don't have to outright agree with me.

With out of the way, it's time for that good old AU crack

- Wukong is the king of the Flower Fruit kingdom(or a different one if you'd like, again I'm only familiar with what western culture has taught me, but I'll try my hardest)

- he’s single but rumor has it he used to/still is dating the Vigilante/thief The Six Eared Macaque

- *chants ShadowPeach violently*

- no one know whether it true or not

- On of his wanders around the kingdom he finds an abandoned baby in a basket.

- and no shit sherlock it's fucking baby Xiaotian

- I think we all know where this is going because i'm a simp for Monkey Dad & Monkie Son shenanigans

- Xiaotian becomes prince

Shit, ill be referring to Xiaotian as Mk from now on, I mentioned this before in a fic I wrote for lmk that Mk's a nickname for Xiaotian for some reason- wait i don't have to explain my self to you people!

- Sun loves his son

- MK is treated differently by staff and others because he's not blood related to the king

- no one mistreats MK per say, because there King loved his adopted son, but words are said behind his back

- Sometimes MK hears what’s said, and he feels as if he won't live up to his dad’s legacy.

- He meets Mei during a festival

- Mei is from a noble family, that wouldn't mind if they got a connection into the royal family.

- but it becomes hella clear to Mei’s family very fast that the two are just friends, and will always will be. but hey there daughter is bffs with the prince so that's a plus.

- the Demon Bull Family is rules a kingdom as well, I dont/am not creative enough to think of a name I leave that to you.

- It's a common misconception that DBK is a tyrant, when he’s not.

- most of the time...

- they have been at war with the Monkey King for some time now and settled for a peace agreement.

- that agreement being there sons to marry

- oooo original i know

- MK and Red Son are roughly the same age, Mk being 20 and RS 22

- RS is revolted/disgusted at the idea of being wed to the Monkey Kings child, even more so when he realizes MK is adopted,

- but, that all changes the second he meets MK while he meets him by accident when he gets kinda lost in the palace when he and his parents go to discuss the arrangements.

- the second he looks at MK, he's instantly in love. MK less so, he's nervous and honestly kinda bummed he's not marrying someone he loves but it's for the good of his ppl, and he'll do anything for them.

- RS isn't even aware that MK is Suns adopted son until MK walks him back to the meeting room.

"Oh There you are MK! I was about to have a servant go fetch you!" Sun Wukong says, gesturing for his boy to come sit with him.

"S-sorry for keeping you waiting I got caught up in my lessons with Mr. Tang" MK responds, sitting next to his father. Red Son looked gobsmacked. The beautiful young man he had bumped into, was the prince of this land? Damn, life truly blessed him. Or cursed him depending on how you looked at it.

- the two are left alone in a separate room for a while.

- And MK straight up tells RS why he's agreeing to this union.

"Look Red Son. I've dreamed about meeting my one true love for a while. And I would give almost anything for that dram to be real. But I wouldn't ever dare give up my people, for as there price they mean more to me. I'm doing this for them, no other reason" MK says, his back straight and hands folded neatly in his lap. The look in his eyes was a mix of sadness, but that was drowned out by loyalty and determination. It just made Red Son fall for him even harder. Clearing his throat Red spoke.

"I understand, for im doing this for the betterment of my people to. But I propose a wager"

"A wager?"

"Yes, if i can make you fall in love with me by years end, before our marriage, we can live together like in the fairy tales from far away. But if I fail, in a years time afterwards you will be permitted to find your own path in life" Red Son stated. MK took a moment to process what was happening.

"So, if you succeed in making me fall in love with you, before our marriage we can live happily ever after?" Red Son nodded in response, letting the younger continue.

"And if I shouldn't fall for you, in a years time after our union, im free to leave?" Red Son nodded once more.

"So, what do you say?"

...

"Deal"

In the end, your free to choose their fate, should Red Son win the hart of Mk? Will he fail? Or will he let him go, and let him travel the country, after all Mk's a free spirit and keeping him trapped in a big house is like keeping a cannery trapped in a cage only for its song, only for it to dul. Or will the unthinkable happen and will both boys find their freedom? together or appart? I don't know, because that's all up to you 😉

personally, I’m partial to where MK and Red Son both find freedom together. Like they straight up run away together to somewhere far away and just live out there lives together.

this could also be genderbent thing as well. MK or Red as their respective counterparts. Again it doesn't have to be, but it’s whatever bro. im just spitting out the idea.

Also, there is a main side plot that they fight the WBS throughout the year as well, along with other shenanigans you wanna throw in.

____

The second is a My Hero Academia/BNH/MHA AU

truth be told i'm not a big fan of MHA i think it to over hyped(this is also coming from the same person that’s a Fairy Tail fan lol), and the fandom i don't even know how to describe that mess, but I will admit not the whole of its toxic since every fandom has some toxic members, some even more so.

I just sometimes find myself enjoying MHA AUs like the Fullmetal Alchemist, Danny Phantom, Evil!Deuk AU and several others.

to make it clear I don't see this AU taking place the same time as the main plot of the actual Anime/Manga. This could be either like 6-10 years before or after the plot idk bro. But i’ll do this after the main story plot of MHA, so keep that in mind ya? another thing, the gang is still in China, the top hero school in the world just so happens to be in Japan, and it’s only ever mentioned by Sun wukong and other pro heros. So MK never attended AU. in short it’s only ever mention/ reference.

- Mk was considered Quirkless as a kid.

- he was just a late blumer, i swear

- Mai’s Quirk is called Dragon.

- it pretty much works the same way as it does in the show(duh)

- Tang’s got a knowledge Quirk,

- my man can retain information and he’s basically an archive of information drawback being his personality lol

- Piggsy is a Animal that gained a Quirk

- in cannon to my current knowledge, there are two other characters that can confirm animals can become sentient. the characters being Fumikage Tokoyami, & Nezu the principal at the school UA.

- Sandy is just Conner Kent, aka he like superman but can't fly, or shoot lasers from his eyes. And blue.

