#i guess i interpreted the dialogue wrong?? maybe he’s actually alive after all??

[cynical-cemeteries]

i’m gonna make a guess that icatezol, rozelic, & miriande are still alive along with helga & walther,, but their current whereabouts are unknown,, so maybe that’s why they didn’t show up in the story like syphfride & brandon did

i’m also thinking that if icatezol, rozelic, & miriande are still alive,, but didn’t age like helga & walther did,, maybe they’ll be of a species that has a much longer lifespan (ex: syphfride)

[devilsskettle]

oh man i have a Lot of thoughts about the autopsy of jane doe, both positive and critical For Sure, i'd be SO excited to see your analysis of it! definitely keeping an eye out for that 👀

thanks! i'm working on something article-like to talk about the film and i don't know what i want to do with it yet lol but if i don't post it on here i'll definitely link it. it's mainly a discussion of gender in possession/occult films in the same way that carol clover describes in men, women, and chainsaws - that there are dual plot lines in occult films, usually gendered masculine and feminine respectively, where the "main" feminine plot (the actual possession) is actually a way to explore the "real" masculine plot (the emotional conflict of the "man in crisis" protagonist). typically the man in crisis is too masculine, or "closed" emotionally, where the woman is too "open," which is why she acts as the vehicle for the supernatural occurrence as well as the core emotions of the film. the man has to learn how to become more open (though if he becomes too open, like father karras in the exorcist, he has to die by the end - he has to find a happy medium, where he doesn't actually transgress gender expectations too much. clover calls this state the "new masculine," and we might apply the term "toxic masculinity" to the "closed" emotional state). part of the "opening up" feature of the story is that it allows men to be highly emotionally expressive in situations where they otherwise might not be allowed to, which is cathartic for the assumed primary audience of these films (young men). another feature of the genre is white science vs black magic (once you exhaust the scientific "rational" explanations, you have to accept that something magic is happening). the autopsy of jane doe does this even more than the films she discusses when she published the book in 1992 (the exorcist, poltergeist, christine, etc) because the supernaturally influenced young woman who becomes this kind of vehicle is more of an object than a character. she doesn't have a single line of dialogue or even blink for the entire runtime of the movie. the camerawork often pans to her as if to show her reactions to the events of the movie, which seems kind of pointless because it's the same reaction the whole time (none) but it allows the viewer to project anything they want onto her - from personal suffering to cunning and spite. 

compare again to the exorcist: is the story actually about regan mcneil? no. but do we care about her? sure (clover says no, but i think we at least feel for her situation lol). and do we get an idea of what she's like as a person? yes. even though her pain and her body are used narratively as a framework for karras' emotional/religious crisis, we at least see her as a person. both she and her mother are expendable to the "real" plot but they're very active in their roles in the "main" plot - our "jane doe" isn't afforded even that level of agency or identity. so. is that inherently sexist? well, no - if there were other women in the film who were part of the "real" plot, i would say that the presence of women with agency and identity demonstrate enough regard for the personhood of women to make the gender of the subject of the autopsy irrelevant. but there are none. of the three important women in the film, we have 1) an almost corpse, 2) an absent (dead) mother, and 3) a one dimensional girlfriend who is killed off for a man's character development/cathartic expression of emotions. all three are just platforms for the men in crisis of this narrative. 

and, to my surprise, much of the reception to the film is to embrace it as a feminist story because the witch is misconstrued as a badass, powerful, Strong Female Character girl boss type for getting revenge on the men who wronged her, with absolutely no consideration given to what the movie actually ends up saying about women. and the director has said that he embraces this interpretation, but never intended it. so like. of course you're going to embrace the interpretation that gives you critical acclaim and the moral high ground. but it's so fucking clear that it was never his intention to say anything about feminism, or women in general, or gender at all. so i find it very frustrating that people read the film that way because it's just. objectively wrong.

there's also things i want to say about this idea that clover talks about in a different chapter of the book when she discusses the country/city divide in a lot of horror (especially rape-revenge films) in which the writer intends the audience to identify with the city characters and be against the country characters (think of, like, house of 1000 corpses - there's pretty explicit socioeconomic regional tension between the evil country residents and the travelers from the city) but first, they have to address the real harm that the City (as a whole) has inflicted upon the Country (usually in the forms of environmental and economic destruction) so in order to justify the antagonization the country people are characterized by, their "retaliation" for these wrongs has to be so extreme and misdirected that we identify with the city people by default (if country men feel victimized by the City and react by attacking a city woman who isn't complicit in the crimes of the City in any of the violent, heinous ways horror movies employ, of course we won't sympathize with them). why am i bringing this up? well, clover says this idea is actually borrowed from the western genre, where native americans are the Villains even as white settlers commit genocide - so they characterize them as extremely savage and violent in order to justify violence against them (in fiction and in real life). the idea is to address the suffering of the Other and delegitimize it through extreme negative characterization (often, with both the people from the country and native americans, through negative stereotyping as well as their actions). so i think that shows how this idea is transferred between different genres and whatever group of people the writers want the viewers to be against, and in this movie it’s happening on the axis of gender instead of race, region, or class. obviously the victims of the salem witch trials suffered extreme injustice and physical violence (especially in the film as victim of the ritual the body clearly underwent) BUT by retaliating for the wrongs done to her, apparently (according to the main characters) at random, she's characterized as monstrous and dangerous and spiteful. her revenge is unjustified because it’s not targeted at the people who actually committed violence against her. they say that the ritual created the very thing it was trying to destroy - i.e. an evil witch. she becomes the thing we're supposed to be afraid of, not someone we’re supposed to sympathize with. she’s othered by this framework, not supported by it, so even if she’s afforded some power through her posthumous magical abilities, we the viewer are not supposed to root for her. if the viewer does sympathize with her, it’s in spite of the writing, not because of it. the main characters who we are intended to identify with feel only shallow sympathy for her, if any - even when they realize they’ve been cutting open a living person, they express shock and revulsion, but not regret. in fact, they go back and scalp her and take out her brain. after realizing that she’s alive! we’re intended to see this as an acceptable retaliation against the witch, not an act of extreme cruelty or at the very least a stupid idea lol. 

(also - i hate how much of a buzzword salem is in movies like this lol, nothing about her injuries or the story they “read” on her is even remotely similar to what happened in salem, except for the time period. i know they don’t explicitly say oh yeah, she was definitely from salem, but her injuries really aren’t characteristic of american executions of witches at all so i wish they hadn’t muddied the water by trying to point to an actual historical event. especially since i think the connotation of “witch” and the victims of witch trials has taken on a modern projection of feminism that doesn’t really make sense under any scrutiny. anyway)

not to mention the ending: what was the writer intending the audience to get from the ending? that the cycle of violence continues, and the witch’s revenge will move on and repeat the same violence in the next place, wherever she ends up. we’re supposed to feel bad for whoever her next victims will be. but what about her? i think the movie figures her maybe as triumphant, but she’s going to keep being passed around from morgue to morgue, and she’s going to be vivisected again and again, with no way to communicate her pain or her story. the framework of the story doesn’t allow for this ending to be tragic for her, though - clearly the tragedy lies with the father and son, finally having opened up to one another, unfortunately too late, and dying early, unjust deaths at the hands of this unknowable malignant entity. it doesn’t do justice to her (or the girlfriend, who seems to be nothing but collateral damage in all of this - in the ending sequence, when the police finds the carnage, it only shows them finding the bodies of the men. the girlfriend is as irrelevant to the conclusion as she is to the rest of the plot). 

but does this mean the autopsy of jane doe is a “bad” movie? i guess it depends on your perspective. ultimately, it’s one of those questions that i find myself asking when faced with certain kinds of stories that inevitably crop up often in our media: how much can we excuse a story for upholding regressive social norms (even unintentionally) before we have to discount the whole work? i don’t think the autopsy of jane doe warrants complete rejection for being “problematic” but i think the critical acclaim based on the idea that it’s a feminist film should be rejected. i still consider it a very interesting concept with strong acting and a lot of visual appeal, and it’s a very good piece of atmospheric horror. it’s does get a bit boring at certain points, but the core of the film is solid. it’s also not trying to be sexist, arguably it’s not overtly sexist at all, it’s just very very androcentric at the expense of its female characters, and i’m genuinely shocked that anyone would call it feminist. so sure, let’s not throw the baby out with the bath water, but let’s also be critical about how it’s using women as the stage for men’s emotional conflict 

also re: my description of this little project as “a film isn’t feminist just because there’s a woman’s name in the title” - i actually don’t want to skim over the fact that “jane doe” isn’t a real name. of the three women in the film, only one has a real name; the other two are referred to by names given to them by men. i’ll conclude on this note because i want to emphasize the lack of even very basic ways of recognizing individual identity afforded to women in this film. so yeah! the end! thanks for your consideration if you read this far! 

[pumpkinpaix]

Almost every Popular Jiang Cheng ship is a case of Pair the Spares 🍵 (jc/nhs, jc/lxc, etc)

strongly agree | agree | neutral | disagree | strongly disagree

alas, despite my intense post-canon xicheng (friendship?) agenda (which you can read about in this post here!), I do think this is often true. i will admit i feel this particularly wrt sangcheng because i just don’t think their relationship is compelling in canon, not even between the lines. it takes A Lot of work to convince me that jc and nhs would be a good or interesting romantic couple, because i just don’t see them connecting deeply outside of their gusu schooldays. their friendship feels largely superficial to me, even during that period, resulting mostly from proximity and chance. it’s not that I think they don’t get along or that they couldn’t have become better friends later! but with the canon trajectory, i don’t buy it. i’d honestly be really happy to read modern aus with them becoming really good friends over time. or just like, with them as established friends! I like that a lot. romantically, though, I don’t think they’re a good fit either.

i think they have very different personalities, and incompatible priorities for a relationship like that. honestly, the one thing in canon that really gets me out regarding sangcheng is the fact that nie huaisang was willing to gamble with the juniors’ lives during the yi city arc. he deliberately lured a group of inexperienced teenagers into a very dangerous situation that could have easily resulted in their collective deaths -- as wei wuxian said, if they all died, that would’ve just been pinned on jin guangyao as well. regardless of whether or not wangxian were able to keep them safe, it’s still a net win for nie huaisang’s revenge plot. that group of juniors included jin ling, and i think that would be deeply unforgivable to jiang cheng. i don’t think they couldn’t have an interesting and friendly relationship as adults post-canon, but I think this is absolutely a line in the sand. nie huaisang treated jin ling as expendable, when jin ling is quite literally the only immediate surviving family member left to jiang cheng, and I do not think that’s an obstacle they can overcome. canonically, I mean.

in terms of personality, I think jiang cheng is much more concerned with propriety and respectability than nie huaisang is, and I think there would probably also be some level of disdain and bitterness within jiang cheng towards nie huaisang’s behavior regarding everything that happens in the present day arc. whether or not it’s justified is another question, but I think it’s easy to see where jiang cheng might find huaisang’s actions pretty out of pocket in proportion to what he suffered. jiang cheng lost nearly everything: most of his sect, his sister, his parents, his brother, ascended before adulthood, fought on the front lines of a vicious, 2.5-year war, and at the end of it all, was left holding a nephew he wasn’t even slightly prepared to raise in the midst of his overwhelming grief. and what did he do? he put his sect back together, he raised his goddamn nephew, and he hunted down demonic cultivators. did he do the best job? probably not, but he did try.

we know huaisang’s father died due to wen ruohan’s actions, but we know pretty much nothing about his mother. is she still alive? maybe. idk. but in terms of casualties of sunshot like, nie huaisang was Not the leader -- for all we know, nie mingjue sent him far away from the front lines because he was a weak cultivator to protect him -- the nie sect remains quite strong post-sunshot, is never ravaged by the wens (mdzs canon okay, don’t fight me on that one), and huaisang HAD a brother longer than jiang cheng even had his childhood. and nie huaisang’s reaction to losing his brother was a complex, fucky revenge plot that put innumerable people in danger and was very much unconcerned about whether or not huaisang was about to inflict the very same pain that prompted his revenge quest on others. imagine if jin ling had actually died. imagine the other juniors’ brothers and family’s devastation if they had died. nie huaisang behaved very cruelly in reaction to his grief, and I think jiang cheng would find that enormously selfish in some ways. like, bro, you still had a sect. you didn’t have to shoulder the responsibility of leadership as a teenager. you were not tortured by the wens. what in the everliving fuck is wrong with you that you thought this was the best course of action in response to losing your brother?

is this a fair judgment to make on huaisang? not really, but it’s the one that I personally feel like jiang cheng would make once he were filled in on some of the details. after all, jiang cheng has never really been known for being particularly fair with his opinions lol. all of that is also not to say that i hate huaisang! I think he’s a really interesting character, and one that’s a Lot of fun. i just don’t think he and jiang cheng are particularly suited to one another.

regarding what nie huaisang thinks of jiang cheng, i admit i don’t think nie huaisang thinks much about jiang cheng at all.

i have also been returning to my aro jiang cheng interpretations, mostly based on like, his list of qualities for a perfect wife, which reads like a laundry list of “qualities people have told me an ideal wife should have and also some qualities i see in my sister” as opposed to anything based in personal taste. jiang cheng is repeatedly shown to not particularly value the opinions or company of women other than his sister (lotus pod extra lol poor jiang cheng really has Zero game), and spends a lot of his time thinking about status and political alliances (see: how he talks about mianmian) as opposed to attraction. and i think that’s also quite an interesting angle on him -- after all, all of his important relationships are shown to be familial/platonic in nature.

anyways, this just became an impromptu meta on like, the nature of jiang cheng’s character, i guess, but one final thought (knife) that I have and have been itching to write into dialogue for like a year -- at some point, post-canon, when jiang cheng’s marriage prospects are really just like. basically nonexistent and he himself finds he’s not even particularly bothered by it, I want him to have a realization when he thinks back on his list just like oh, I see. I never wanted a wife. I just wanted my sister back. I wanted my family.

:’D

(ko-fi)

🍵 ((un)popular) opinions meme

[stealingpotatoes]

The World As It Should(’ve) Be(en)

(feat. some illustrations with no consistent style that were all done in under ten minutes)

I know I’m not the only one who thought Delilah’s “The World As It Should Be” could have been a lot cooler.., so get this: what if there was another mission to dh2

(trust me it's a cool idea -- if you can’t be bothered to read, just look at the pictures) 

So EVERYTHING is the same up until the bit where you go into the portal. You roll up to Death To The Empress thinking that's the last mission... but no! You go in the portal and it gives you your end of mission stats! and you're like ?? wait what i thought i was about to go kill Delilah?

The ACTUAL final mission (and actual Delilah take-out mission) takes place in a Much Better version of The World As It Should Be. 

The final mission starts and you land exactly at the port where you start Death To The Empress, but everything is different about Dunwall. everything’s completely off and wack;  it's sunny, the streets are bright, everyone looks happy! there are flowers everywhere! It's super aesthetic and pretty. The clothing’s also different from the rest of the game. 

You walk through the same streets you walked through in the mission you just did, and there aren't wolfhounds and ppl patrolling the streets, it's not in ruin, it all looks very nice! (you land at the docks for parallels/ to make it very obvious what's changed, not because it makes sense). People are talking; they're happy! there are no guards about at all so you can walk freely and see it all, explore around this world. And the people are talking about how great empress delilah is, mainly. 

And as you go through, you find notes, books, and dialogue etc that hints to an entirely different past; in the first parts of dunwall, you find that delilah has been empress for like 26 years! not just a month and a half. The story pieces together as you go along, and you work out that this is a world where Delilah was never thrown out and her father's false promises were fulfilled. This is her world as it should be. 