I have two scenarios for Macaque and Wukong

*- The first one is that, Sun Wukong & Macaque are brothers. twins to be exact.

- they where legit people, but have mutation quirks that made them too like monkeys.

- the added powers were just a boues.

- Sun and Mac are close growing up, like there brothers but also best friends.

- the draw back to there quirks could honestly be whatever you want bro idk, same with the others tbh. Personally I like to think Sun just has lack of motivation, and Macaque needs to draw on other people's energy.

- Sun is a hero, Monkey KIng and Mac is a villain Six Eared.

- Sun was always treated has the golden child in the family, Mac always resented that, but there shitty up bring didn’t stop the two from being good brothers to one another.

- soon tho the resentment became hatred when Sun was able to attend UA in Japan, while Mac didn't.

- Mac be angy

- so he became a villain, and joined the Chinese branch of the LOV(league of villains)

- Sun doesn't know this till he finds out during the all out war during the main story. and by that time he’s a full on hero with is own agency(The Flower Fruit agency)

- when the hero's ultimately win and Mac is arrested

- This ultimately hurts Sun a lot, his brother was in jail now, arrested for his involvement and wrong doings, he knew nothing about this! this brother, his blood. A bad guy? why? he hadn't seen his brother since he left for UA, he hadn’t seen him when he came home, and started his agency.

- this just puts Sun into a funk so he’s not as active as he used to be, and he starts thinking he might need a successor

*- The second one is that they were two separate people that had similar quirks and both attended UA but Sun ended up in the hero corse. so 1A.

- Both Macaque and Sun have similar quirks, Sun’s is obviously more light based while Macaque’s is more shadow based(this applies to the first one as well)

- Macaque was placed in class 1B, U.A.’s High's Heroics Department, I believe, you can correct me.

- In cannon Class 1A and 1B both went to the training camp. I can see the teachers pinning Sun and Macaque against each other to hone their skills.

- And because of that they become great friends

- In fact when they graduate they both co-found there hero agency together in China and are a duo.

- But due to Monkey King’s popularity and Six Eared's association with shadows(people sometimes saying he has more of a villains quirk than a heros) the public see’s Macaque as Sun’s sidekick when thats far from the truth.

- now it’s up to you whether you think that Wukong and Macaque would be in a relationship together, but knowing how cooked we all are, ShadowPeach is a thing here more than likely.

- If you do or don’t support/ like the ShadowPeach aspect, the two would be living together regardless since its more cost efficient.

- They my be heroes but living costs are expensive!

- I would imagine there would have been a huge fight/argument between the two in privet of course, at there home.(or in there shared office if you want the extra angst of the other people they work with hearing them fight)

- If the two are dating, then this would either lead to an out right breakup, or Macaque just up and leaving with Wukong thinking he’ll come back once he’s cooled off. But after a week, with no sign of his partner, or him answering texts or calls, not even coming into work. Wukong gets worried that something might have happened to him. so there wouldn't be a confirmation if they were still a thing or not.

- But Wukong remains hopeful, despite the nagging at the back of his head, and gut telling him to go find Macaque, or atleast make a public statement, or even just tell another pro hero about it.

- on the not so shippy side, Macaque and Wukong still have there argument, and much like the ShadowPeach esc side, Macaque up and leaves, and isn't seen for weeks. the only difference here is that when Wukong comes home one night to there flat, most if not all of Macaques stuff is gone.

- where as if this was the ShadowPeach side, Macaque leaves all of his possession in the flat he and wukong share. for the simple reason being, he still loves him and wants to go back, but Macaque being Macaque can’t bring himself to do it, especially after seeing just how hurt Wukong looked when he yelled at him just before he left.

- in other words, ANGST DIALED UP TO A 10 BABY

- in either case, its a news report that confirms Wukong's suspicions that he desperately didn’t want to believe, and that is Macaque turning into a villain.

- much like if the two were brothers, Wukong just can’t take it and is no longer as active as he once was, and is thinking about, either A) Retirement B) Saying, “Fuck Society, Be Gay Do Crime” and join Macaque as a villain himself, or C) find a successor, and a way to bring Macaque back to there side, but most importantly, back to him.

- also extra points if you're after people's hearts and want to make them suffer; - If there dating, Wukong curle’s up in the bed he and Macaque shared, holding/wearing something of great value to Macaque and just crying himself to sleep, where as Macaque is getting wasted on alcohol, as he stumbles out of the bar he’s in, he either see’s something that reminds him of Wukong or while he’s trying to put his wallet back into his pocket, a photo of them on their first date fall’s out. and Macaque just cries in a nearby alley way. And it’s there where he gets indoctrinated into the League.

- If there just friends, macaque heads to the nearest forest and just levels it, where as Wukong just gets engrossed into his work, trying not to think about it. you could add you own spin on this, again i'm just spitballing.

- NOW BACK TO MK! :D

- Obviously MK is a huge Monkey King fan

- at Twenty MK has come to terms he's quirkless (HE’S NOT)

-for ANGST reasons MKs fokes kicked him out at this realization at 13.

- he works at Piggsy's Noodle shop, and has been since he was 14.

- don't need a quirk to drive or cook!

- the boy lives a content life with his new family, till DBK happens :D

- DBK runs a Mafia(in conjunction with TLOV) and has been in jail for like 5 years thanks to Monkey King, PIF and RS brake him out one night when MK's out making a late night delivery since Piggsy had the bright idea to go 24/7 service!

- one thing leads to another and Mk somehow manifest what looks like the Monkey King's staff, but its not, it’s MKs powers, it just so happens to be the same power the Monkey King has. And it practically goes down the same way in the pilot.

- but unlike the pilot Mk and Mei go straight to the FF Agency, after making a panicked call to Pigsy and Tang.

- one way or another Mk are lead into Wukongs office. Mei being forced to stay in the lobby.

- they have there convo, butterfly monkey squishing included.

- "And so, I want you do be my success-" BOOM 💥

- from there they rush downstairs and see that the lobby has been infiltrated by the DB fam, and you know fight.

- once the DB family seems like there down, PIF wisks them away. Much to Monkey King’s displeasure.

From there stuff kind plays out like cannon, the calabash ep is just a conjoint quirk the Demon bros have. As for EP9, ill have to script that one out myself lol. I'll get onto it as soon as my will to commit stabs me in the face. Till then have a dancing Kermit the frog.

Now if you'll excuse me, am about to Kermit a felony :D

(For legal reasons thats a joke)

Psst @writingamongther0ses its done

#lego monkie kid #monkie kid #lego monkie kid au #rip a dip dip wrights

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nocturnalazure · 4 years

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The “without fail” writing tag by gilded-ghosts

Thank you for tagging me, @treason-and-plot! I absolutely love those tags recently. :) It’s like, it helps me realize that everyone struggles with the same things. It’s so easy to forget that when you see the results on other people’s blogs and feel like you are so far below everyone else.

Rules: List five things that you, WITHOUT FAIL, weave into or explore in your stories, whether it be specific themes or tropes, character archetypes, allusions to other literary works, what have you! It really can be anything that you consistently include in your narratives for whatever reason. Then invite others to share theirs by tagging them!

1) Code of honor

Duty is very obviously one of my recurring themes for the Golzines, and I’ve been most probably heavily influenced by Japanese culture. I particularly love it when characters do not want to do something but have to do it because of circumstances or external pressure. Situations in which the character doesn’t have any choice. Or worst, situations in which a character does have a choice but chooses to take all the burden on their shoulders in order to protect others.

A sense of justice, compassion for others, bravery rather than foolhardiness and unwavering self-control are all qualities advocated by the way of the samurai, and qualities I personally admire and try to nurture in my characters when they face danger or opposition.

2) Anti-heroes and bad boys

I’ve personally always preferred to root for the underdog, be it the pathetic loser who is more than meets the eye or the one who fights against all odds (or has to fight, see above). Or the one who makes poor decisions, or who is morally dubious because of some emotional baggage or simply because he believes in an unconventional worldview. In short, the antithesis of a hero: you can never be quite sure how far he will be ready to go, how deep he is ready to fall. I love them, but I don’t find those characters easy to write though, because they are the most exposed to reader’s judgement if they are not handled exactly right, and they can easily be written off as stereotyped bad boys.

But the bad boy I envision is more of a street smart tough guy who is actually a softie. A guy who plays by his own rules and sometimes acts impulsively. Who tries hard to keep up a facade and sometimes fails. Not that brawny, violent, brainless, basic macho jerk with a pseudo-dark past that is labeled as a bad boy nowadays.

3) A father’s role

Or a mentor, or a protector of some kind. This one is very personal to me because it’s been sorely missing in my life. So I tend to idealize that father figure in my stories. It is oddly eloquent that I often make the relationship conflictual. The difficulty of finding a role model, or of having that perfect picture shattered to pieces... the very essence of becoming an adult so to speak. That is a theme that is very dear to me and that keeps on popping up in my stories.

4) Exploring different sexualities

I love writing about romance but I’ve come to realize that what I like most, is the concept of love as a universal feeling. It is quite clear that storytelling is also a way to try and put oneself in other people’s shoes. Sexuality is one of those different perspectives. As usual, there is a subtle balance to strike between being genuinely curious about people who are different from you and making them feel like walking stereotypes or pandas in a zoo. But isn’t openmindedness infinely preferable to bigotry and prejudice anyway? In one of my very first and more developed stories from when I was a teen, I had written a gay character who was also a cross-dresser. He was buoyant and exuberant and completely over the top... and also everything that I wasn’t. Which was why writing him was so liberating.

5) Opposites attract

I very often pair up a strong-minded, wild character with a quiet, introspective one. I just love to dissect their personalities and create conflict between them, but also find common ground for them to make up on. Sometimes it doesn’t work out, and they are simply too different. But most of the time, I really enjoy trying to find what connects people together beyond their differences, and how they can complement one another.

I tag @eternal-infamy (you know I always will :p no pressure though!), @shhhushhh (if still alive?), @amuhav, @whimsy-pix and @danjaley.

#text post #without fail writing tag #sims stories #random #tagged

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wisteria-lodge · 4 years

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Character Analysis: Sorting The Old Guard

@sortinghatchats has a brilliant personality/character analysis system based on the four Hogwarts houses. At this point it’s become much more interesting and nuanced, which is part of why I’m moving away from using the names of the houses.

Here’s how it works. Everyone gets two houses – a Primary House and a Secondary House

YOUR PRIMARY IS YOUR MOTIVE. IT’S WHY YOU DO THINGS.

LION Primary’s sense of morality and ethics comes from inside. Things just feel right or they feel wrong.

BIRD Primary gets their morality and ethics from the world outside them. They decide what they think is right.

BADGER Primary is focused on the good of the group. Who cares if something is technically “moral” if people are getting hurt?

SNAKE Primary is a lot like Badger, but instead of protecting the group, their highest law is the well-being of the individual people they love.

YOUR SECONDARY IS YOUR METHOD. IT’S HOW YOU DO THINGS.

LION Secondary gets their power from being direct, honest, completely themselves. Their “plan” is just keep going until someone stops them. If they see a locked door, they kick it in.

BIRD Secondary collects tools and skills. They build things, find things, learn things. If they see a locked door, they go through their box of keys until they find the right one.

BADGER Secondary is fair, hardworking, and shows up. They’re good at getting people to trust them, and good at getting people to help them. If they see a locked door, they knock.

SNAKE Secondary knows the right mask to wear for each situation. They’re adaptive. They go in the back way. They find the third option. They’re the ones who know how to pick the locks.

And now let’s talk about The Old Guard. Also, SPOILERS.