But things keep happening to remind you that it isn't real; perhaps the sky sometimes turns to the Void, with whales floating above you, and things will somtimes momentarily look like a painting of Delilah's, not detailed reality. People’s speech repeats and loops too often. Creepiest of all, people randomly turn to stone, then back out, as if it never happened. If you put the corrupted rune in earlier, there might be more glitches than if you didn't. the glitches get more pronounced/ more obvious as you get closer and everything starts to feel a little too perfect, more and more as you go on. Everything becomes more uncomfortable. (And if you kill people in the world, nobody reacts at all. They just let you do it)

Plus, overall it feels like a very childish city? as if this might all be a little girl's dollhouse, not a real place. 

You make your way to the Tower, where you find that there’s a party going on. A really nice party -- puts Lady Boyle’s Last Party to shame. Dunwall Tower again looks super nice and aesthetic. The outfits are again really nice but again rather childish. 

A cool glitch here would be the partygoers keep stopping and just looking dead at you w no transition or anything. One second they’re talking, the next everyone at the party is staring straight at you. Then suddenly they’re talking again, as if that never happened. Also a lot of the partygoers faces repeat too often, reminding you that this is a simulation. 

In the tower/ closer to the tower, you find more history stuff, but it's more intimate/ detailed i guess? ONE VERY NOTABLE THING YOU FIND is letters from Jessamine (!!!) who is very much alive but is just -- and has always been -- the imperial princess!!!!!!!

The letters mention stuff that shows she and delilah are close. jessamine is in this and not suffering bc it's delilah's childish, perfect world! where nothing went wrong and jess is still her sister and del doesn't hate jess! (this is to kind of push it in your face that Del is Like You i guess, but also that smthn smthn she's still thinking like a little girl bc this all stems off childhood trauma etc)

Tho as people, not the player character, Emily & Corvo are ignored in the world as it should be/ there's no mention of jessamine's family bc this is delilah's world and she's not thinking abt other people. 

At the party, you see a woman who you discover is Delilah's mother, alive and well -- which again pushes the whole "this is delilah's perfect world". She talks to you a bit, talks about delilah. Makes you see a different side of her (but you can't be sure it's real; this is Delilah’s perfect, adoring world). She says she ought to go somewhere else. Things keep glitching, whales phase through the walls (it’s super cool). 

You continue through the party, when suddenly you see a woman in a dark dress. She stands out from the rest of the party, in their bright colours, and it’s pretty hard to miss her. This woman is none other than Lady Jessamine Kaldwin, your dead mother or secret wife (whose, bear in mind, soul you let go 2 missions ago). Her outfit is similar to the one in Delilah’s childhood painting of her, childishness of Delilah’s world repeated. 

The fact Jessamine is here makes Delilah almost more relatable (especially seeing as you just spoke to her lost loved one, her mother). It makes you understand her more because you know the protag wants more than anything to have a world where Jess lives. It helps you to understand why Delilah made this more. Actually, this whole mission is sort of "uhuhuh delilah is actually sympathetic" BUT you can still very much interpret it as her lying to you, because this is a manipulation of reality -- what's to say she isn't still lying?

Anyway, you can go up and talk to Jessamine (the game sort of encourages you to talk to her). But she doesn’t recognise you. Emily and Corvo don’t exist in Delilah’s false world, so Jessamine has never known you. It’s very painful for the protag (you can hear it in their dialogue), because their loved one is alive, but she doesn’t know you. You have dialogue options to try to convince her it’s you/ she knows you, but they don’t work. 

While Jessamine doesn’t recognise you, she does say she’d certainly like to spend more time with you. She tries to convince you to stay here, more or less (yes, Inception is one of my favourite movies, what about it?) But the protag says they have a mission/ that they need to see Delilah.    

Jessamine will offer to take you to Delilah, which results in a conversation -- will get to that later. The other option is keep winding through the party and to the throne room yourself. 

Either way, you get to the throne room, where you find Delilah. Again direct parallel. Same pose as before, but this time, her throne room isn't dark and covered in murderous vines, it's bright and full of adoring people/ partygoers (it’s a sort of parallel to the start of the game too, especially if you walk in with Jessamine).

 Delilah doesn’t quite know you’re here. She has a vague idea of who you are, but she doesn’t hate you at all. Breanna is by Delilah’s side, no matter what you did in the Conservatory. However, you don’t see any of the other Coup Crew members there -- this highlights how they were just tools to her, not people she cared for.

So you have three (yes, three — this is where things get even more fun) options here. Lethal, non-lethal, and the option I’ll get to later. 

Lethal is straightforward. You kill Delilah however (nobody stops you), and the entire world begins to collapse in on itself/ break apart and very disruptively becomes the Void again. This maybe ends with you having to fight/ assassinate some Delilah copies in the near empty void/ something more similar to the World As It Should Be as we see in game.

Non-lethal is easier if you placed the corrupted rune on the throne in DTTE, but you can still do it otherwise. It would of course be something to do with trapping Delilah in the World -- somehow cutting off the exit before you go so she can’t escape, should she realise this isn’t reality. 

If you pick either of these ways, you go through the portal again and return to the depressing and dark Dunwall, your Dunwall, and free your family member. (Or take the throne if you’re in super high chaos, I guess). All goes the same. 

Now, the third option. The third option is to stay in the false world. It’s to stay with Jessamine, in this perfect Dunwall. To get this option, you talk to Delilah after Jess takes you to her (though you can still talk to her without Jess guiding you, Jess’ll appear). 

Of course, you have the option to talk to Delilah and say this is all crazy, it’s not real, and proceed to do the former two options. But you also have the option to say you understand her or something, and she more or less offers for you to stay. 

When you first express interest in staying, the Outsider suddenly appears. He’s there to try to convince you that you need to get rid of Delilah, and that your other family member is frozen in stone back in the real Dunwall. But then what Delilah does, absolute madlad, is make a copy of your family member, but how they looked in DH1, not now (idk HOW, but she does it -- she is god in this part of the Void so she just can). Delilah wants you to stay, especially if you’re Marked. Jessamine also tries to convince you to remain here, and she’s harder to ignore. 

You again have the option to reject Delilah’s reality (you get a lot of options to do this), but if you choose to ignore the Outsider, you say something about him “wanting to keep power for himself”, just a lot of insulting really (being about as nice as he was to you, maybe.)e’ll disappear again, unable to stay in Delilah’s part of the Void. And you can stay with your unbroken family, with Jessamine who is alive. And not return to the real world, where you don’t know if your family member will be able to be revived from stone. 

(Seeing as Delilah was in Jess’ heart, perhaps she’s able to make a Jess who is almost the same as the Jess you knew)  

The third ending plays on the themes of “emily/ corvo has been ignoring the suffering in the Empire”. This is the ultimate way you can ignore it all. You can choose to completely and utterly ignore the now in ruin empire that you walked through earlier, and ignore all the people you promised to help along the way and everything you learnt. Or, you can show you’ve changed since the start, and go back to harsh reality. It won’t be nice, but you can’t ignore your people’s suffering again. Imo it gives the character more of an arc, rather than only having the option to return to the throne. 

But yeah, if you pick the third ending, the Outsider of course does his speech. He tells you how the Empire has falled to chaos, fallen to civil war, as everyone vys for the throne and its power. He tells you how your allies fare. And then you see Empress Delilah on her throne in the false world (you see a few glitches to remind you it’s fake). But then you see the protagonist and their family together. It’s a really cute family moment, and aside from the protagonist being the wrong age compared to their family (you’ve got adult Em with dh1 Corvojess, or dh2 Corvo with Jess and 10yo Emily). There are no glitches bc the protag would be ignoring them.  Everything seems entirely perfect. 

Anyways! I hope you liked this! Don’t get me wrong, I love Dishonored 2, it’s one of my favourite games. I just think the World As It Should Be was a sort of missed oppurtunity for something VERY cool. 

[rottenappleheart]

I finished “Heaven’s Vault,” that archaeology/alien translation game that everyone was so excited about before it came out, and then I never heard of again. I think I know why. 

Short version: it seems as though it was made by people who were very good at the worldbuilding/linguistics parts, and not very good at making a video game.

Long version:  I did enjoy the game, eventually.  Beat it in just under 20 hours, feeling fairly good that I hadn’t missed anything major and had done everything I could find to do before the end. I also see now that there’s a New Game+ which gives the opportunity to spin things out again in a different manner, with more information, and this really neat article (spoilers ahoy) talks about how the mere concept of a NG+ is part of the worldbuilding (the Loop religion centers around the idea that everything that has happened will happen again.) 

The learning curve was very steep at the beginning, because of the aforementioned gameplay problems getting in the way of the “meat” of the game. Some low points:

The controls are extremely janky and remained frustrating throughout. I had to turn the mouse sensitivity to its very lowest setting to avoid spinning like a top, and the restricted camera angles often send you walking off in a direction you never meant, leaping back and forth through doorways when you just wanted to enter (or exit) a room, etc. 

The mandatory and constant “sailing” minigame, while beautiful, is aggravating and not as fun as I assume the developers thought it would be, given how much you have to do it. Whereas Wind Waker’s equally mandatory and equally constant sailing is a feature of the game, here it was mostly a lengthy interruption between the snippets of actual content. Except that bits of the story are also spun out in conversations between Aliya and the robot Six on these sailing interludes, so you’re encouraged not to skip them, the few times you are even given that option.

The graphics are... odd and awkward, unfortunately. The developers tried a very neat thing with (beautiful and detailed) 3D rendered environments, populated by (also beautiful, but jarringly animated) 2D hand-drawn characters. Who don’t have feet, but kind of fade into invisibility just below the knees, so as to avoid rendering walking animations, I guess. It’s very strange. There’s also no “collision sensor,” so your 2D player character is constantly clipping through other 2D NPCs, which sometimes interrupt everything you’re doing for a 15 second animated scene where they greet you, then walk away. There’s no way to avoid this. And when that happens, it overrides and cancels any ambient but plot-relevant discussion you were having with Six, which was deeply frustrating.

Speaking of which - there are a lot of strange, time-consuming transitions. Walking out of one section of the Elboreth marketplace into another takes another 10 second scene triggered by you entering a doorway, just to show you walking through a side alley. Every single time. When you show artifacts to a colleague, he will walk all the way to the other side of his office and walk all the way back before offering the same dialogue as every time before. Realistic, to grant him time to check his data? Yes. Extremely frustrating as an element of gameplay? Also yes.

Also, my game glitched multiple times, everything slowing to an infinite limbo as a triggering event failed to trigger, requiring a full reset. Any interaction with Oroi, for whatever reason, had a 33% chance of glitching. 

All of this adds up to a game that creaks and clunks, and is deeply frustrating to play. These are all things which seem fueled by bad design/poor planning, and it takes away from the GOOD parts of the game. Namely:

It’s really beautiful (once you get over the 2D/3D intersection.) The music is lovely, and all the designs are top notch. I really enjoyed spending time in these various worlds and discovering their history. (Actually WALKING through the worlds, less enjoyable, but...)

The development of the story and the character interactions is mostly organic and nuanced. Like a Bioware game (I’m sorry to reference them but it’s the easiest comparison), your responses to different plot events and side characters, and the order in which you discover things (or even what conclusions you draw! there isn’t necessarily a single right answer!) shapes the narrative. Unfortunately, it quickly becomes obvious when the NPCs have run out of interactions for you... such as when you take a twenty-minute sail to revisit your home planet, suffer through endless clipping issues and mandatory transitions, only for your contacts there to have zero dialogue options. (Whoops, this was supposed to be the “good” section.) 

The translations, which are the heart of the game, become really fun after the first few. Initially, you have ZERO information when you are given your first line of text to interpret, and have to guess blindly. In a little bit, you are given more information to determine whether that first guess was right or wrong. It’s a little frustrating, but I think what the developers were going for is that Aliya is already roughly familiar with Ancient script, and whatever initial guess she makes is about 50/50 correct. Each new line of text you uncover builds on the glyphs you already know. It became very fun to make more educated guesses - ah, I recognize the symbol we identified as “Gods,” so maybe combined with this other symbol, it might be “Prayer” or “Temple” - something related. Or when you start breaking down the “me/you/we/my/your/our” glyphs, it all makes SENSE. That was the fun part I eventually couldn’t get enough of - parsing out what Ancient meant, and piecing together the story behind the Nebula.

I genuinely did gasp when I figured out A Big Thing about the world story.

I really love stories about robots. Long-suffering, mildly sarcastic robots who are trying very hard to keep you alive while you do stupid things like climb down cliffs they can’t follow. I am very glad I was warned about the risk of losing Six forever and could avoid that particular path, because I think the last third of the game would have been a real bummer without Six as a companion.

Do I recommend it? Yes... mostly. Yes, with the caveats above about how clunky and frustrating the gameplay is. I probably will replay it in a while, taking advantage of the NG+, but not right away - I need to play something less inherently frustrating.

I wish there were more games like this, but I also wish it had been better developed, so that the good parts of it could really shine.

[disappearinginq]

for the writers ask thing: (3) What is that one scene that you’ve always wanted to write but can’t be arsed to write all of the set-up and context it would need? (consider this permission to write it and/or share it anyway) AND (6) What character do you have the most fun writing?

Hilariously, the first one is a Prodigal Son scene between the team (specifically JT) and I just wanted a...merger? scene between beginning season JT & Malcolm, where they just like to harass one another, to basically an embodiment of the Kink!Tomato explanation. I like that they’re not cozy with each other, but they go from purposefully hurtful banter to just off beat teasing, and I had a scene where that was spelled out. I wonder if I can find it...or possibly actually getting around to writing the fic that i wrote three lines of dialogue for when @rohanrider3 gave me a prompt for it.  As for most fun -ooo. Hmm. Snarky ones. And family relations. I think one of my favorite things to write was between Bellamy and Kane for Left Behind, despite not watching the show for years now, and that fic sits languishing in writing purgatory. 

And I really, really love to write unexpectedly smart/badass characters (or make canon characters into unexpectedly smart/badass characters, because no one can prove I’m wrong).  Edit: FOUND THE PRODIGAL SON THING. 

“No, JT, really, I want to know,” Malcolm snapped, holding his hand out – steadier than JT could remember ever seeing it – jabbing accusatorily at him. “What exactly was I supposed to do? Hmm? If you know, I’d love to hear it, because I haven’t got a fucking clue. I’m a bit of an outlier, you see – people aren’t good with things they can’t categorize. They want to stuff you in a box whether you fit or not, and I’m guessing as a Hispanic male combat veteran, there’s a couple boxes people like to tick off for you, right? Suicidal. PTSD. Temper problems. Into drugs and alcohol. Anyone ever tell you you’re a ticking time bomb, just waiting to go off?”

JT didn’t answer – it was rhetorical and both of them knew it. Veterans today had a rate of suicide comparable to WWII, and instead of trying to curb the trend by digging deeper to find out why, Washington just swept it under the rug – denied treatment, refused disability claims, shoved people out on the street like Monday morning garbage. The only time people cared enough to even Google the statistics were November 11th and the last Monday in May.

“Oh look,” Malcolm barreled on. “Finally, something we have in common. We don’t like it when people try to shove us in boxes to make us something we’re not. But you know what? You’re at least not alone. You can feel it, and it can seem it, but you’re not – one point three million people in our military, odds are at least one of them feels like you. Can understand what you’ve been through, why you are the way you are. Wanna know how many serial killers had kids? Huh?”

Malcolm’s pointed finger became a splay of five.

“Five. In the last half century, with their kids still alive today – five. Six kids total. Ted Bundy’s daughter has vanished so completely not even the FBI knows who or where she is. Dennis Rader’s kids? His daughter fucking wrote him a letter forgiving him for what he did and that she ‘hoped to see him in Heaven one day’ and that she still loved him, and her brother told the newspapers that despite killing ten people in utterly horrific ways, he was a good dad. And nobody comes close to the Surgeon’s body count – maybe the ones he was convicted for, but not what he’s suspected of.”

“Look, Bright, I – ” JT tried to cut in. Bright’s glare stopped him midsentence.

“No, no, no, no, you don’t get to derail this train now,” Malcolm snapped. “Not when you’re the one who keeps looking at me like I’m only one conviction away from being Martin Whitly’s sequel because I’m good at my job. And you know what, literally anyone else who is a profiler, or a criminal psychologist, or even a forensic psychologist is supposed to try and interpret the criminal mind, but I don’t see you avoiding Dr. Tanaka. My father was the monster, not me. I was fucking ten years old when I turned him in. All the other Serial Killer Kids were adults when the police found out their fathers were killers, but I don’t see the FBI keeping tabs on them, waiting for them to pick up where Dear Old Dad left off. So why me? Because I annoy you? Because it bothers you that because I can’t solve my own problems, I try to solve others? I have twenty three lives that were cut short because of the Surgeon that I have to make up for, and yeah, there’s only so many ways I can atone for my father’s sins.”

JT wasn’t the only one who noticed the change in Malcolm’s voice as he almost choked on the word father in relation to Martin, his already pale features turning slightly green at the mention of being related to the Surgeon.

“Since you seem to have all the answers, why don’t you clue the rest of us in? Hmm?” Malcolm threw his hands wide to encompass the whole room. “What should I be doing that would make you believe that I am not my father’s son?”

Dani shifted in her chair, looking like she’d rather be anywhere but here, but gave him a side-eyed glare that clearly stated she was actually on Bright’s side for this one. Gil hadn’t said a word the entire argument, but then, if he’d known Malcolm since the day he’d turned in Martin, then he’d probably heard it more than once.

Malcolm must’ve said it more than once, because that was a lot of statistics to rattle off that fast.

JT sighed, picking up a pen and tapping it against the notepad just to have something to do with his hands as he met Malcolm’s eyes.

“It’s not what you think,” JT said. “It…” he considered his next words, weighing the sound of them in his head before he said them aloud. “I think you’re so good at this, it’s killing you.”

Whatever response Malcolm had braced himself for – because that’s exactly what he was doing, keeping his hands firmly over his chest, hunching slightly like he was expecting a physical blow – that wasn’t it. The kid’s eyebrows almost shot into his hairline before they narrowed back in suspicion, and JT couldn’t really blame him.

“I knew these guys – combat guys, all of them. Saw some serious shit over in Syria. Afghanistan. Iraq. You name the shit storm, they were in it, boots on the ground. They didn’t fare much better than you. Nightmares. Depression. The twitchy hands. The mania. The insomnia. Insisting they were fine.” He absently let the pen in his hand doodle across the notepad, and he watched as Malcolm’s gaze couldn’t help but flicker towards the movement more than keep JT’s gaze. “Hyper vigilant. Some of them saw counselors, but you know how that goes…seeing them doesn’t mean they followed their advice. Sometimes it’s just a band aid on a bullet hole. A couple of them got jobs where they thought they could do some good – use those skills, those…habits, at work. Thought it gave them an edge. Kept them vigilant.”

JT clicked the pen, putting it down as he leaned forwards, his elbows on the table, interlocking his fingers as he caught Malcolm’s piercing gaze. “It burned them out. One put a gun in his mouth Christmas Eve in his basement while his kids were asleep upstairs. The other one stepped in front of train during the morning commute. The other one gave himself a heart attack – he’s the one that lived. And you may not believe me, Bright, but I don’t want that to be you on the evening news. You may be good at this job, but I think it’s bad for you. Trying to make up for things you had no control over, keeping some tally in that head of yours of if the life you saved is equal to the one he took. That’s not healthy, and if your stupid habit of haring off after murderers without backup doesn’t kill you, then this life will. I don’t think you’re anything like the Surgeon, because if you were, this wouldn’t bother you at all, instead of eating you alive from the inside out.”  

The room was quiet enough you could hear a pin drop.

Dani shot him her half smile reserved for special occasions and people she particularly approved of. Gil’s expression was still hidden by his hand over his mouth, but JT realized he wasn’t looking at him – probably hadn’t been for most of the conversation.

He was watching Malcolm.

Malcolm who was completely silent.

He didn’t think Bright did silent. He pretty much non-stop jabbered on, even when he wasn’t supposed to. Perhaps even especially when he wasn’t supposed to.

And now that piercing blue stare was levelled straight at him, and JT fought the urge to fidget under the intensity of it.

Malcolm’s eyes widened slightly, a funny little gasp that would’ve made more sense coming from someone who’d just had ice water dumped down their back passing between suddenly parted lips as he pulled his head back as if physically slapped. “You’re…not lying.”

JT frowned, glancing over at Gil who was still zeroed in on Malcolm. The older man hadn’t decided if this was good or bad, which put JT even more on edge.

“No, I’m not lying. Why would I lie about something like that?” He tried to catch Gil’s attention without getting even more of Malcolm’s, but the older detective ignored him.

[travllingbunny]

The 100 6x07 Nevermind

Season 6 of The 100 has been fantastic so far, and 6x07 is not just the best episode of the season so far, but also one of my favorite ever episodes of the show. Nevermind is, in many ways, a dream come true for me: this is exactly what I was hoping for at least since the promos for the show started promising the theme of characters “facing their demons”. At the time, I couldn’t have guessed that it would be about Clarke battling a centuries old woman who has taken over her body after her parents had decided to bodysnatch Clarke in order to bring their daughter back, but I was hoping for trippy, mind-bending, character-based storylines. Most of all, one focused on Clarke Griffin, the main character and hero of the show (oddly enough, this needs to be pointed out, since there are fans who keep forgetting it), her psyche, her traumas and emotional issues and character development.

After the wonderful last scene of 6x06 and the promos for this episode, my expectations were really high, and they were met. There was a little bit of fear that the whole “which characters will make a cameo”, “who will be mentioned how many times” thing would distract from Clarke’s character exploration, but that was not the case. This episode was almost entirely (except for the last scene) set in Clarke’s and Josephine’s mind space rather than the real world. The walk down the memory lane that the drawings we saw on Clarke’s mind-wall was there, but it was, above all, a great character study of the show’s protagonist, a battle of wills between the hero and the villain, and it had some big revelations – for the audience or for the characters. It had brilliant dialogue and acting, and was emotional, dark, intense and even funny at times (mostly thanks to Josephine, who is evil and detestable but also incredibly funny and charismatic).

And what particularly made me happy is that it addressed some long-standing questions of morality that the show had been ambiguous about. The show’s moral complexity/greyness has long bordered on moral relativism, and allowed (mis)interpretations in the fandom, to the effect that “There are no good guys, the protagonists are as bad as the villains, therefore it’s all the same and it doesn’t matter if someone does bad things, since everyone does it”. The unfortunate motto “for my people” has been overused and abused by many morally ambiguous or straight-up villainous characters on the show, to justify their own actions (the classic “who are you to talk, when you killed all the Mountain Men! Therefore I get to do whatever I want ‘for my people’’ – as if doing the only thing that could have stopped the evil society of technological vampires/overlords from killing and cannibalizing all your loved ones, is the same as killing people with no remorse to get power). By season 5, Clarke herself seemed to start buying into that view. Josephine Lightbourne again try to use that against Clarke in this episode, and nearly made her give up. This time, however, Clarke and the show both finally said “f*ck you” to that worldview.

One of the reasons why Josephine is such a great villain is that she is both a parallel and a striking contrast to Clarke. On the surface, they seem similar – their looks, background, family. When we first saw her in the flashback in 6x02, the similarities were obvious – another intelligent, capable, beautiful blonde girl with loving parents (Russell, in both versions, even matches the same physical type as Jake), a princess from a privileged background. But Josephine is everything that Clarke-haters (in and out of the show) claim Clarke to be, but that Clarke most definitely is not: selfish, narcissistic, with a god complex, remorseless, sociopathic, completely ruthless, pampered, classist, treating people as disposable. A start contrast to Clarke’s compassionate, caring, self-sacrificing nature.

Various thoughts about this episode in bullet points under the cut.

One of the many contrasts between Clarke and Josephine is the disorganized, beautiful way that different memories fill Clarke’s mind space, as drawings all over the walls of her room, unlike Josephine’s highly structured, organized mind. Just like “Monty”, I also like Clarke’s better.

I’m overall very happy with how this episode included references to various people and events from Clarke’s past, through a combination of drawings, flashbacks, mentions and objects. Most important people in Clarke’s life were referenced – both dead ones like Jake, Finn, Lexa, Jasper, Monty, and living ones like Bellamy and Madi (not so many mentions of Abby, but that’s because she’s both alive and, unlike so many others, not a source of guilt for Clarke).

The only exception is arguably Wells, and it’s really unlucky that the planned appearance by Eli Goree didn’t work out. We still got a confirmation of his importance in Clarke’s life (which should be big – he was her best friend since childhood and died tragically, even if he didn’t last long on the show) through several drawings (and the Chinese version of the idiom “A friend in need is a friend indeed” under one of them), and, more importantly, a close-up of one of them. Let’s be honest, the drawings are generally little more than a cool Easter egg for the fans, if the show doesn’t focus on them through close-ups and flashbacks or mentions – something that the general audience would notice.

I love the way that Clarke’s outfit and hairstyle kept changing depending on which memory or part of her mind space she was in at any given moment. For instance, she started as Ark Clarke from the Pilot, then turned into Eden Clarke when she visited her safe space of the life there with Madi for those 6 years – which was far from perfect (what with being isolated from everyone else, without any adult with her, without other friends or any chance of love or sex life, and waiting for Bellamy to come back and talking to him without answer to keep sane), but was still the most peaceful time she’s known. Except maybe for her childhood, which she did spend in a not-happy space (life on the Ark was difficult, if not for her, then for so many others who were less privileged, and we know Clarke was aware of that), but she had a happy family life, so it makes sense that her father is the first person she would see in her mind-space. Jake and Eden stood for safety and family life and peace, which Clarke thought she got when she briefly believed she had really died – before Jake (aka her own mind) told her it wasn’t true. It’s the sign of her being upset – the rain and storm outside that happened due to her mood – that alerted her to the fact she was still alive.

Every character, other than Josephine, who appeared in Clarke’s mind space was, of course, an embodiment of a part of her.  

Although I’m not sure about ALIE, whose code may have remained there, and who delivered information that Clarke may not have already known. It was the one cameo in this episode that really surprised me (since the rest had been revealed or guessed on social media). She was there for the big revelation that the neural mesh from the time Clarke was in the City of Light is what ended up saving her. This made this episode’s link to 3x13 Nevermore even stronger. (Funny that the erased memory of ALIE!Raven is what gave rise to that awful amnesia theory. Glad that this has been shut down now.) I guess this means that I was wrong about other hosts being savable, and that Delilah is gone forever? A big part of why I wanted it to be true, apart from liking Delilah, was to give the Earthkru more incentive to fight the Primes. But we have been given a lot of other reasons why they should make the decision to so that.

ALIE also had a conversation with Clarke about the nature of life and humanity, which, however, could be just Clarke talking to herself. Clarke has been tempted to run away from pain, she’s even tempted to run from it by accepting death in this episode, but she’s still insisting that pain is a necessary part of life and that there’s no joy without it. At the core, Clarke is not someone who gives up.

The revelation that the darkest and most painful memories are those that aren’t even on the wall and that Clarke keeps hidden, explained some things, such as why there were no drawings on the mind-wall of such huge moments as Jake’s death or Finn’s death (Clarke’s trauma from this was a subject of an entire episode – one of my favorites, 2x09, Remember Me)... However, while I don’t want to criticize the prop department, who did an incredible job drawing those pictures from scenes, they did make an error - one of the drawings of Lexa is actually from the scene of her right after being shot, which doesn’t really fit (her death is one of the “darkest place” hidden memories) – though you wouldn’t know that by just looking at the picture and not knowing the scene.

I’m glad that Josephine called out Clarke on child abuse, and that the drawing of Madi in pain in the shock collar was so prominent on the wall. Season 5 had Clarke at her lowest point, and that was certainly, IMO, one of the worst things she’s done.

We know (from 6x04) that Clarke’s biggest regret is leaving Bellamy in Polis in season 5, and this episode confirmed that this weighs so heavy on Clarke’s heart that she can’t even face Bellamy in her mind space (which fits with the fact that the darkest and most traumatic moments are those she did not put on the wall). She is afraid that he hasn’t really forgiven her in his heart, and that he can’t, because she can’t forgive herself. Even if Bellamy is alive and well, Clarke’s feelings for him make her betrayal of him unforgivable in her own eyes (even though, at the time she did it, she had been heartbroken and furious because she felt he had betrayed her). Octavia, or rather Blodreina, was the right embodiment of her guilt in a weird way, since she was the danger that Clarke left Bellamy to, the one who threw him into the pit in the first place (kind of like Jaha was the embodiment of Bellamy’s guilt over the culling in 1x08). She reminded Clarke of some of her other sins, those that involved Clarke being ready to sacrifice Octavia (while trying to protect Bellamy) – letting the bomb drop on the people in Tondc, stealing the bunker in season 4, but she was there mostly to talk about Bellamy, because the relationship between Clarke and Octavia has always mostly revolved around their respective relationships with him. Even in her own mind, Clarke is still deflecting when confronted with her feelings for Bellamy (“I care about both of you”, just like she said “I care about all of them” when called out on her feelings for Bellamy by Lexa in 2x14). Octavia is also the embodiment of the unwillingness to forgive, so her refusal to fight for Clarke makes sense.

Not that Clarke needed any help to kick Josephine’s arse. It was satisfying to see, but expected. Josephine is an actual pampered princess who’s never had to fight for anything, while Clarke has been fighting and surviving in adverse circumstances for 7 years.

Maya’s appearance made perfect sense, but she was the most OOC character of all the “mind space” characters – maybe because Clarke didn’t get to know her that well, but mostly because she was the embodiment of Clarke’s guilt over the innocent deaths she’s caused. Maya was a good person, someone who helped them against her own people because it was the right thing to do, and because she knew what the Mountain Men were doing was wrong. She is also linked in Clarke’s mind with her feelings of guilt over Jasper – Clarke didn’t know Maya well, but Jasper was one of her closest friends, and Clarke feels deeply guilty for indirectly causing his downward spiral that ended with his suicid4. I was happy to see him referenced so much in this episode – through “Maya”, the case Clarke found in 5x01, and his goggles that she found there, which all played a big role in this episode. The accusations that “Maya” (Clarke herself) made sounded a lot like the repertoire of Clarke-haters: that she likes being a savior, has a god complex, has killed more people than she’s saved, is no better than the Primes… This is a confirmation that Clarke herself has agonized over all of these things. But it’s not what the real Maya would have said – the real Maya died acknowledging the responsibility all of the Mountain Men had for the evil things their society was doing, saying “None of us is innocent”. When Clarke made her “Maya” character be helpful against Josephine, it was the closest thing to what the real Maya had been like.

Clarke’s darkest place, the most painful and traumatic memories she has, are the deaths of Finn and Lexa, the only two people she has had romantic relationships with – relationships that were both extremely brief and tragic, and ended with deaths that traumatized Clarke a lot and made her feel guilty – even though she doesn’t really have, IMO, objective reasons to feel responsible for either of them, it’s not hard to see why she would feel, on the emotional, irrational level, that she is the one causing people to die. (The show and especially the fandom have tended to ignore one of these relationships  post-season 2 and to over-focus on the other, so I was pleasantly surprised that they were both acknowledged in a similar way for their role in Clarke’s development and emotional traumas – with the visual references with Lexa’s throne and the pole Finn was tied to and the knife Clarke used to mercy kill him, combined with the flashback of Finn’s death, a different flashback of Lexa seen before, and Josephine’s indirect mention of her death – which was probably the most elegant solution, since I don’t think the show would ever dare replay the footage of her death for fear of more backlash.)