***

Nile Freeman is a bright Badger primary, defined by her groups. “I’ve got people who love me,” is the first thing she tells the team. And follows that up with, “I’m a Marine.” We meet her in uniform, part of a squad. Getting back to her family is her main motivation. (And it’s a “my family” thing - not a “my mom” or “my brother” thing.) Family continuity and family history mean everything to Nile, and that’s so Badger. Religion is also used as visual shorthand for “Badger” a lot, and Nile’s got her cross necklace. And she doesn’t want to kill people. Doesn’t matter if they’re the bad people who killed her, they’re still people. Badgers can’t ignore that.

Nile’s challenge is figuring out a way to separate from her family (and become an immortal commando) while still keeping her healthy, shining Badger intact. And she does it by expanding. It’s not just about protecting America and her family anymore. She looks at the wall outlining all the good the Old Guard has done, and her community expands to include them, and all of humanity.

She’s definitely got a Lion secondary. Yes, she’s willing to run into the villain’s stronghold with a bag of guns and not much plan - but this is an action movie, that stuff is kinda a given. I’m thinking more about when she has to lie and say her miraculous healing factor is an experimental skin graft – she hates doing it, she’s so bad at it, you can see her skin crawl. Nile is powerful when she is able to just lay out what she believes. People like Agent Copley and the Afghani women just feel the honesty and conviction bleeding off her, and come around to her way of thinking.

Nile also has a Bird secondary model. Smashing down walls isn’t appropriate all the time, so a lot of Lion secondaries learn to use one of the mellower secondaries as backup. Nile’s Bird is subtle, but it’s there. She applies her anti-militant training to the situation, and thinks they should “follow the money.” She can identify a Rodin sculpture across a dark cave. And she spends a while trying to reason away the fact that she’s immortal (considering hypnosis, drug trips, all that fun stuff.)

Andromache the Scythian aka “Andy” is also a Badger primary. But a very old, very tired, very burnt one. She’s been protecting humanity for about ten thousand years, and she feels all the people she wasn’t able to save. Andy starts off the film doubting whether any of it mattered, if she was actually able to protect her community at all. Because she can’t protect everyone, she is forced to shrink that community down. She can protect Nile, Joe, Nicky, and Booker – and that has to be enough.

The situation with Quyhn is a good look at the sort of darkness that can live inside a Badger Primary. Because Andy stopped looking. She could have spent hundreds of years pouring money and time into finding Quyhn - and neglected the rest of her team, and by extension humanity. But Andy’s a Badger primary. That’s not a thing she can do.

(A Snake primary would never have stopped. Someone like Nicky would burn the world, if that’s what it took to get Joe back.)

If your preferred weapon is an ax or a hammer, then you’re a Lion secondary. That’s just how it works. You are too direct and too smashy to be anything else. Ms. “I always go first” Andy, leader of the group she thinks of as an army? Even when she’s discouraged and exhausted, her Lion secondary is still so loud. She has a bit of a Bird secondary model: she sets up rules like “we don’t do repeats, it’s too risky,” and establishes code words linked to specific maneuvers. But you can tell she’s a little uncomfortable with that kind of thinking. She wants to hit things with an ax and give inspirational speeches. And also threaten people.

Which means that Andy and Nile match perfectly. They are both Badger Lions with Bird secondary models. And that makes perfect sense. Nile was “born” at the same time Andy lost her immortality. They are both warriors. Nile is the one who will “go first,” when Andy isn’t able to anymore. She’s the one who gets Andy’s ax at the end. She’s the new Andy. Andy’s redemption comes with waking her Badger primary up, and training a replacement. Or as she puts it, “I think you showed up when I lost my immortality so I could remember what it was like (…) that there are people still worth fighting for.”

Nicolò di Genova aka “Nicky” fights for Joe. It really is that simple. His backstory tells you everything you need to know: he fought in the Crusades until he fell in love with a Muslim, and had to choose. On one hand - religion, country, job, society, security. On the other hand - the man he loves. For Nicky the answer is obvious. Because he is such a Snake primary.

As long as he’s with Joe, he’s fine. Agent Copley is trying to explain himself, Nicky doesn’t care. “I’m sure you’re bringing us to the person who paid for your betrayal. There’s a TV [on this plane] Joe!” The villains can talk all they want about the greater good and moral imperatives and changing the world. Nicky is just bored. “A fine justification. I’ve heard it so many times before.” None of that stuff matters to him.

His secondary is harder to spot, underneath the really loud primary and the really loud Lion secondary model. But I think I see a Badger secondary. Nicky’s a caretaker. He brings Andy her favorite candy, sets up Nile for the night and shows her where to sleep. Joe says that Nicky’s heart “overflows with a kindness of which this world is not worthy,” and I get that they’re in love, but that’s still some serious character testimony. I’m also going to throw in the fact that Nicky’s a sniper. Being a sniper is not like hitting things with an ax. It’s all about getting in place and being careful and patient. Badger secondary traits.

Yusuf Al-Kaysani aka “Joe” actually takes the time to lay out rules he lives by. Which is interesting, because the only other people in this film who do that are the villains. Those guys are not motivated by personal loyalty: they’re either Lion or Bird primaries motivated by “the greater good.” The Old Guard is a very Loyalist movie. When we get our big Theme Scene, the French shopgirl tells us, “Today I put this on your wound. Tomorrow you help someone up when they fall. We’re not meant to be alone.” That’s the ethos of the movie. It’s very Badger.

Joe gets how Badger Primaries work. He gets Andy, and the best example of this is when he comforts her by saying Quyhn “would be insane” by now. He’s basically saying, “you don’t have a responsibility to her the way you have to the rest of us, because she’s not really a person anymore.” It’s dark, but so is Andy, and that line of reasoning would make sense to a Badger primary.

Joe also understands Nicky’s Snake primary. He knows he’s Nicky’s world, and he never stops demonstrating that. He has Nicky’s back when they fight (Nicky passes things over his shoulder without looking). He has Nicky’s back when they sleep (as the big spoon). He learned Italian for Nicky, and when Nicky is freaked, Joe just shows up with that “his kiss still thrills me, even after a millennia” speech. But that speech is also him explaining his worldview to the guards, the same way he bothers to tell them, “You shot Nicky. You shouldn’t have done that.”