It’s certainly no coincidence that this dark place that’s about Clarke’s traumas of her tragic romantic life is the place where Josephine breaks Clarke by convincing her that Bellamy has given up on her and that he and everyone are better off with her dead. Josephine didn’t technically lie – she told her he took her death hard but in the end made the rational choice of agreeing to the deal with her murderers. But, by showing her an out-of-context memory of Bellamy taking the deal, she showed her a skewed version of the truth. Clarke didn’t see Bellamy’s grieving, despair and anger, and didn’t realize that Bellamy saying that she would do the same was out of admiration for her, as a leader who’s not just smart but also selfless and caring. She probably took it as another sign he sees her as a monster, doesn’t care that much about her and is better off without her, because it fed into her own insecurities.

Josephine: “Have you considered sacrificing yourself?” Bitch, watch the season 4 finale. She didn’t just consider it, she did it.

I loved the fact that the case Clarke used to hide the important memory was Jasper’s case, that it contained Jasper’s goggles alongside Jake’s video, and that the lock password was “102”. More confirmation of the importance of the initial Delinquents community from season 1 in Clarke’s life and the show. “You forgot Bellamy and Raven” may be my favorite line from this episode.

Monty’s return (which the show tried to hide by not putting Chris Larkin’s name in the credits until the end credits, but it revealed it through not cutting enough of one of the promo pics) was not a complete surprise, thanks to the detective work of some of the fans, but was still my favorite part of the episode. Monty was most in-character, because Clarke knew him so well, and it makes perfect sense that he was the voice of Clarker’s reason and moral compass, which is what made her change her mind after having given up and given Josephine the victory. (You want a great platonic friendships between a man and a woman on The 100? Here it is!)

The ‘Monty” part of Clarke’s mind fought back, against all the BS – the “bear it so they don’t have to”, “for my people” mottos and moral relativism and Josephine’s half-truths) and reaffirmed Clarke’s resilience and will to live, and reminded her that what it all comes down to is not just saving your people, but doing the right thing. After Monty told them to be good guys and be happy. Both of these messages are what Clarke had to remember. As I’ve been pointing out, doing better is not just standing by and not killing people. It’s also actively fighting against evil. They are not being good guys if they let the Primes murder, bodysnatch, oppress, brainwash and sacrifice the people from their community, just because it doesn’t affect them.  As “Monty” (Clarke) pointed out, it’s not doing better if you let the Primes murder people to live forever.

Clarke’s trip through Josephine’s memories (of being killed by Kaylee, and of killing Isaac and sacrificing a baby) helped her fully realize that Josephine is truly evil and needs to be stopped. Really, if killing babies is not enough to make you classify someone as true evil on a whole different level, what can?

Josephine tried to pull the “for my people” motto with Issac, but she was full of s*hit. She only does things for herself and maybe a few other people (not even all the Primes, since she murdered four of them). We learned that Children of Gabriel are literally the children that the Primes tried to sacrifice to the trees and that Isaac saved and brought to Gabriel. We also got another confirmation of the cruel caste system of Sanctum, where “nulls” (people who are not Nightblood gene carriers) are treated as lower life forms, and routinely sacrificed, and that Josephine would rather kill them all, if she was allowed to by her father. Not that having the NB gene is so good, as it means your child may end up as a host, and obviously, the “honor” of being a Nightblood means you get bodysnatched at the age of 21.

When Isaac said  “if only we were allowed to be more than your janitors and guards”, it felt like it was the writers’ way of reminding us of the class system on the Ark, where Bellamy was a janitor and a guard-in-training. It’s also another reminder of how different Clarke and Josephine are – Josephine would have considered someone like Bellamy expendable and useless, whereas Clarke quickly showed in season 1 she valued people based on their personal qualities rather than their origin or class.

It was cool to see a flashback to the time before the apocalypse, complete with references to Diyoza and Becca, but this memory was my least favorite part of the episode. I guess I just wasn’t that interested in Josephine’s traumatic memories, since I don’t think they’re enough to explain her sociopathic nature. On second thought, you could say that this guy was her Finn, and that her response to that trauma was completely different from Clarke’s – genuinely shutting herself down to any compassion or remorse.

I love the fact that what saved the day was the fact that Clarke and Bellamy were both good students of Earth skills (taught by Pike!) and that they are, once again, so well attuned to each other that they can communicate this way. Or the fact that Bellamy was watching JC so carefully, even though it must have hurt him emotionally to look at her, that he noticed her movements and read them correctly.

Nice to see Miller back, but did he have to be so… not-bright? In any case, it’s great to see Bellamy as determined to save Clarke, as he was despondent in the last episode. This is maybe the first time that Clarke really needs saving, but a huge and crucial part of that rescue was Clarke deciding that she wants to live.

Rating: 10/10

[skips-is-asleep]

Steph Talks For Way Too Long About Sollux’s Harry Potter House

I havent been able to stop thinking  or talking about this topic for like 60+ hours

first wanna say that it’s really hard to interpret how people are sorted because JK Rowling is apparently shitty at writing. So people seem to have wildly different opinions on why people are in the houses they’re in because they view the houses and their qualifications differently.

I’ve also never read a harry potter book and havent watched a movie for like 5+ years maybe so i had to talk to like 3-4 people who went though huge harry potter phases and we talked for over 3 hours cumulatively for me to make up my mind.

I think it’s really important to say that because Sollux isn’t really a main character, there’s a lot we have to make guesses on. Hussie didn’t make a big sheet full of Sollux’s Dreams and Ambitions, Morals and Beliefs, so we have to  fill in a lot of blanks on what we think those are based on a few things. Who he talks to, and associates himself with and what he does

The point being we don’t have a lot to work with.

It’s also pretty important to say that Sollux puts on a LOT of fronts and facades. He’s only truly mean and cruel to people he doesn’t like or care about Plus Karkat. He plays Fake Mean a lot, and if you dig even a centimeter under it, we see time and time again that he’s just pretending and does actually give many shits.

Sollux is also really passive in most things that he does. He doesn’t really question anyone’s authority or make a point to fight something out very often. The only time we ever see him resort to action to solve his problems are when dealing with Eridan. And even then, the first time we ever see them talk, it’s Eridan walking up to him and Feferi privately having a conversation and Sollux telling his gf to “make him go away.” And then after Eridan doesn’t go away, we see him resort to fighting. His PQ arc also has him antagonize Eridan and then drop a building on him, so like, yeah. Usually, when presented with conflict, Sollux either removes himself from the situation quickly, or if he’s unable to do so, makes it extremely clear that he doesn’t want to engage. In most cases, Sollux is by himself, sitting alone and not making attempts to talk to anyone else. It’s totally possible that he’s more social at other times and we only see him when he’s at his worst, but we dont see that so we can’t really speculate much on it. Point being, he’s very passive and self contained/oriented.

What i really want to put emphasis on is the people he associates with. His main friends we see him talk to willingly or at least show fondness for are Aradia, Feferi, Kanaya, Terezi, and Karkat. Three of these are considered main characters, or are at least given character arcs to some extent. These are the good guys. The guys who at least try to do good, and show compassion, and care about others. The characters we see him either avoid quietly, avoid loudly or vocally hate and commit violence against are the rest of the characters. Namely Vriska, Gamzee and Eridan. (im kinda gonna gloss over Vriska because his distaste/hatred/unpleasantness towards her  doesn’t have to be a moral statement on his part. It’s pretty easy to assume that anyone with his past to her would have a similar if not identical stand point) These are characters that actively do bad things, they murder and harm others at worst and are gross nasty incels at best. And even the best case in that scenario is still blabberingly racist and, treats sollux and the people he cares about like shit. Sollux doesn’t associate with people that the comic have established are villains, or at least do things that are pretty unambiguously wrong or evil.

In Sollux’s pesterquest, Kanaya tells MSPA reader than when The Thing with Aradia first happened, Sollux refused contact with Kanaya because she didn’t cut off Vriska. He was upset at her for being associated with someone who traumatized him. This is very telling of sollux’s personality and his relationship with his friends, and it’s a side we don’t see of Sollux any other time in the comic or in his PQ arc. It’s only when she tells him that she doesn’t cut Vriska off due to romantic feelings for her does Sollux change his mind. He doesn’t bring up Vriska, Aradia, his grief or his trauma at any point while at his visit with her that we see. He doesn’t appear mad or reluctant to be there, he makes jokes, smiles, and reminisces memories with her fondly, even almost sleeps over at her place for the day. It’s like he’s completely forgotten about being upset at her at all, or is at least choosing not to bring it up out of respect for her.

Again, it’s unclear how much time has passed. But when you start his arc, the reason youre talking to him is because he’s been reclusive out of grief. He hasn’t been talking to people lately and his friends are worried about him. So clearly enough time has passed for him to be okay with seeing Kanaya, as that’s his sole purpose for leaving his hive that day at all, but not enough time for him to be fully recovered.

This moment in his arc showcases his loyalty that he has for Kanaya, and possibly his other friends. He seemed quick to forgive her, or at least bury whatever resentment he may have been harboring. One may say that his cold shoulder to Kanaya would be indicative of a lack of a loyalty trait at all, that if he were loyal to her, he wouldn’t be ready to possible end his relationship with her over this. But i kind of view it as a sort of bluff? Like Kanaya essentially told him that his trauma did not at all change the way she feels about her, Kanaya still has a crush on Vriska after hearing about what she did to one of her good friends. To some, this may have been a slap to the face, an entire dismissal of his trauma in it’s entirety. But instead, he sees it as a valid reason for not cutting her off, he shrugs it off. I feel like if he were serious about not wanting to be friends with Kanaya while she was talking to someone who hurt him greatly, her crush wouldn’t have been an excuse.

I also wanna touch on his loyalty to Aradia very quickly because you dont need me to  tell you that he cares about her. Once again for like the third time, we have to make guesses on how much time has passed between events. From the time Aradia dies on Alternia, becomes a ghost with an entirely new personality, a robot with another personality, and then finally her alive Godtier self, Sollux’s feelings for her are very consistent. He seems to not really care for the ghost or robot versions of her, he even sits a chair away from her during Openbound on the meteor, and doesn’t talk to her much, is very cold towards her, and even tells her that she’s incapable of feeling when she tries to tell him goodbye when she explodes (it’s also worth noting he cries after this, which i think is the first and only time we see him do this). When Aradia comes back to the meteor, alive and herself again, Sollux immediately leaves the rest of his friends to go hang out with her. Even with Karkat begging him to stay, he just peaces out, without even really thinking about it. We have to assume that if it’s not written in the dialogue, it isn’t being said. So he doesn’t discuss wanting to leave with Aradia or with anyone else. He just decides he’s leaving, and then does. And he stays by her side for almost the rest of the time we see him. He ditches later for other reasons, but don’t worry, they’re back together by the time Collide is happening.

Point being, for the most part, he sticks by his friends unless they’re doing something he disagrees with morally. If he’s not down for what’s happening, he’s not down for sticking around. He even seems to be better friends with Nepeta now that this version of her isn’t really hanging out with Equius that much, someone Sollux would no doubt not get along with for many reasons.

Some of my friends pointed out that him sticking by his morals so strongly is something a Slytherin would do, coupled with the fact that he’s kind of a dick or something idk that much about Slytherins. But I think Huffliepuff is very much about comradery. We can tell a lot about Sollux based on who he surrounds himself with and what he does and doesn’t participate in. He doesn’t participate in trolling humans, he doesn’t participate in helping Vriska do something he doesn’t feel good about doing, he doesn’t participate in any of the relationship melodrama happening around him. But he helps his friends. He helps Kanaya open the viewfinder to see and talk to Rose, he helps Kanaya do little errands in his PQ route, he helps Terezi find out who Dave is, and he sacrifices himself to save the remainder of his group (which btw only contains the people I’ve previously stated he associates with minus feferi not that that means anything i just thought it was kind of fun to point out). I mean, he got better but its the thought that counts.

Someone could make a point that “If Sollux is so loyal, why didn’t he mourn Feferi even a little bit when he found out she was dead?” And yeah, that’s a good point to bring up, and i don’t really have anything to say about it other than….maybe he knew by this point that death doesn’t really mean anything? Maybe his euphoria of finally being lifting of the voices was happening at the same time? And also that he predicted he’d go blind like a million pages ago and now he can finally stop worrying about it? Is he happy that he’s talking to Terezi and right now that’s more important? It’s hard to tell. Sollux doesn’t really explain himself apart from “missing being her matesprite” when in Erisolsprite form talking  to Fefetasprite form. It’s hard to tell what their relationship was at the time, or what his feelings truly were immediately afterward. I kinda think it was the foremost of those explanations, he probably knew that she’d come back as a ghost, or something?

Anyway, those are all the reasons i can think of at the moment for why I think Sollux would be Hufflepuff. A lot of his personality revolves around his friends, who he considers friends and who he doesn’t consider friends. Send me asks, message me, and do that shit if you wanna talk more, but i probably won’t have a whole lot to say lmao. Or ill just restate a lot of what i said here.

Props for getting this far. For the record, if Sollux for some reason was unable to be in Hufflepuff, I’d probably put him 50/50 Ravenclaw or Slytherin. I really don’t think he’s a Gryfindor because as I understand it, that house is very much about being courageous, and standing up for yourself and i went off for way to long about how he’s a little weenie man who does nothing mostly.

[thelightofthingshopedfor]

@kiwimeringue replied to your post “I know it’s generally rude and very unwise to reply to a fandom...”

ok I'm super curious now, feel free to message me if you want to talk about it all stealthy-like~

@veliseraptor replied to your post “I know it’s generally rude and very unwise to reply to a fandom...”

i'm so curious

apparently I did want to talk about it, because this got looooong (also please do not add more discourse to this post, it’s probably kind of shitty of me but I don’t super want to have a dialogue about it, I just want to barf out my thoughts and defend my own faves on my own post, so if you want to argue with me I would really rather you didn’t and just made your own post instead)

(I also only just realized that I only put “tony stark negative” and “tony stark critical” in the tags, not anywhere before the cut, so here’s your warning now if you didn’t see the tags that this is me being frustrated with a lot things about how Tony is written)

I can't find the actual post now to screenshot or link because I just came across it on my dash, got annoyed, scrolled past, and then made my post when I couldn't stop grumpily thinking about it (so at this point I also don't remember who the OP was or who reblogged it onto my dash, which is probably just as well), but the gist was that almost all MCU title characters have storylines establishing that they're wrong about something and they show growth by accepting that and working to improve...except Steve, who never acknowledges that he might ever be wrong about anything, with the implication that this makes him a bad, self-righteous character who is basically incapable of growth. several other characters--Tony, Thor, Dr. Strange, Peter Parker--were mentioned, but the state of fandom discourse makes me assume any Steve-negative post exists at least in part to show how much better Tony is, which...may not always be a fair assumption on my part, but I do think it's fair to say that's still a relevant context. and of course Steve is one of my favorite characters, so anything even mildly Steve-negative puts me at least somewhat on the defensive right away, which again is not necessarily fair. (the other post that’s already sitting in my notes is about Ragnarok, which is probably even less surprising.)

anyway the post made me grumpy to begin with and then doubly so because I couldn't think of a good way to refute it aside from "yeah well maybe Steve's just a better person than your faves and he doesn't need a whole character arc about realizing he's been an asshole and needs to change because he didn't start out as an asshole to begin with, bet you didn't think of that huh" which is of course VERY unhelpful. but then I started thinking about how I don't think OP is right about the changed characters to begin with, given that a) it's not really fair to compare a character who's only had one solo movie (Dr. Strange) with characters who've had more, b) Spider-Man is kind of an edge case because he's a teenager and a lot of the problems in his movies stem from a combination of him being a fucking teenager and Tony dumping him with tons of dangerous tech that he doesn't have the training or adult impulse control to use safely and then blaming him when disaster inevitably results, and c) the characters who have had multiple movies and arcs focused on realizing they were wrong about something (just Thor and Tony, really) are...maybe not actually great examples because like 75% of that character development seems to reset after each movie and, actually, the narrative still operates under the premise that these characters are basically right even if some other characters don't agree. like...I mean, the only lessons Thor really, consistently seems to learn are "humans are at least not totally worthless (but lbr they're mostly silly and cute)" and "Odin is extremely wise and probably right about almost everything despite mountains of evidence--that grow with every single film he's in--to the contrary". 