When Nile asks, “Are you good guys or bad guys?” Joe responds, “Depends on the century.” He is interested in those large moral questions, and the answer he has decided on is a combination of Andy’s Badger morality, and Nicky’s Snake morality.

And to go with that really complicated Primary, I think Joe really is just a straightforward Lion secondary (another reason he gets Andy). I mean... he literally headbutts people.

Sebastian “Booker” Le Livre, whose nickname is a very silly pun, is the most vaguely drawn character. I’m not sure if he turns Nicky and Joe over to Merrick because he wants to die, or because he wants to find a way to help Andy die. Or both. But either way, he is a very burnt Snake primary.

Booker seems to be the only one who kept up contact with his family after learning he was immortal. As a result, he got to watch his son die painfully with “hate and despair in [his] eyes,” blaming his father for not loving him enough to save him. It’s been about 150 years, but Booker is not over this.

That is a very Snake primary love, and when it comes down to it, Booker is a Snake with no people he can throw himself into loving the way he loved his son. (No wonder he drinks). He wants more emotional intimacy from Andy than she is able to give him - not in a romantic way, they have more of a sibling dynamic. But look at the betrayal in his eyes when he learns she’s lost her immortality: “Andy, look at me. Why didn’t you tell me?”

This is the exchange right after Booker betrays the team:

JOE: You selfish piece of shit. NICKY: Joe, leave it, please… BOOKER: What would you know of the weight of all these years alone? JOE: You’re a very pathetic man Booker. NICKY: Joe, stop. BOOKER: You and Nicky always had each other, right?

Nicky is sympathetic. He’s a Snake primary like Booker, he knows what living without a Person must be like, he knows exactly why Booker did what he did. Joe doesn’t. He only sees how Booker has failed to look at the big picture (like Joe would have, because he’s a Bird, that’s how he thinks) and that he made an objectively dumb call. Joe is angry at him for the rest of the movie. But the others, who know what it’s like motivated only by personal loyalty… they kind of get it.

To round things off, Booker is a Bird secondary. You can tell by the way he collects skills. He’s the operation coordinator, the quartermaster, the driver, and the tech guy. He’s also not afraid of a plan with steps. Nile calls him, “the brains of the operation” (although she’s probably being nice). Still, Booker is a good example of the way Bird secondaries aren’t always smart. His plan was pretty objectively terrible, but that was because his primary was so compromised.

tl;dr

Nile – Badger/Lion (Bird model)

Andy – Burnt Badger/Lion (Bird model)

Nicky – Snake/Badger (Lion model for fighting)

Joe – Bird who has built Nicky’s Snake morality, and Andy’s Badger morality into himself/Lion

Booker – Burnt Snake/Bird

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panharmonium · 4 years

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Merlin and Naruto

I did Merlin here, so here’s Naruto! :D

[disclaimer for everyone: I have only watched up through Season 10 of Shippuden (the arc with the Five Kage Summit), and I am trying to avoid spoilers for everything after that point, so please don’t interact with this (including tags, because tumblr shows them to me automatically) unless you are avoiding ALL spoilers. For me, this includes discussion about whether you like/dislike future seasons, comparisons of various seasons in terms of quality, etc. Thanks, everyone! <3]

My favorite parent-child relationship: I know they’re not blood-related, but Iruka and Naruto have me crying every time I see them together. Naruto straight-up says that when he’s with Iruka he feels like he knows what it’s like to have a father, and honestly, Iruka loves Naruto so much at this point that he would insta-adopt him if Naruto asked. I love how Naruto always cites Iruka as the first person who cared for him even later in the show when Iruka hasn’t had as much screentime, and when I saw Iruka cry because he’s so proud of Naruto at the end of the Pain arc, it was just...too much for my little heart to handle.

My favorite sibling relationship: You know, thinking about it, almost all of the people in Naruto are only children, as far as we know! But in terms of just that sibling vibe - Sakura and Naruto definitely give me that feel. I know he has a crush on her, but their relationship has always felt more sibling-like to me, and I especially love how deep their bond has become by the time we get to Shippuden. They are just so comfortable with each other now - the depth of the love and friendship they feel for each other is palpable.

My favorite family relationship (other): I adore Naruto’s relationship with Jiraiya. That scene where Naruto falls asleep against his back almost killed me, and Jiraiya’s later line, “Your smile is my salvation” - that was too much. It absolutely destroyed me. The way Jiraiya kind of gave up on everything after his old life went to hell - neverending wars, Orochimaru gone, his original students dead, his student’s students dead, Minato dead - he just ran away after that, and it was meeting Naruto that kind of rekindled that spark of hope in him and helped him reconnect with his community and rediscover a sense of purpose in his life. Naruto enabled him to finally come home, and I think that’s beautiful.

My favorite friendship between two people: There are so many friendships in Naruto that I love (one of the greatest things about this show for me has been how little focus is given to romantic relationships, at least so far; it’s very much a friendship-oriented show), but right now I’m in a bit of a Kakashi-Yamato hole. I was super primed to not like Yamato when he first showed up, because him being there meant that my favorite character WASN’T there, and also he ended up replacing Kakashi on the one mission where the team finally found Sasuke, but the guy won me over in the end. He is one of my favorite characters now - my heart just swells every time I see him - and I think his relationship with Kakashi is super interesting. I’ve written before about how Kakashi’s only truly intimate friendships are with people who are dead, and I do think that applies when it comes to Yamato, too, even though the two of them are obviously very companionable and close. There is still a level to that relationship where Kakashi is a bit of a mentor figure, the “superior officer,” which results in a degree of (still friendly and affectionate) distance. And as with all of his other relationships, Kakashi doesn’t really confide in Yamato about his life or open up to him in the same way that he does when he talks to his dead friends - but at the same time, there is an element to their relationship that doesn’t exist in Kakashi’s other friendships, and it’s the fact that Kakashi trusts Yamato with his kids, implicitly and without reservation. Kakashi’s entire life right now is very much enmeshed in what happens to his students, and even if he doesn’t necessarily talk about that with Yamato, Yamato is still deeply involved in that work. Yamato VOLUNTEERED for that work. And he continues to dedicate himself to it even when his first mission as Kakashi’s stand-in ends up going completely off the rails and turning into WAY more than he signed up for. He keeps doing his utmost for Kakashi’s kids without it even being his original responsibility, and that is such an unusual thing, for Kakashi, who in every other circumstance is always the one stepping in to help other people, the one who always shoulders his burdens alone. Nobody ever asks Kakashi if he needs help with these incredibly high-needs children, and neither does Yamato - but the difference is that Yamato jumps in to help regardless, and he stays no matter how complicated things get. That’s huge, and it’s only going to become more important. It’s just - it is difficult for Kakashi to have intimate friendships with people who don’t share his history, and this rules out almost everybody else in the world, because all the people who truly share his own history are dead. But the degree to which Yamato has altruistically and irreversibly entwined himself into the most important parts of Kakashi’s new history - the chapters being written right now, the ones that are going to define the rest of Kakashi’s life - means that Yamato is well on his way to breaking through that wall and becoming the first exception to a universal rule. [There is a lot to be said on Kakashi’s side of this, too, like - every time Kakashi refuses to call Yamato by his code name I lose my mind just a little bit, and I have MANY thoughts about Kakashi basically dragging folks who’ve been victimized or exploited or experimented on out of ANBU and then absorbing them into his own team, where they become a part of a family-type unit that respects them and cares about them and treats them like human beings. I mean, there’s a huge difference between the Yamato we meet in S2 vs. the Yamato we know in S10 (and the same thing goes for Sai!) - and that’s something I think about a lot.]

My favorite friendship between a group: I love all of the team dynamics, but Team Gai is a fave XD The absurd contrast between oh-so-serious Neji vs. Gai/Lee’s incredible goofiness (with Tenten’s exasperation in between) is comedy gold. I screamed with laughter in S1 when Gai was trying to get Neji to put his hand in the circle and do their “shout a slogan like a sports team” thing - I’ve never seen anything funnier on this show than jonin!Neji trying to put up with Gai’s antics.

My favorite mentorship: My favorite mentorship is always Kakashi and whichever kid happens be onscreen with him at that moment, but I’ll be honest and say that Kakashi+Sasuke was the first dynamic that got me actually invested in this show (as opposed to me just watching it because it was on and not really caring what happened to any of the characters). They are still the mentorship dynamic about which I have the most complex feelings, and that is especially true after the last season we watched. I will probably end up making a separate post about this, because I still have not written down all of my thoughts about the end of Season 10 and I am still trapped in my feelings about this very lost child and the only adult who ever tried to help him the way he deserved to be helped, and I know I have way more to say about them than I can reasonably fit in this bullet point. But - the short version is that I am super compelled by the way that every tragedy that’s befallen Kakashi is precisely what shapes him into the only adult who can help this particular kid, the way seemingly senseless events ended up putting Kakashi in a position where he’s the only adult who can intervene on this kid’s behalf many, many years later. The way Sasuke’s plight (and the potential that Kakashi has to help him) suddenly grants meaning to the worst parts of Kakashi’s life - that knocks me on my butt.

My favorite rivalry: So I probably would not have said this until the episode where Kakashi comes three seconds away from being made Hokage, but I’m gonna say Gai & Kakashi, solely to express my love and appreciation for Gai in that episode. This is the ep where Gai challenges Kakashi to a race through the entire village (as a sort of “last hurrah before we can’t do this kind of silly shit anymore” thing) and Kakashi is initially kind of reluctant to do it, because he’s stressed out about a lot of things, but he does end up agreeing to it, and then he has SO much fun, and I LOVED this so much; I can’t even tell you. This moment takes place immediately after Kakashi returns from that horrible, awful confrontation with Sasuke, and everything preceding this scene was very hard for me to see, because everybody is just asking Kakashi to do more and more and more for them without giving him even a hot minute to be like “i almost just killed my own kid. i almost just had to kill my own kid, who was trying to kill my other kid, who was trying to kill kid #1 first, so i wouldn’t have assume the burden of killing him myself.” Nobody checks on him, nobody asks, and Kakashi has to just hold onto that horror and also fret over the uncertain yet chilling secrets that Madara Uchiha disclosed and also prepare to shoulder the crushing weight of an office he never asked for - AND THEN. GAI SHOWS UP. And even though Gai doesn’t really know what happened, he still checks Kakashi over from top to bottom to make sure he’s in one piece, and then he drags him into this stupid competition, and it makes Kakashi LAUGH. They go running all out across the craterized scene of devastation that used to be their home, and they have FUN doing it, and Kakashi straight-up tells Gai, “This was just what I needed,” which - god. It would be great if Kakashi had somebody he could actually talk to, sure, but there’s also a space in our lives for people who just cheer us up, no questions asked. It’s like when you tell someone you have a problem and they ask, “Do you want to talk about it or do you want to be distracted?” Sometimes you don’t need to talk about it. Sometimes you just need people who will take you for a goofy footrace and make you feel like you’re running too fast for any of your troubles to ever touch you again, for a few minutes.

My favorite hatred/antipathy: The answer to this question used to be Kakashi and Itachi, and while I’m even MORE fascinated by their dynamic now than ever, it’s taken on a whole new dimension, given that I think Itachi is (secretly) thrilled to see someone like Kakashi so committed to taking him down and keeping Sasuke safe. So, in place of that, I’ll just say that I love how much all of the Akatsuki cannot stand each other XD Almost none of them get along, and it makes me laugh every time - I can’t believe they ever get anything done, though I guess that’s to be expected when you get that many super-criminals together in a room. I especially love how they all think Orochimaru is so stupid...cannot get over them laughing at him and his body-snatching immortality schemes.