and Tony, well--yeah, that's his arc, in theory, and in theory I don't have a problem with flawed characters who keep making the same mistakes because let's face it, that's a very human thing to do. but with posts like this, it's like...you're effectively arguing that he doesn't really make mistakes overall, though, because it’s really just an opportunity for growth? and that when he does, the narrative shows he's wrong, he admits he's wrong, and he makes consistent efforts to change? which...again, obviously I have my own biases, but I have to see this as a weird interpretation because he's basically been the main character of the entire MCU thus far, which means he's likely to get sympathetic treatment and justification from the narrative even if he's ostensibly being called out for fucking up, and that's something I've definitely seen. his entire first movie is about him realizing how wrong he was and working to do better, definitely, but he ends up being his own worst enemy half the time and other people suffer for it. like...he wants to protect the world, okay, that's a reasonable goal. you can argue that the vision Wanda gave him made things worse, and that's possible, but I don't know how much that might be true given that I'm pretty sure he was working on Ultron before that too (and her mind-magic mostly seemed to work by emphasizing something that was already there, not planting new ideas). so he ends up creating a murderbot, with good intentions but he still does it and he keeps it secret from the other Avengers, and now-sentient murderbot immediately reaches the conclusion that humanity is awful and they won't need protecting if they're all gone, and everything breaks very bad, and then Tony...basically does the exact same thing again, without telling anybody else, in hopes that it'll work out better this time because JARVIS? and it does but that seems like mostly luck? and everybody manages to defeat the murderbot, barely, but a not-insignificant number of civilians die anyway because that tends to happen when a sentient murderbot goes on a rampage, and Tony feels really guilty about this when it's shoved in his face, so he deals with his guilt by kind of...spreading it around and allowing the possibility of other major problems down the line so they can hand over some of that responsibility and he can feel less guilty. (that’s not the most charitable interpretation, yeah, but I also don’t think it’s an unreasonable one, based on what’s there in the text.) and then of course things blow up and other problems get dragged in and it's a huge mess and half the Avengers are fugitives, and the general consensus sort of seems to be that nobody was completely right or completely wrong but Steve is the only one who actually apologizes for any of it (no wait, I guess Wanda and Vision apologized but just to each other) and Rhodey reinforces the idea that the Accords were a good idea with no major drawbacks...and then Thanos shows up and things get SO VERY MUCH worse.

and Tony is once again stricken with grief and guilt (not to mention half dead), so lashing out at Steve is understandable, but what he actually says is basically that this is all Steve's fault because he wasn't there (even though he immediately sent Tony that phone, which means Tony could have contacted him at any time but hesitated to do so even when monsters were basically falling from the sky), and he was right about the Accords and Ultron even if the latter didn't work out so well in ways that probably could have been predicted, and...that's what we're left with. nobody else has a meaningful opportunity to say "now hold on a second, you cannot possibly be arguing both for accountability and for your right to decide for the entire world that exchanging some freedom for some potential security is a good trade, and also how are you saying you were essentially right about Ultron when Ultron is what kicked off the desire for the Accords" or, like, anything. (does the world need a security blanket? going by the evidence...yeah, probably? but again. Tony. you tried that and you made a sentient murderbot instead so like, your track record is not great!!)

and then it all culminates with Tony sacrificing himself to save the universe, which I do at least think was a climactic, thematically resonant send-off for such a major character--for the final time, in the most final possible of ways, he reaches a point where there's no more clever tricks and he reacts by selflessly taking the entirety of the consequences onto himself. I can't say I'm happy with it, because I'm not a fan of character death in general even when it doesn't involve my top faves, and it absolutely would have been possible for the filmmakers to keep him alive if they hadn't gone into this with the specific intention of ending Tony's arc with his death. (ditto on all the other major character deaths, which is a big part about why they make me mad--none of them really, honestly had to happen, some even less than others.) but regardless of my feelings on whether it had to happen, it's inarguable that his entire arc from Iron Man to Endgame is that of a brilliant but selfish manchild who changes and grows until he doesn't hesitate to make the ultimate sacrifice for the sake of the entire universe.

BUT THEN THERE'S SPIDER-MAN AGAIN.

spoilers if you haven't seen Spider-Man: Far From Home but like, the entire conflict of that movie was based on two major things: a bunch of disgruntled Stark Industries employees, at least some of whom had to have legitimate, recent grievances (and frankly that whole mess demonstrates--among other things--that Stark Industries must have unforgivably lax security around its arsenal of world-ending weapons); and Tony's decision at some point to essentially REMAKE ULTRON AND THEN DUMP THAT RESPONSIBILITY ON A FUCKING TEENAGER WITH ABSOLUTELY NOTHING IN THE WAY OF WARNINGS, TRAINING, OVERSIGHT, OR EVEN BASIC FAILSAFES, like holy shit my computer spends more time making sure I definitely want to delete that file than EDITH does about confirming that yes this random teenager is a legitimate target for IMMEDIATE DEATH. all the other adults involved in this clusterfuck bear a good share of the responsibility for this too, given that not one of them ever seemed to think either "hey, maybe saddling a smart and very good but basically normal sixteen-year-old boy with the power and responsibility (but not the resources or experience) of a grown-ass adult with unlimited resources is not the smartest move here, and yelling at him when he inevitably fucks up this power and responsibility we dumped on him with no training whatsoever is not actually fair or reasonable" or even "maybe before giving a piece of massively powerful and dangerous tech to a sixteen-year-old boy, we should spend at least 15 minutes going over the device's major functions and how to not accidentally kill someone, even if we figure things like ethics and privacy rights and knowing when not to use this tech aren't that important".

but, but, Tony still made the decision to give it to him, and he did so without building in any precautions at all, which is the exact same thing he did in CW/Homecoming with Peter's new suit (yes, the Training Wheels protocol was a good step, but the fact that it could just be turned off that easily--and that Tony isn't shown even trying to tell Peter to use the training programs or safely practice with the suit--shows that it really, really wasn't good enough) except even worse because EDITH is about 100 times more invasive and destructive than the suit. and he pretty much scolded Peter in Homecoming for getting ahead of himself, but then the second Peter did well in a bad situation Tony was right back to making this teenager an official Avenger and giving him all this power and responsibility he'd just decided Peter hadn't really earned, and Peter turned him down because at that point he had a better idea of his own limits and need for growth than Tony did, and then!! in what must have been one of his last acts alive!! Tony dumped an even bigger, more dangerous power/responsibility combo on him!!! way way bigger than the one he'd already turned down and maturely decided he wasn't yet experienced enough to handle!!! without even giving him a chance to say no!!!! and did not take any of that (or the mess with Ultron and the lessons he theoretically learned there, or the mess with the Accords and the lessons he theoretically learned there, or for that matter the lessons he theoretically learned in his three solo movies about treating his employees well and making sure he knows exactly what his company is doing at all times) into account when designing it, handing it off to other adults who also should have been more responsible about it, and leaving it to a teenager against that teenager's stated wishes, thereby ensuring that this teenager will follow Tony's footsteps in being unable to have a normal life!!!!!

...................but, okay, the point of the original post was that Steve is generally deemed to be Always Right and therefore he never has to change, and that makes him unrelatable at best and also not a great character. which...well, that's part of the point, that's why he was picked for Project Rebirth in the first place because he's a good dude dedicated to doing what's right; even before the serum, he was literally willing to die to protect a few people he barely knew (the grenade scene, remember). he was already starting from a point of selflessness and an understanding of responsibility that the others lacked, so it would be tough to give him a similar character arc without undermining or ignoring the whole point of the character. sure, though, even a character like Steve is imperfect and human and bound to be wrong sometimes, and when that happens he should acknowledge he was wrong and take steps to make amends, and if he's never shown doing any of that, it's true that it's not great even if part of the issue is that he's never really put in a position to do so. 

except, except DID YOU ALL COMPLETELY FORGET THE ENDING OF CIVIL WAR

like, sure, if what you wanted was to hear Steve say "I was wrong about everything and Tony was right about everything, and I will humbly submit to whatever you think is best regardless of my own convictions, my very good reasons for having those convictions, and my personal concerns for my friends, or at the very least I will humbly ask for forgiveness and accept whatever you throw at me, because Tony Was Right About Everything," then...yeah, I'm sure it was a disappointment, especially if you figure Tony was right about the Accords and at least the intentions behind Ultron. it's true Steve doesn't really address any of that, which indicates he definitely still believes he’s right about those parts. but...look, the last time he saw Tony, he was fighting to save his lifelong friend from being murdered from a crime he didn't necessarily remember and really wasn't responsible for. once again I don't blame Tony for reacting emotionally and lashing out at the nearest targets instead of the people who were really at fault, but that doesn't change the facts of the situation, which are, Steve was fighting to save Bucky's life. and when he did that by incapacitating Tony, he didn't go any further; he took Bucky and left. and then he almost immediately sent Tony a letter of apology and a means of contacting him in return if an emergency comes up--and again, yes, his apology wasn't "I'm sorry for everything because I was wrong about everything," but it was a genuine, compassionate apology for the ways he'd hurt Tony even if his intentions were basically good. (this of course assumes that he really did know for a fact that Bucky killed the Starks and consciously chose to hide the knowledge from Tony, and frankly I'm not convinced that's true, but it's not really the issue here.) honestly, I thought his letter was kind of funny because it so closely followed the format of the apology-note meme--you know, "I was trying to do X, but I see now that I hurt you because Y" and everything. he didn't apologize for opposing the Accords or protecting Bucky or fighting in Germany so he could get to Siberia in time to stop what he had every reason to believe was a much bigger threat, because all those actions stemmed directly from his convictions and sense of morality and he wouldn't be Steve Rogers or Captain America if he was willing to compromise his most foundational convictions--but he absolutely did apologize for hurting Tony and recognized that he'd made at least one big mistake where Tony was concerned. 

Tony...didn't. even before doubling down on the Accords and Ultron, I don't think he ever really said, hey, at least some of this was my bad; most of what he said boiled down to "okay this situation isn't ideal but I'm sure if I throw more money at it things will work out fine, more or less". in the Raft and in Siberia he got close to saying that maybe he'd been wrong about a few things, but that all went out the window pretty quick, and I don't think there's ever a point where he--just for instance--at least apologizes for trying very very hard to kill Bucky. and by Endgame, apparently he’s pretty much walked back what little he did kinda sorta think he was maybe wrong about. so.

that's...basically what I've got, OP’s interpretation is wrong because their facts are actually wrong and I was apparently annoyed enough to barf out all these words when I could’ve been doing anything else, the end

[missnight0wl]

Nobody believes Merula is powerful - not even Rakepick. Plus, my take on “the parallel theory”

I wasn’t really planning on making this post yet (and at first I wanted to do it only on Merula), but then I had a discussion with @wilhelminafujita where she mentioned “the parallel theory”. And since it’s kind of related, I decided to go with it. If you’re not familiar with the parallel theory, it’s basically about the similarities between MC’s group (MC, Bill, Merula) and Jacob’s (Jacob, Duncan, Olivia) – where Merula is supposed to mirror Duncan. However, before we dive deeper, let’s discuss Merula and what the heck I mean by this title.

Y5Ch10, when we finally visited Knockturn Alley for the first time, was quite interesting as a whole, but one small thing I find particularly intriguing are differences in Rakepick’s reaction, depending on who you took as your back-up. To be exact, I’m talking about this dialogue:

MC: What are you doing here?

Rakepick: Saving your life. Again. I couldn’t bear to lose my favourite apprentice.

… and then there’s a part which varies.

For Jae:

Not to mention, a promising Dark Artefact dealer in the making…

For Bill:

No offence, Mr Weasley. I have no doubt you’ll become a formidable Curse-Breaker.

For Merula:

No offence, Miss Snyde.

And honestly, I laughed out loud when I saw Merula’s. She’s so desperate for Rakepick’s approval, and Patricia didn’t even throw her a bone, like “Not to mention the most cunning Slytherin student”, or anything. But then it made me think, and I realised that Merula is hardly ever praised by our mentor in general, at least on-screen. Actually, I suppose that even Jae was more appreciated. He was praised after practising Hex-Deflection and in Knockturn Alley. It’s somehow impressive, considering how little he interacts with the current DADA professor. Meanwhile, Merula – whose practice is way longer – was directly complimented also two times, if I remember correctly. Once, when Rakepick explained her choice as one of the apprentices. Second, when we found Bea, and Patricia admitted that Merula did the right thing to inform her right away (and that we also should’ve thought about it). All right, but she IS the Curse-Breaker apprentice, isn’t she? So Rakepick has to see some potential in her, right? Well… yes and no.

Don’t get me wrong, I’m not saying that Patricia considers Merula as totally worthless. I just got a feeling she might see her as not talented enough to mentor her if circumstances were different. Why did she pick her to our group then? Well, she told us why. At our very first meeting, Patricia said that she has chosen “Miss Snyde for her ambition and strength”. Merula is too ambitious to stop searching for the Vaults, and she’s strong enough just to be a pain in the ass for MC – as she was in the previous years.

I know that the urgency of the current events is not very clear for us, players, due to content realising schedule and filler plotlines, but the assumption is that it is there. And Rakepick is probably a person who reminds us about it the most. She gets annoyed when we’re wasting time on Scabbers, on asking about her relationship with our brother, that we still don’t have the portrait. And she probably knows that in the past we were also wasting time on dealing with Merula. So, she decided that it’s better to include her into the team – she won’t be disturbing us that way, and maybe she could even help. And that’s the first reason. Rakepick gave away the second one when she told Merula in the same scene this:

You see, Patricia might be a bitch, but she doesn’t like to see children dying. It seems that she genuinely cares about teaching those kids how to defence, and not only MC’s friends. She’s engaged as a professor because of that, and that’s why students like her. So when she got such Merula who’s asking life for permanent injury all the time, she decided that it’s easier to keep an eye on her while having her closer. Therefore, when she told her:

… she wasn’t really lying. Even though Snyde probably thinks otherwise.

Merula is starting to realise that she and her mentor perhaps see the situation differently, and she doesn’t like it. She has more doubts about Rakepick, she doesn’t idolize her so much as she used to. She’s faster to put her under suspicion, and I believe she’s way more likely to accuse her than defend her recently.

Also, in Y5Ch20, there was an interesting scene before we approached Kettleburn to ask about his “142 cats” letter. He was talking to Merula who had that angry/upset/”I’m done with this” animation. 

(screenshot from I-GGames YouTube channel)

Was she arguing with the professor? Was she trying to find out something about Rakepick from him? Either way, I don’t think it was put there without reason. I’m telling you, despite Patricia’s efforts to keep her in check, Merula is going to do some fuckery (again) by the end of this year.

With all above in mind, we can move to the comparison part. I won’t be talking much about MC and Jacob because I feel this one is pretty obvious. We’re hearing all the time how much we resemble our brother. Instead, I want to focus on two other members and their relationship with MC/Jacob. But let’s start with the basis: houses and personality.

First couple: Duncan-Merula. Both Slytherins. Ambitious, determined, with a mischievous streak. Everything checks.

Second couple: Olivia-Bill. Ravenclaw and Gryffindor. Not the same, although, Olivia was described as exceptionally brave (so Gryffindor characteristic), while Bill is a very intelligent and talented student (Ravenclaw characteristic). So technically it’s quite alike, and you could say it also checks.

However, this is pretty much where the similarities end, in my opinion. Because look…

Duncan and Jacob were friends from the very beginning. They apparently were spending a lot of time together, visiting Zonko’s and causing some mischiefs at Hogwarts. Maybe in later years, it was their way of dealing with the Vaults stress. From what Duncan said, they saw each other as equals, they were in that mess together.

MC and Merula’s relationship depends on the player’s choices/interpretation to some degree, but most of the time we’re in conflict. If we’re spending time together, it’s usually connected to the Vaults and rather goal-oriented. And if you ask me, there’s no way Merula would stop trying to dominate MC.

But you know what? While Bill and Duncan seem to be a very different people, the more I think about it, the more I can see of Jacob&Duncan in MC&Bill. We’re in a friendly relationship from the moment we met, we support each other. We can go to Bill with our problems which reflects J&D hanging out together. Sure, it’s not exactly identical, but it’s the same kind of energy, only directed in different activities. Moreover, @wilhelminafujita noticed one interesting thing in our previous discussion: Duncan wanted to be a Curse-Breaker. I still have doubts if it could mean that he was the first one to get interested in the Cursed Vaults, but it’s an idea worth exploring.

You see, Jacob wrote in his notebook: “I’ll move my research to that abandoned room on the fifth floor to avoid Filch, Snape, and R”. Not we’ll move, not our research. Therefore, I believe he was still alone at this point. But let’s assume that Jacob got interested in the Vaults out of curiosity, maybe even hunger for power, knowledge, or whatever. However, he wasn’t really into the whole curse-breaking per se. What if, when things got more serious, he decided to risk and reach out for help to his friend who’s passionate in this field? Just like MC reached out for help to Bill? I don’t know, suddenly Duncan and Bill don’t seem to be so different anymore, in my opinion.

(By the way, we all know that Bill is older than MC. Interestingly, Duncan could’ve been younger than Jacob. Notice that he told us: “I was friends with Jacob from the day I got sorted”. Not we got sorted. It might suggest that Jacob was indeed older and therefore already had his Sorting Ceremony in previous years.)

Now, let’s try to look at Olivia-Bill, and I’ll reference again something that @wilhelminafujita said about Olivia having a role of a mediator between Jacob and Duncan, similar as Bill was trying to ease the atmosphere at our meeting with Merula. And that there might’ve been a conflict between the boys after Olivia “met her fate”. The thing is… I don’t really see hints for any conflict occurring. Duncan is so angry at Jacob that he’d surely took the opportunity to mention how terrible our brother was even when he was alive. Meanwhile, he’s rather understanding, he doesn’t even blame Jacob for his death – only that he didn’t use it to expose R.

To be honest, I believe that if there was any kind of conflict in their group it was between Duncan and Olivia. It’s mainly guessing at this point, considering how little we know about Olivia, but Duncan still didn’t mention her even once. And when we talked with Grey Lady, she also said only about Olivia talking to Jacob, not “to them” or something like that. It could actually be another similarity between Duncan and Bill, who doesn’t really get along with Merula. And Jacob&Olivia might reflect MC&Merula. We can’t tell what was the relationship between J&O, but there’s a possibility it was somewhat friendly. Just like our relationship with Merula which might be more or less friendly, depending on the player’s choices.

And if we’re talking about Merula-Olivia already… As I said before, it’s hard to speculate about Olivia since we don’t even know what happened to her. But I have a theory that she got trapped in the next vault because she went after it out of order. And I assume they had to know about the order from R, which would mean that Olivia rebelled against R. Similar to Merula possibly rebelling now against Rakepick.

Another thing that is different between these two groups is their nature. Jacob’s group was probably formed by R, and its goal was to choose the winner (next member) while eliminating the rest. The kids were aware of that. MC’s group, on the other hand, was formed to support and help each other. Even if you want to believe that Rakepick is manipulating them to use them (she’s not), they’re working with a totally different image in mind.

I know I might be biased by my own theories, but I really tried to look at all of this objectively, and there are just too many things that don’t add up to me. While some aspects are indeed parallels, the others seem to be the exact opposite, and that’s why I’m not entirely sold out on the parallel theory. I’m also not really sure what I’m supposed to take from that. Should I make parallel predictions or on the contrary? It feels more like one of those metaphorical theories – you know, like Dumbledore, Snape, and Harry representing the Peverell brothers. It’s a very interesting observation, but does it really change the story? Does it explain anything? Not exactly, to be frank…

[abundantchewtoys]

HS Epi: Meat p17-18 reaction

I've realized how page 15 ended with the command "Close your eyes" and page 16 started with Rose talking with her eyes closed. :p

Rose talked about how she'd wake up after looking the demon on her chest into the eyes. She then proceeded to look Dirk straight in the eyes and fall under the spell or whatever it was.

If Dirk truly started influencing Rose and it wasn't just the narration being overly dramatic, then I think it started as she talked about caring about the pieces on the board.

I'm not as sold on the idea that Dirk could be turning into the post-victory end boss anymore. I mean, it's certainly plausible. It could even be that the remaining Reload B2 kids (minus Dirk himself) team up with John against him.

But I think the last paragraph on page 16 could also be interpreted differently. Maybe part of ascending to his ultimate self, for a Prince of Heart, is to "destroy" the boundaries that exist on what he sees as his "self". In that he learns how much of his qualities and flaws exist in other people too. If he can see into his heart, he might learn empathy and become a better person.

Okay, the last sentence seemed to show Dirk take over the narration, but it could also be the visual cue that the narration switched from 3rd person to Dirk's POV, if only for that sentence. It could also be taken to point towards Dirk's growing self-awareness: he's becoming aware of the fact he's a fictional character. In that case, what would it take for John to come to this understanding? To "understand what it all means"?

As for Dirk taking over the other people somehow, growing perhaps a hivemind... Eh. We've had confirmation that Jake looked into his eyes without a problem. Granted, that may have been before Dirk ascended to the god tiers.

Now, next page could stay with Dirk, but I hope it switches back to John. I expect him to undergo some dream sequence before awakening, hopefully still alive. And I hope Terezi will be there when he wakes up. Though it will be sad to see her reaction, if she's learned about Vriska.

==>

AAHHHHHHH he really took over the narration!!! ... Pony Pals Epilogue?

Well then. I... Okay, I wonder whether he'll stick to narrating proceedings on Earth C, or how far his self awareness has grown. DOES he know what Doc Scratch knew, Lord English... Reload Dirk?

"None of my friends have noticed it yet, but you have." He's acknowledging us, the readers. Dear god.

"Anyone paying attention could have guessed by now who’s really telling this story." ... Andrew Hussie? Does Dirk want to wrestle control of his life from the author?

"I’ve caught you leering at some pretty personal moments. Are you having fun being a voyeur?" I came to read a story and I'm honestly feeling so attacked right now. Also, I feel I'm being compared to Caliborn in this.

"Knowing their thoughts are transcribed by a third party, does it fill you with a sense of unease, of sickness, sensing that the observations made of their mental interiors may be tainted?" So, Dirk is calling us out on reading their story, as well as indicating to us that what we read about them, even their personal feelings, can be removed from the truth. But, it's not as if HE's going to want to be our narrator, right? Plus, his own POV is still not 'the' truth.

"I am specific. I have a name, an agenda, a vision. I am a monolith of concentrated narrative authority, relaying events to you, and swaying them as I see fit. Whereas you are pointedly nonspecific. You are the generalized, impotent witness to all this." Dirk is self agrandizing himself and describing the MSPA Reader here. He's actually started sounding a lot like Lil Hal, now that he's so convinced of his intellectual prowess. That's not a great evolution.

"I even have the ability to decide what “you” actually means. I can take the “you-ness” away from you, and put it inside another passive mark, such as John Egbert." Does he mean, like, right now, he can decide he's aiming this narration at John? Or... is it what's Blaperile telling me now, that this is supposed to indicate Dirk was the narrator for the entire epilogue up till now? If that's so, everything said in the narration, including the prompts, has just become that much more unreliable.

"So what makes John so special? The answer is something I’m sure you’ve suspected all along but would rather not face, which is: probably nothing. He isn’t special. He’s quite ordinary, I assure you. Boring, even, and getting less interesting by the minute as he’s forced to confront his absolute lack of heroic purpose except as a pawn to be manipulated by a fatalistic reality." Dear god, is John going to have to fight for control of the narration? As for the first thing Dirk says: well, it's true that John is supposed to represent the everyman, the guy that things happen to instead of that he makes them happen, the audience avatar. Now, if John learns about this fact, he might decide to do something against it, snap out of his stupor.

"Anyone can be endowed with this you-ness, if I think it achieves a certain goal." So, will we switch to other you's later on still, narrator guy?

"Even if the objective is merely to demonstrate the gambit’s potential, to reveal the effortlessness behind it. To make a show of who matters and who doesn’t, and even if they do matter, for how long and for what purpose, as dictated solely by the allocation of this faculty. You-ness can be stripped from the lowly Egbert just as easily as it was given, and then bestowed upon the mighty Serket, but even then only long enough to dismiss the vainglorious spotlight hog from the narrative forever. Good riddance." Note that he's saying the "you-ness" is not meant to imply importance to the story. He's saying the effect is used for show. But then this still IS a story, and showing events is part of telling a story. It's like he's trying to convince us he has control over the story, but his control is PART of the story, so yeah, he still hasn't escaped.

... Good to see Homestuck can still become even more meta, after all this time.

"No, in truth, the time has come to make my presence known in order to start bringing my plans to fruition. It’s time to get down to fucking business.

John needs to wake up." Wow. It's time for Dirk's masterpiece then, taking the biggest control he can ever have, weaving the biggest scheme. To what end, then?

Simply to confront John - in Dirk's eyes, a random character in the story, if one with a lot of focus inside the story - with his existence as a fictional character? Will he guide John to Andrew Hussie's ghost?

Also, will the narration even switch back to black ink, I wonder? If it does, though, we'll still be left with the eery knowledge that what we're reading is, even in the first person, narrated by Dirk.

I'm starting to get the distinct impression that Caliborn didn't just botch his maturation process, he also bodged his god tier process. He still took control of the narration, and "expanded" his consciousness through other means (soul sludge merge), and then took control of his story in the multiverse... only for Paradox Space to still damn him in the end.

Also, didn't John speak through the narration during one of the later Homosuck Acts? When he zapped into Caliborn's room? I wonder if he'll do that again some time quick.

Lastly, I wonder if this is why the epilogues are in text format. So that this thing with the narration works even better. Guess What Pumpkin and VIZ Media are publishing this as a novel.

It's a great use of the format Homestuck exists as on the web, making use of the site's template for good color contrast.

==>

Start of Epilogue Four.

"You wake up.

JOHN: wh-what?" ... Is John going to become aware of the change in narrative 'colour' from the start? Starting to speak in dialogue with it, becoming recalcitrant? ... Is Dirk going to start filling the shoes of WV, Terezi, Karkat and all those poor souls guiding John on his story?

"You finally process the true magnitude of what has happened. The Furthest Ring has been completely destroyed. And you’re all alone." Wow. So, uh, what now? And, what of all the universes inside the sessions in the Furthest Ring? How could they have been destroyed, if Universe C is contained somewhere in there?

"Well, you’re vomiting up everything in your stomach. Rest assured, it’s pretty gross" Well, uh, at least he's now finally gotten rid of all that uncooked meat filling his stomach. Seriously, that probably wasn't being digested all that well.

How long before John acknowledges something is wrong with the narration, I wonder?

"You seriously need to get it together. You look like absolute shit right now, my man. In fact, you really should strongly consider issuing an apology for the mess you’re making." And here we have the first instance of Dirk definitely abusing his power.

"JOHN: i’m... JOHN: i’m sorry." :/ What was even the point of making him do that. Just to upset the MSPA Reader, I suppose.

This is basically: what if Lil Hal was an exile.

"Everyone’s dead." Everybody's dead, Dave.

"Well, almost everyone.

But certainly the vast majority of what qualifies as “everyone” in your current frame of reference." John himself excluded, of course. But see, this implies there are more people around, still alive. ... Then again, the narration wouldn't be lying if there were also still dreambubble ghosts. They'd still be dead, after all.

"And most of your friends—Rose, Dave, absurd Cat Dave, and hundreds of ghosts" Not starring in this list: Jade, Meenah. Of course, unreliable narrator goes without saying at this point.

", who all valiantly contributed to a victory which you’re only now beginning to question the functional necessity of." Well, Rose couldn't see "beyond the story" yet when she sent John on this mission. Care to enlighten us, oh wise and omniscient narrator?

"JOHN: functional... necessity?

JOHN: that... that doesn’t sound like something i would think." Ahhhhhh... That feels good. It took John all of two minutes to figure out something was wrong. I'm honestly quite impressed he wasn't hornswaggled on some crazy MacGuffin hunt first.

"That’s because it’s not." Huh! I'd actually thought Dirk would lead with: 'Yes, it is.' Guess he realizes the jig is up!

"You’ve finally noticed.

No, not me. You go back to ignoring the fact that I’m the voice in your head. You noticed how it hurts when you breathe." Ah. So he just goes right back to forcing John to dance to his tune. Tssh.

"On the other hand, the tooth is poisoned." Uh, how? Why? Poison? ... Yet another way in which Lord English was OP'd.

"So you’re pretty much fucked either way, and that’s really all there is to say on the matter.

JOHN: sigh.

You sigh in painful resignation, and wonder what to do next." Dirk is trying to put John's REAL thoughts into a different context. He's basically replaced the narrative, so... Yeah, this really IS a callback to Pony Pals. God damnit. Who'd have thought that would be foreshadowing THIS.

"English is dead, so you suppose you can go home, right? It’s tempting. You consider zapping back to Earth C, being done with this nightmare for good, and never breathing a word of it to anyone ever again. But you can’t yet, can you?" He can't because he won't, or because you won't let him? Does John want to ensure the safety of Universe C, first? Or will he want to check on Terezi first, potentially (we wouldn't be able to tell) nudged into it by Dirk.

"Why not, you wonder? What’s the harm? You’re right, it would probably be a harmless decision, in the grand scheme of things." ... Don't tell me we'll have ANOTHER split path coming up.

"How about Jade though? She could still be out there somewhere, injured, alone, scared. And it’s your fault, isn’t it?" John turned his back on the body, so he's now unsure what happened to it. It's probably a red herring though, planted by Dirk.

... If it even IS Dirk. I mean, the narration could just as suredly still be coming from Andrew in-universe, and he'll go "tadaa! fooled you twice!" at some point...

"You decide that no matter how terrible you feel, you should look around first before you leave. You were the one who dragged her here. You owe her at least that much. Plus, there’s someone else on your mind, isn’t there?" ... I wonder if Dirk can only influence his thoughts in the Furthest Ring. Actually, I doubt it. Since, when you think about it... Jake fantasizing about Dirk is put into a different light entirely now. As were all the turns of phrases that were perhaps a little too sarcastic for the situation to warrant. I had a few times where I thought: the narration doesn't feel the same, but I put it up to the new format as well as the co-writers. Now, though...

"You proceed to wander for a long fucking time. Time passes differently here than it does for everyone else. Here, I’ll simulate it for you. I just left to go take a piss. Then I microwaved myself a hot pocket. Then I came back. In the time it took me to do that, you just spent hours drifting around the entire circumference of the black hole thinking sad-sack thoughts about the years of inaction that led you to this point, intermittently humming the Ghostbusters theme to yourself. You get so worked up about one of your GB freestyles that you almost miss it." Now Dirk's just showboating. On the other hand, I wouldn't mind hearing a couple of John's Ghostbusters freestyles.

"There. Eleven o’clock. Do you see it? It’s that tiny dot floating over there." Eleven, eh? So, what should I be betting on? Not Jade? Terezi perhaps? Or a random item from a dreambubble?

"You scramble to catch it before it drifts any closer to the event horizon. Got it. What the hell?" Huh, it's something very small? ... Not a firefly, is it? ... If so, in come the theories that it's actually Alternate Calliope.

"It feels familiar, but you want to make sure you’re not imagining it. A wallet. Your dad’s wallet. You chew your lip and press your fingers into the soft leather." What the-... Huh. Well, I was kind of hoping John would have a vision of his Dad, in his dream. This might lead up to something more! I'm reminded of Doomed John seeing a vision of his Dad in the dreambubbles.