My favorite potential relationship between characters who never talk in canon: Okay, these are both silly answers, but - I would have KILLED to see Jiraiya interacting with Minato’s team. Like, I’m certain they spent time together, but honestly, what I wouldn’t give to have witnessed some of it. All I could think about during that mini-arc where Jiraiya teaches Naruto how to sync up with Gamariki was how little!Kakashi would have taken one look at the dancing frogs and decided he would be using dog!summons for the rest of his life; meanwhile Obito would have already been in the frog’s mouth begging to be launched into the air like a cannonball. Also - my sister said the other night how it is a CRIME that we never got to see Sasuke forced to interact with Jiraiya and honestly, that is too true.

#naruto #pan watches naruto #long post #meta #(sort of)

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pathogenliliaceae · 3 years

Text

Thoughts on Jill Valentine

Hello, friends! My responsibilities for my trading company job have abated in the interim, so I thought perhaps I would come back around to Jill, as promised.

Thoughts on Jill Valentine:

I will begin this by saying that it is appropriate that she was asked alongside Mia because there is one outstanding issue that I have between the both of them: The need to be saved. Though I find Jill to be leagues more competent.

We’ll get to it in full a bit later.

I will make no secrets that Jill has never been my most favourite of protagonists. Most of those issues stem from “3: Nemesis” and Five, though I am not adverse to including bits from One and Revelations. In one word, Jill is tolerable. Though, if given a choice (depending upon who my choices are) I will usually pick someone else.

A bit of background on Miss Valentine: I am utterly convinced that Capcom has changed her birthdate. I remember quite vividly scoffing that they made her birthdate Valentine’s Day, but now that I look it up again it seems its in May. Well, that’s at least a half a point in her favour. It’s become less mind-numbingly stupid. She is French-Japanese-American, whose father was a professional thief. In addition, she received Delta Force training through the US Army. Unusually adept at lock-picking, she then (apparently) gains the moniker - the Master of Unlocking. She also, again apparently, is adept at bomb disposal, though I cannot remember an instance in which this is exhibited. Though I can remember many instances when this would have come in handy. Jill.

Post-Delta Force and US Army tenancy, Wesker recruited Jill for STARS - described as an elite special forces operation for the RPD comprised of military veterans and weapons specialists (put a leaf in this for when I eventually get to Rebecca Chambers). Joining her in STARS are Forest, who she already had a friendship with prior to working together, and Chris. She is the only female officer on STARS Alpha Team, and works as a Breaking and Entering specialist. Forward onto the Mansion Incident.

Again, I’ve mentioned that if given a choice, I will usually not pick Jill to play as. However, that is not to say that I have not played Jill’s scenario in One. My primary complaint about Jill’s Scenario is as follows: It is fundamentally easier than Chris’. She’s got the lockpick set, so she doesn’t need to find Old Keys. She has more inventory space. In the space where she finds the zombie in the bathtub, she stomps his head mid-cutscene and does not have to fight him. She starts with the handgun and receives higher powered weapons whilst Chris has a higher chance of critical headshots. She can mix chemicals to weaken Plant 42 and cut the boss fight in half. Jill can skip certain puzzles in Arklay with Barry’s help, one under the guise of “saving” her from the falling ceiling where you retrieve the shotgun. No need to find the broken shotgun, and you have access to the shotgun as soon as you unlock the area which makes accessing the Armour Key much easier. I used to believe that this was a reflection of the character, but now I believe it is a bit of thinly veiled misogyny on Capcom’s part. ):

About the opening to her scenario, after running amok in the forest and into the mansion - “There are only three STARS members left now. Captain Wesker, Barry, and myself. We don’t know where Chris is.” YOU’VE JUST HAD HIM AT THE DOOR! HOW HAVE YOU LOST HIM? Also, check your maths, Jill. That’s four STARS members. We have one negative point here in that she’s managed to lose her partner in the amount of time it takes to cross a threshold. Anyhow, like how it is when you play as Chris, the other is locked in the cell in the labs and must be released with the MO discs prior to the T-002 battle. Canonically, Jill escapes with Chris and Barry. Chris escapes with Jill and Rebecca. Rebecca does not make an appearance in Jill’s game, nor Barry in Chris’. Brad is there in the background, flying the helicopter he had damned them with at the beginning. It’s a bit of a flub.

Moving on to 3: Nemesis and the Remake and whatever happens in between the events of Arklay and the destruction of Raccoon City. Gathering from memos in Two and Three, shortly after the Arklay Incident, Chris and Jill take their concerns to Chief Irons, requesting the launch of an investigation into Umbrella and all the related shenanigans. Irons, being involved and heavily steeped in wrongdoing, denies this request. STARS all but disbands, as Chris leaves for Europe in August 1998, Barry moves his family to Canada and follows after Chris, Rebecca is doing fuck-all, and Irons has suspended Jill and ordered her confined to her flat. That leaves... Brad Vickers as STARS. The only member. In office. Everyone else is dead, suspended, or AWOL. I suppose one way to operate as a corrupt organisation is to keep the most inept person as your only functioning operative. I digress, this is about Jill and not the bucket of maladroitness that is Brian Irons.

Jill remains in Raccoon City under the pretense of attempting to locate NEST, with the intention of following behind Chris, Barry, and Rebecca(?) a bit later. I believe also she was intending to sort through the rumours of the development of Golgotha, but I cannot find accurate citation of that. Things that she manages to do whilst confined to her flat for a month behind the departure of the other STARS members: Not that at all. I have long wondered what it was that was actually keeping Jill in her flat, aside from orders from her no-longer boss, when she had intentions of leaving on 30 September. I don’t imagine that with what remains of STARS poking around, save for Brad, that Irons would put a definite date on the lifting of her suspension. “Yes, now you may leave to bring down the organisation that I am tangentially working for”. The Three Remake expands on this a bit, as it seems that perhaps Jill was not emotionally nor mentally suited for travel outside of the flat. In which case, I question whether steeping herself in all things Umbrella was perhaps exacerbating her condition. I do believe that there is a fundamentally large difference between Three: Remake Jill and 3: Nemesis Jill. First off, trousers. Enough said. I don’t do my personal investigations sitting in a pleather mini-skirt and a tube top with a rather practical jumper tied around my waist, and neither should you. I much rather imagine a suspension to be carried out in pyjamas, but again I am not the type of person to dress at home if I’m not needed to.

Secondly, Three: Remake Jill holds up much better against Nemesis without the help of Carlos (who is also rather incompetent and sexist), than her original counterpart. Her reactions to goings on are much more believable, and for much of the game she has absolutely no issue putting Carlos within appropriate boundaries. He tries to explain to her what a radio is, she snaps at him. He touches her, she tells him not to. You are a stranger, sir, please observe courtesy. Not to mention, a stranger who is working for the organisation we’ve just found out is responsible for the development of bioweapons and viral agents. At least bother to ask her name, first. A bit of a hint, Carlos: It isn’t “supercop”. If we are to continue on with this Jill further on in the series, I will support it. I would quite enjoy a long-standing female protagonist that has no issue scoffing at male protagonist foolishness and scolding their perspectives. Perhaps it is a good thing that she and Leon have never met in any official capacity.

Three: Remake Jill still falls prey to damsel-syndrome, as I’ll call it, upon being infected by Nemesis. Carlos comes in as the knight in shining armour, having become infatuated with her after knowing her for exactly four hours. I like to imagine that this New Jill could wake up from her comatose state, shout about her autonomy, and then go back to sleep. This is however, remedied by some sort of favour-trading as she does save Carlos in a quid-pro-quo a bit later. I do have concerns about how far Jill allowed Nikolai to get without shooting him down, but that’s unimportant in the long run. There is also a bit of inconsistency between games in how Jill and Carlos escape Raccoon City and what happened just prior, but those are unimportant to our examining of Jill.

All in all, New Jill is portrayed as a competent individual, which I think serves much better to support her character in instances such as the Fall of Umbrella chapter in The Umbrella Chronicles, which leads into the formation of the BSAA and her involvement with them.

Functionally, from 2003 until at least 2009, Chris and Jill mostly function as a singular unit. 2005- they work together to subdue T-ALOS. 2004- The Queen Zenobia, Queen Semiramis fiasco in which Jill carries Parker through a sinking ship as Chris slams doors in her face- as loving partners do. (I do want to mention in an aside that so many people find themselves in trouble whilst looking for Chris. It is the plot of NO FEWER than four games. One, Two, Code: Veronica, and Revelations. Maybe even a bit of Six. Call it four and a half). Revelations does delve into a bit of why I find Jill to be competent amongst the ranks of highly amateur BSAA agents. First off, she reads the manuals for things. She realises the importance of memos! Secondly, she is shown deducing and explaining quite a bit about the situation they find themselves in to Parker, who is often none-the-wiser. An argument could be made that Parker is a newly ported FBC emigre and therefore does not yet have the same expectation but I disagree having seen the... eptitude of other agents. She is rather instrumental in uncovering the whole FBC - Veltro - BSAA mess and quite honestly tends to hold her own in that installment. If only the dodge function worked better. Anyhow, back to her partnership with Chris- it canonically ends with the Lost in Nightmares campaign in Five. In which she quite literally bowls Wesker out of a window in defense of Chris and (sort of) the world. If there is any secret method of getting me to enjoy a character, it is self-sacrifice for the sake of another. There is something so beautiful about it. Except Ethan, nothing can redeem him. Jill functions best as a character when she is partnered with Chris. I cannot say that in any of these scenarios I have profound issues with her. Forward onto the events of Five and about where we will end this tangent.

Jill and Wesker, obviously, both survive the fall from the Spencer estate. Jill is kept for experimentation due to the existing muted strain of T in her body from the events of Three. The antibodies she possessed were used by Wesker in attempts to make Uroboros more accepting of human host bodies. During the time that she was “in his care” (poor choice of words, I know), he repeatedly injected her with Progenitor strains and took the resulting antibodies. As a result of the testing and antibody removal, Jill’s hair, skin, and eyes lightened in cryostasis (I am still trying to make sense of this bit). Once she had reached the extent of her usefulness, Wesker volunteered her for the P30 project, a Las Plagas extension that utilised chemical compounds for mind control. However, due to the high expulsion rate, the chemical had to be constantly injected, explaining the injector attached to her body.

This requires her, again, rescue at the hands of Chris and Sheva. Once the injector is removed, the other two move on after Wesker, and Jill promptly collapses into unconsciousness. She is found by BSAA Delta Team Captain Josh Stone, who escorts her to a helicopter and initiates a rendezvous with Chris and Sheva on the volcano. I will stand up for Jill on this one- I do not at all believe that if Jill was on the helicopter, that Sheva should have been the one to wield the rocket launcher. That honour should have belonged to the two original STARS Alpha Team members alone. It’s simply poetic, and I am sorry for Sheva, but it would have been much more perfect.

Currently, we’ve not seen anything from Jill since Five. The only mention to her current condition is that she is at the BSAA undergoing testing and rehabilitation for her time spent with Wesker. In her words: “...ever since getting back I've been locked up in this lab as they run tests on me day in and day out. It's every bit as boring as it sounds”. We leave Jill’s chronology with her being bored. Fitting. In short, I believe that Jill has quite a bit of potential in her competency, and I am actually quite interested to see what her reaction would be to the BSAA using bioweapons. We’ve not heard from her in twelve years, so one can only assume that she is still alive somewhere, being bored. If they are going to take her character in the same direction they appear to be going in the Three: Remake, I would not at all be adverse to seeing her again in a future standalone installment. That being said, I have quite the backlog of characters to talk about! Please give me the benefit of the doubt when waiting on these. I’ve got work to do, tea to drink, games to play, and characters to analyse.

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