So, the ACTUAL wallet ended up in Aradia's hands. John found it left for him on the battlefield, then CD? stole it, Liv Tyler took out the Tumor but gave it to him, CD? was killed by Bec Noir for killing Jade, and he stored the wallet into Lil' Cal. Then Lil' Cal crashed on Alternia with one of the doomed Aradiabots, leading to Aradia finding her frog temple and the Crosbytop. ... So, is there anything left of value in the wallet after all this time? A metric ton of shaving cream, a lighter with a spades symbol... Oh wait, but Spades Slick also got his hands on the Crosbytop, so did he steal the wallet back from Aradia? If so, then the wallet was last present in the B2 session... But if Aradia still had it on her, she took it with her into the Furthest Ring!

"Space is an infinitely large expanse and a wallet is a tiny, insignificant object. Sure, there have been crazier coincidences in the course of this wacky adventure you’ve been having for the past ten years, but this one feels very precisely aimed at your heart.

You take a deep breath, unfold the wallet, and open it." ... So it contains something captchalogued. Cause it sure won't be a Dad note, after all these years and having gone through all those hands, right? ... Right? Now I'm reminded of how Jake had part of his old home captchalogued.

Blaperile jokingly said: "I hope it isn't Aradia or Terezi captchalogued in there", but actually, if there's something to withstand the end of the Furthest Ring, it would be this wallet.

---

... Wow. At least Dirk's tenure as unreliable narrator is rooted in familiar grounds, Lil Hal genre influencing people. And I know I mustn't get my hopes up for ever getting more information about Dad, or seeing something from his youth... But here I am.

[tomakeitbeautifultolive]

Ok two months to go lets hear it: Who lives and who dies?

My death list is actually kind of short, but (probably) controversial:

The Mountain

Beric Dondarrion

Melisandre

Varys

Viserion

Cersei Lannister

Jaime Lannister

Jorah Mormont

Euron Greyjoy

Theon Greyjoy

The Night King

Sansa Stark

Jon Snow*

(*but he will be resurrected)

You’ll notice one very big name - perhaps the biggest - happens to be absent from my list. I’m not so sure I believe the leaks. *shrug*

My explanations and reasoning under the cut.

The Mountain

Of course, The Mountain is already dead, so this feels little redundant. I don’t think Cleganebowl is happening. The Mountain isn’t the same person Sandor had beef with, and Sandor isn’t the same person he once was. *shrug* I’m personally rooting for the Arya-takes-down-the-Mountain theory.

Varys

There’s a good chance that Melisandre is wrong about Varys’ death (like she’s wrong about well, almost everything):

“I have to die in this strange country, just like you.”

But we pair that with the line from Daenerys:

“If you ever betray me, I’ll burn you alive” 

…and it seems to seal his fate (I don’t buy for a second he’s got allegiance to anyone but himself). Of course, there’s a chance it could be a line foreshadowing someone else’s death that’s been ‘leaked’. We’ll see!

Viserion

I could argue that Viserion is already dead… but since “(The Night King)’s done the same thing to Viserion that he did with Craster’s sons,” I assume he’s a dragon version of an other. That’s probably not too important, anyway.

I think Viserion will be taken down by Drogon, mirroring Viserys and Drogo *shrug* I love my parallels, don’t I?

Cersei Lannister

When you play the game of thrones, you win or you die. Eh, eh?

For as much as everyone cries “cliche!” about Jaime being the valonqar, imagine if all that foreshadowing was traded in for some shock value, and someone like Sansa does it. *shudders* Nah, man. I want Jaime to mirror himself - the Kingslayer/Queenslayer who took down both mad monarchs threatening to ignite King’s Landing in green flames - finally getting recognized for his act of heroism. That’s much more satisfying than a quick shock that has no buildup. But I suppose, there is a pretty good chance the valonqar is Euron.

(Though I do admit - I would actually love for Cersei Lannister to make it out of this alive, somehow)

Jaime Lannister

“I cannot die while Cersei lives. We will die together as we were born together.”

Both twins have weird lines like this. So, it’s fair to assume if one dies, they both die. And if one lives, they both live. So if Cersei is brought down, Jaime will be, too. How do I see it happening? Perhaps by one last (poisonous) kiss - wherein Brienne comes in to cradle him as the life drains from his body? I dunno. But after all, he wants to die in the arms of the woman he loves, and for better or worse - that’s Brienne.

Jorah Mormont

It’s been long speculated that in season 8, we’ll be seeing a ‘beloved’ character turn into a wight - and I think the best candidate is Jorah Mormont (keep in mind we’re talking show Jorah, who is leagues better than book Jorah).

Admittedly, I do notoriously give D&D more credit than like, anyone else around here. That said - I’m not sure the polar bear thing was entirely for “coolness” factor, like they claim. The moment I heard this line, followed by Jorah looming eerily over Beric…

I thought for sure we’d see this paid off in the very same episode. To me, it just seems wildly out of place and a waste of dialogue. I hope it’s some clever foreshadowing that we’re going to see a dead 'Bear’ of Bear Isle biting someone next season.

Of course, there is always a chance that the greyscale might play some sort of role in preventing Jorah from turning… I guess we’ll see!

Lastly, I’ve always been intrigued by Jon holding a Mormont shield during the BotB - I have a tendency to read too much into everything, I admit - but wouldn’t it be great if Jorah died saving Jon’s hide?

Euron Greyjoy & Theon Greyjoy

For as formidable as book Euron may be - I don’t see him living. This series just isn’t about evil prevailing. What I think he will do, however, is attack Jon and/or Daenerys at sea, perhaps as they try to flee the north. I’m one of those annoying people who thinks very few lines of dialogue are wasted in-show, and this one is a fucking thorn in my side:

I think Theon will succeed in taking down Euron (I think this scene is a great foreshadowing that he’s going to save house Greyjoy by saving Yara), but it will likely be at the cost of his own life. I suspect he’ll not only save Yara - but perhaps some members of his other house, too. After all, he’s a Greyjoy and he’s a Stark.

The Night King

Oh, this one is fun, isn’t it? I’m probably the only person who doesn’t want the Night King to die - but I’m pretty sure he will and that I know how it’ll happen. First, we’ll finally get to see Vladimír Furdík’s stuntwork paid off in the final season, which almost ensures there will be an epic showdown between Jon and the Night King.

But you shouldn’t want Jon to defeat him! (Or Daenerys, for that matter!) Why?

“The gods hate kinslayers, even when they kill unknowing.”

This quote is specifically told to Jon by Ygritte when she recounts the tale of Bael the Bard. Interestingly, Bael the Bard heavily mirrors Rhaegar x Lyanna. And what also happens to mirror Lyanna, is how Sam and Jon become friends. Jon comes to his rescue as he’s getting his ass whooped by his fellow black brothers - just like his momma coming to Howland Reed’s aid. Both Jon and Lyanna go out of their way to further humiliate the tormenters, too.

I predict the Night King will disarm Jon Snow and in this crucial moment, and that’s when Sam the Slayer will thrust Heartsbane through his back (perhaps melted down into more wieldable daggers by Gendry?), Howland Reed-style, saving Jon’s life and frankly, blowing everyone’s minds.

Because after all…

“Everything that happens will be something that you’ve seen before.”

Buuuut it’s going to be about as satisfying as Arthur Dayne’s demise - as we’re going to learn of the Night King’s history, and perhaps that his death marked not only the death of the wights and white walkers - but all of Craster’s sons, perhaps wiping out a whole misunderstood race.

‘A villain is the hero of the other side’, after all - and if you’re familiar with my theory that the Night King is the one using his greenseeing powers to manipulate the visions in the flames that the followers of R'hllor see… then this line by Beric might foreshadow his death:

And that our heroes, the 'enemy’, will win.

Sansa Stark

Before anyone comes for me, there’s a fair amount of eerie foreshadowing - at least in the books. If the season 7 script leaks are to be believed, Sansa might still be the 'lone wolf’ she warned against last season, distancing herself from her family out of jealousy or paranoia.

The way I see it going down, though, (if it does at all) the Stark girls will mirror their direwolves - and Sansa just might die in her sister’s place, saving her life.

Jon Snow

First, let’s look at the conversation between Jon and Melisandre prior to the Battle of the Bastards:

“Any advice?”

“Don’t lose.”

“If I do, if I fall don’t bring me back.”

“I’ll have to try.”

“I’m ordering you not to bring me back.”

“I am not your servant, Jon Snow.”

“You’re in my camp. I’m the commander.”

“I serve the Lord of Light. I do what he commands.”

“How do you know what he commands?”

“I interpret his signs as well as I can.”

“If the Lord didn’t want me to bring you back, how did I bring you back? I have no power. Only what he gives me and he gave me you. Why? I don’t know. Maybe you’re only needed for this small part of his plan and nothing else. Maybe he brought you here to die again.”

Other than that, we’ve got some fucked up lines from Sansa:

(Thanks, Sansa. Great job.)

As well as Beric:

Alternatively, there is some amazing book foreshadowing that Jon will live.

Why include in the story Beric has come back from the dead multiple times, at all? Why tell us that each time he comes back, he’s a bit less of himself? He’s not a major character. Is it all just for 'flavor’ - or are we being groomed to see it happen again to someone we love?

And how bittersweet would that be - seeing Jon come back a second time, but not quite the man he used to be - the one we all grew to love.

I love the theory that Jon Snow is Dany’s mount, treason, and fire for love - and that she’s the one who commits treason against him, by possibly demanding he be brought back 'against his will’ (though, considering he’s a father-to-be and potential newlywed, I don’t think he’ll gripe about it as much in season 8 as he would’ve in season 6.)

When Jon died the first time - I thought for sure he’d come back in some blaze of glory. That they’d try to burn his body, but he’d have this epic 'Unburnt’ moment, like Dany (lol). I’d like to see Dany wake a dragon a second time with some sort of similar funeral pyre that she walks into… except that two people walk out instead of one.

I know, I know. *adjusts tinfoil hat*

But Sam Tarly happens to agree with me:

Always.

Beric Dondarrion

Considering the man gave his life long ago for Catelyn to become Lady Stoneheart in the books, I think his entire purpose for still kickin’ around in Season 8 is to give someone the 'Last Kiss’. Not really a unique idea, no. Popular candidates tend to be Sandor (after all, he tells him 'We will meet again’), Daenerys, or one of the Stark kids. But my money’s on Jon.

Melisandre

I’m an atheist (like GRRM), and therefore, I more or less despise Melisandre for basically convincing what used to be a good man to burn his daughter alive. That’s some Abraham and Isaac shit right there (and that shit better happen in the books because it’s powerful AF commentary and I’m here for it).

All that said, what I’d love to happen with Melisandre is to see her realize her god isn’t real (assuming the Night King has been messing with her visions), and have a personality crisis/breakdown. Afterward, if my theory about Jon happens to be true, she’ll play a role in bringing him back, perhaps even lending her life in the process. Buuuut I wouldn’t mind Gendry’s future wife avenging his cousin’s death and closing her 'blue eyes’ forever.

As for the rest…

People I’m unsure will live or die:

Drogon 🤞

Ghost 🤞

Nymeria 🤞

Davos Seaworth 🤞

Tyrion Lannister 🤞

Sandor Clegane 🤞

Grey Worm 🤞

Bronn

Ned Umber

Alys Karstark

People I think will live:

Samwell Tarly

Gilly

Daenerys Targaryen

Arya Stark

Bran Stark

Little Sam

“Boatbaby”

Rhaegal

Gendry

Missandei

Jon Snow (resurrected)

[thewadapan]

I rewrote an obscure Transformers comic from the 1980s.

Creator’s Commentary

It’s 1984. Marvel’s four-issue Transformers miniseries has been a smash hit, and they’re already expanding it into a full monthly ongoing. Marvel’s UK branch is looking to import the book, but they have a problem - the newsagents want weekly issues, and there simply isn’t enough comic to fill those pages.

To meet demand, they bring on Simon Furman to write extra comics weaving into the US material. Because he’s the only one with any idea what's going on, he continues to churn out Transformers stories for almost ten years - with only occasional contributions from other authors.

“Peace” is one such interloper.

Written by letterer/editor Richard Starkings under his “Richard Alan” pseudonym for the 1989 Transformers Annual (which was actually published in 1988), it presents one of Cybertron’s alternate futures. Its exact placement in continuity was contentious - even within the comics’ own letters pages, where the editors (writing in-character as Transformers) gave several contradictory answers to questions regarding its canonicity.

The comic opens when the final Decepticon is killed by the Wreckers - an elite group of Autobot shock-troopers. With the war over, the very-very-tired Autobot leader Rodimus Prime announces that he’s going to step down - letting the Wreckers’ leader, Springer, take his place.

Unbeknownst to the Autobots, not all of the Decepticons are dead after all - the double agent Triton still hides amongst their ranks. In an attempt to incite conflict, Triton suggests that Ultra Magnus would make a better leader. The Technobot combiner team agrees, and an argument breaks out between them and the Wreckers. Whirl argues with Triton, Triton punches Whirl, Roadbuster pulls a gun on Triton, Scattorshot shoots Roadbuster, Sandstorm shoots Triton, and the war begins again.

It’s a grimly interesting story, one forever doomed to remain a footnote in Transformers history. Fittingly for a bot of subterfuge, Triton’s alternate mode was a submarine - at least according to Dreadwind in the letters pages. Marvel UK fanboy-turned-creator Nick Roche much later reinvented him as a member of Squadron X - sworn enemies of the Wreckers in IDW Publishing’s Transformers continuity.

In its most recent reprint as part of the twenty-second volume of The Definitive G1 Collection, “Peace” was left stranded as an afterthought alongside Regeneration One - with the rest of the UK strips being collected across the first twenty volumes alongside their contemporary US material. That partwork was curated by Simon Furman, who still writes Transformers stories to this day - despite pleas from some corners of the fandom for him to just call it quits already.

Richard Starkings, meanwhile, went on to found Comicraft - bringing lettering into the 21st century by pioneering the use of digital fonts in comic books.

I wasn’t alive when most of that happened. My first brush with Transformers - at least, as far as I remember - came when I saw Transformers: Armada’s Land Military Mini-Con Team on the shelves of my local Woolworths (a much-loved now-defunct chain of British department stores). I didn’t get it at the time, but when our birthdays rolled around (or maybe Christmas? I was young; I barely remember any of this and neither do my parents) my brother and I got a bunch of Mini-Cons. Our first brush with Generation 1 would come much later, when we found a knackered Strafe at a car boot sale.

For a long time, my only experience with Transformers fiction came in the form of the cartoons - they didn’t show Armada on Freeview so I missed most of that, but Energon and Cybertron both aired in their entirety on CITV. I had the pack-in comics, and the Armada and Energon annuals - which basically just collected random Dreamwave comics without context. All of which is to say that, at the time, I felt pretty starved for good Transformers stories.

Finding the 1989 Annual in a secondhand bookshop, then, was like finding the holy grail.

I won’t lie. I had basically no idea who any of these characters were, or what was going on. But damn if I didn’t pore over every inch of those pages trying to work it out. And I sure as hell was gonna sign the thing, lest those abominable Firecons paid me a visit to finally incinerate what was presumably the only Annual they’d missed back in 1988.

Years passed. Some movies came out. I drifted away from Transformers for a while after my parents said “aren’t you a little too old for these” one time too many. Well, it was either that or the hordes of overpriced Bumblebees clogging the shelves at the time.

Eventually, though, I was drawn back to the franchise. A Humble Bundle of IDW’s comics and Thrilling 30 Sandstorm was all it took.

For some reason, at some point I decided to start a meme page. I don’t know why. Please don’t look at it. I don’t want to talk about it. Most of the edits I made were atrocious, although I’ll admit there’s a few I still find pretty funny. I actually referenced Transformers a bunch of times. There was this whole thing where I tried to work in a plot, so really the whole thing was much closer to a terrible webcomic than an actual meme page.

Perhaps the most involved reference to the franchise came in the form of a relettering of “The Night the Transformers Saved Christmas”, a 4-page comic originally published in a 1985 issue of Women’s Day. Why did I make that thing? I don’t know. Maybe a little more context would help.

Y’see, waaay back when the first Armada toys hit shelves, fans weren’t too impressed - to say the least. They’d seen pictures of highly-articulated prototypes, only to find that articulation completely absent in the finalised figures. To make matters worse, the first pack-in comic was pretty lacklustre - thanks to the trilingual dialogue squeezed into its speech bubbles.

One enterprising fan (Yartek, now better known as Blueshift) expressed their dissatisfaction by completely rewriting that pack-in comic’s dialogue - reimagining Hot Shot as a deranged, jam-obsessed cannibal. It was an idle joke, but one that tapped into the collective consciousness of the fandom at the time. Its popularity grew to the point where it was even referenced on the license plate of a later Hot Shot figure.

By Blueshift’s own admission, the comic isn’t all that great. Nowadays, the atmosphere surrounding Armada’s launch is but a hazy memory for most of the fandom - leaving the comic’s depiction of Hot Shot looking more like an uncomfortably ableist caricature than anything approximating a real parody.

But I digress. I was barely aware of Transformers when all of this happened. My point is that JaAm was like an abridged series, only presented as a comic, and I thought that was a neat idea. I was looking to make a post that was a little bit different for Christmas Day, and remembered the existence of that old Women’s Day comic. Thus was born “its christmas... so what??”

My process for that one was pretty straightforward. After reading the comic once to get a broad sense of its plot, I went through it again panel-by-panel - blocking out each narration box with an autoshape and adding my own text. Mustard features pretty heavily in it... I guess as a reference to jam? Honestly, I was writing this thing entirely by the seat of my pants and - with the exception of the choice panels I’m including here - it’s pretty unfunny as a result. I’m not proud of it. Even at the time, I felt like I could’ve done better. So, half a year later, I did.

When the mood eventually took me, there was only one option in my head - Richard Starkings’ “Peace”. This time, I took a moment to plan the whole thing out in my head before diving in.

I think my idea for the plot came about simply as a result of Rodimus’ body language and expressions on the second page. I reckon I looked at them and thought, “man, he looks like he’s just caught a whiff of something pretty nasty.” From there, my mind jumped to Triton... the culprit, naturally.

When you go back and read some of the early Marvel stuff, there’s a bit of dissonance between the Furman-esque galaxy-spanning conflicts and the more offbeat “the Transformers crash a wrestling match / concert / car wash” stories written by US author Bob Budiansky. At times, the Transformers could be figures of real gravitas - and at others, they were almost like children.

For both “its christmas” and “PASS” I tried to lean into the latter interpretation as much as possible. As a reflection of that, the dialogue and narration - both written in Times New Roman - are completely devoid of punctuation, capital letters, or special formatting. Well, mostly...

There’s a few instances in “its christmas” where capital letters are used for emphasis.

Roadbuster’s dialogue gets to keep its punctuation, and is written in (I think) Arial, because he’s supposed to be more mature than the rest.

Each comic had one panel which retained some of its original dialogue - the fourth on the first page of “its christmas”, and the fourth on the fourth page of “PASS”.

There’s a couple of instances in the comic where characters use swear words, only the wrong letter’s censored - “sh*t” became “*hit”, “f*ck” became “*uck”. That’s simply an artefact of the comic’s origins in my old meme page, where that was a running joke.

In addition to changing the text, I also made a few visual edits...

I changed the comic’s title from “PEACE” to “PASS” (as in, to pass gas) by chopping up and rotating bits of it.

I changed the credits for “RICHARD ALAN” (writer) and “GLIB” (letterer) to “ME” and “ME AGAIN”.

On the fifth page, I rotated Springer’s, Ultra Magnus’ and Sandstorm’s mouths by 180 degrees - changing them from horrified grimaces to jaunty smirks. That’s why they’re kind of lopsided relative to the rest of their expressions! Honestly, the original version looks pretty strange to me now.

I likewise modified Sandstorm’s and Ultra Magnus’ expressions in the first panel of the final page, and Nosecone’s in the second panel.

I scribbled out the question mark in the little “THE END?” box on the final page. This is the definitely the end; no need to beat around the bush.

The idea to make Roadbuster a butt monkey stemmed from the fact that he was the only non-triple-changer to appear on the first page. I saw that panel with the four of them together and thought “one of these guys is not like the others.” And of course, I knew that he’d be dead in a few more pages.

Once I’d established Springer as a bully, I started to get a sense for what life was like amongst the Autobots - but there were still things I wanted to leave open to interpretation...

Why does Roadbuster hang around with the other Autobots so persistently, when all he receives is abuse?

Is Triton’s fixation on “cred” overblown, or is it the only reason he’s survived as long as he has?

Is Rodimus really past his Prime?

Who’s really the coolest Autobot?

Are the Autobots inherently bad people, or simply products of their environment?

If they’re the latter, does that excuse their actions?

If these are the Autobots... then what were the Decepticons like?

Here’s some other miscellaneous notes...

There’s a single speech bubble on the fourth page where the speaker’s off-panel. In the original comic it belonged to Triton, shouting “HEY!” Here, I like to think it’s Whirl speaking.

In the narration of the second panel, I refer to the Transformers as “car robots” - a nod to the Japanese name of the Transformers: Robots in Disguise series.

Rodimus’ “light their darkest hour” line is, of course, a quote from the 1986 animated Transformers movie. Yes, I’m as tired of those references as you are, but no, I couldn’t resist.

I can’t remember if it was deliberate, but I’m pretty sure “if you catch my drift” was a nod to The Transformers: More than Meets the Eye - where original character Drift stars as Rodimus’ third-in-command.

Speaking of More than Meets the Eye - when it was relaunched as Lost Light, Rodimus got a brand new purple colour scheme. In “Pass”, Rodimus agonises over whether or not to get that same paint job.

“Mucho cred” is kind of a memetic phrase amongst readers of the superhero web serial Worm. I feel like “cred” is one of those inherently funny words (along with “cahoots”), so that was enough to justify its inclusion here. If you’ve somehow made it this far into this post, trust me when I say that Worm is a rabbit hole well worth tumbling down.

“Peace” has a very strong atmosphere. It’s about a group of individuals - who’ve known nothing but conflict for thousands of years - suddenly finding themselves with nobody to point their guns at. That exact same scenario played out decades later in IDW Publishing’s Transformers continuity, where it was explored in much greater depth - but in just six standalone pages, “Peace” presents its broad themes with impressive clarity.

I think we’re very much invited to root for Triton - he’s a real worm, but he’s also an underdog. When characters are created whole cloth in Transformers stories, they’re marked for death.

“Pass”, on the other hand, is about a group of kids who’ve lost all sense of perspective. The most important thing to each of the group’s members is how they are perceived by the rest. They’ve been living under ever-increasing social pressure, and things are finally reaching a boiling point - and people die as a result.

And I say “kids”, but the truth is that I still see these dynamics amongst grown adults today - admittedly without the death. For any given subculture, you’re going to find ingroups, outgroups, and the awkward middle ground between them. If I thought there was a clear-cut solution, I would’ve put it in the comic. But oftentimes - like I said in the closing panels - there isn’t really anyone at fault.

If you fart in public, don’t stress about it too much. Nobody really minds. Just own up. And whatever you do, don’t try to pass the blame - or else...

As one final nod to Marvel UK’s Transformers comics... here are some short AtoZ profiles for the entire cast!

You can follow me on twitter if you want to see more of my Transformers ramblings. The rest of my writing can be found right here on this blog - I recommend starting with Everything Is Red Now, a dumb comic about Spider-Man.

[esseastri]

Megan Reads Oathbringer (part last)

I said I’d finish this book before it had been out for a full year, and that’s the 14th, iirc, so I have tonight and tomorrow, but I will finish this book tonight if it kills me, I s2g, I’m ready to be done.

Part 13 encompasses pages 1054-1233 (previous parts)

WE ARE SO CLOSE, GUYS

OH, I wanted to talk a lil bit about the end of part 4, now that I’ve had a sleep and some time to think about it. I still don’t really like it, but I think I can better articulate why.

I feel like a LOT of it is personal preference for Really Not Liking It when my Heroes Turn Out to Have Been Bad Guys All Along. that’s. not fun for me. I don’t find it appealing in any way. 

and I know that Brandon is a big fan of his lil ~Sanderlanches~ of emotion, but tbf I think the Recreance bombshell got a little lost in Taravangian’s deluge of bad news. The major impact of that reveal SHOULD have been--yeah, the humans are and have been the aggressors all along. But instead it gets a little undermined and rolled up wholesale into Dalinar Has Been a Bad Before and We Guess He Is Now Too. It feels like it should have been a separate moment for everyone--for ALL the monarchs in the coalition--to realize that...THEY are ALL the bad guys. All of humanity is the bad guys. But it gets overshadowed by their belief that Dalinar has betrayed them and gets dumped squarely on his shoulders so that it’s less about Humanity and more about One Human--who has been our hero for 3,000 pages and now just utterly crashed which is ALREADY upsetting enough without everyone else ignoring THEIR part in it all.

So what I’m saying is that I still feel like the end of part 4 was really badly handled as there should have been two, separate focal moments that got overlapped badly (worldbuilding vs character moments). But I’ve talked to Lisa and Alyx about stuff and I’m a lot chiller with the actual CONTENT of the reveal, and actually looking forward to seeing how that plays out. 

tl; dr: feeling better about the content, still very unhappy with the execution.

ANYWAY:

INTERLUDES

“Her people couldn’t be completely gone....could they?” Ah, Venli has reached the Denial stage of grief. that’s. good?

or rather, I suppose...she’s been there all along.

mmmm, I wonder if the different rhythms were created because the Parshendi don’t really do facial expressions, right? like they are crustaceaous, regardless of which form they’re in, so it’s not like shells do a good job at. smiling. Idk, I just wonder if the different hums are bc they don’t really interpret body language the same way humans do.

“The strongest and most skilled of our number are yet to awaken” YOU MEAN THERE’S MORE AND WORSE OF YOU? Great.

You know what I want? An Edgedancer size “novella” about Rysn.

wait, I thought larkins were bad?

aren’t larkins bad?

nvmd, I asked Lisa, they eat stormlight, so Bad For Spren, but not inherently bad. I like having Lisa here to remind me of things I Knew At One Point But Have Since Forgotten Due To Reading So Many Other Things heheh

I love these two Thaylen nERDS

Vstim is a GOOD DAD AAHH

you know, that’s something that’s always sorta bothered me--how do Rosharans go around wearing jewelry that’s giving off enough light to see by? How is that not...overbright and distracting and uncomfortable?

WHOA WHAT

I WAS NOT EXPECTING MURDER 

omg the larkin is eating the gemstone that’s been glowing for 200 years, CHIRI-CHIRI NOOO

o_o

right

it makes sense that the voidbringers would have lightweavers, the fused are basically windrunners, but tbh I didn’t think about. you know. evil people that could disguise themselves as ANYTHING #YIKES

yeEAAHH MY GIRL

COME ON BRANDON, GIMME A RYSN ADVENTURE NOVEL. RYSN AND THE LOST TREASURE OF SOMEWHERE-WITH-TOO-MANY-CONSONANTS! PLS.

anyway, on to the main event for the evening: Megan Sobs Her Way Through the Teft Interlude i’m SURE

“the men of Bridge Four would tire of digging him out of trouble” NEVER.

HE HAS A SPREN

SHE’S BEEN THERE A WHILE, APPARENTLY!!??

HELP

uh oh

no

hold on

WHY IS THERE SOMETHING WRONG AT THE BRIDGE FOUR BARRACKS

WHY IS THERE SOMETHING WRONG

NO

NO

ABSOLUTELY NOT

WHY ARE THERE BRIDGEMEN WHO ARE BLEEDING

I REFUSE

I SWEAR TO FUCKING GOD IF HE KILLS ROCK I AM NOT FINISHING THIS BOOK

I’M NOT EVEN KIDDING

HE KILLED ETH???? AFTER HE KILLED MART IN THE LAST ONE HE HAD TO GO AND KILL OFF THE OTHER BROTHER? FUCK OFF, BRANDON

NO

I’ DON’T WANT THIS

PART FIVE, LET’S GET THIS DOOOONNNE

........there are thirteen, maybe (probably) more POVs in this part?

fuck, Brandon, if I wanted to hop around that much, I’d suck it up and read Martin. Uggghhhhh, I hate this.

HAHA whoops, I didn’t realize it was a flashback chapter and I was like “why is present!Dalinar in a stormWAGON?” and then I realized

“wild chickens range this far east” and I KNOW they mean crows or blackbirds or starlings, but. chickens. is still. such a good worldbuilding note.

“felt both an anxiety to be finished and--at the same time--a reluctance to progress.” B I G M O O D

Brandon: *describes the Nightwatcher* Me, whispering: “yiiiikes”

“What is your boon?” “Forgiveness.” CAN YOU IIIIMAAAAGIIIIINNE

OH SNAP

is that...actually Cultivation?

“I didn’t get what I wanted.” “You got what you deserved.” OOF. OOF. How does fifteen points of damage taste?!

“I control all things that can be grown, nurtured. That includes the thorns.” HM

OKAY

I like her.

HA I WAS RIGHT

EVI WAS THE COST NOT THE BOON. HA

tbqh, I’m still not entirely clear on the boon. I guess...she took away the guilt? or the memories that made the guilt? hm.

HE HAD NEVER DESERVED HER.

AAHAHAHAHAHAHAHAHAAHA DAMN FUCKING RIGHT, DALINAR. GOD. YUP. AMEN

merrgghhhh pov shits within chapters grumble grumble grumble

oh dear

big battle time.

yaassss

ok, but the army of spren at the Oathgate might be friend spren. have you checked?

I’m still hung up on Kholinar, ngl, someone, for the love of god, tell me if Skar and Drehey are all right. alive. s o m e o n e pls care about these bridgemen as I do.

(and don’t say Kaladin cares, I KNOW HE DOES BUT HE HASN’T MENTIONED THEM IN 200 PAGES/FOUR WEEKS OF TRAVEL TIME, MMKAY?)

heh, Jasnah being all “Amaram’s bad guys can soak up the arrows while the rest of us escape” and usually, I’m very against the lil foot soldiers getting slaughtered for the misdeeds of their commanders, but if people are still following Amaram, they have Bad Priorities and I’m with Jasnah on this one.

I’m confused

Renarin’s spren is weird?

Jasnah thinks he’s a traitor?

I’m??? CONFUSED AND UPSET???

LET! THE BOY! LIVE!

WHICH ONE OF THEM IS CORRUPTED, IS IT JASNAH? MAYBE IT’S JASNAH?

Me: “Maybe it’s Jasnah???? She spent a lot of time in Shadesmar!” Lisa: “Maybe it’s Maybeline.”

She’s rude and I love her.

OH WHAT HOLD UP

VENLI IS IN THE KNIGHTS RADIANT CHAPTER?

or is it just...anyone listed at the beginning can be in any chapter?

SHE IS NOT LISTED SEPARATELY. HO SHIT

WHAT

YEAH THAT’S THE THING THAT BOTHERS ME: The fused just. sending in regular parshendi parshmen signers whATEVER TO FIGHT. THEY DON’T HAVE TRAINING. THEY’RE GOING TO GET MASSACRED. THAT’S NOT! GOOD! MILITARY! STRATEGY!

ugh, I’m still just. mad about the Recreance reveal.

The humans are the bad guys, fine. But the FUSED ARE DEFINITELY, ABSOLUTELY NOT THE GOOD GUYS??? so what was the point?

SEE SHIT LIKE THIS: “You are here to do as you’re told. In return, you are rewarded with further opportunities to serve.” what the fuuuuuuucckk

like, they’re still BAD GUYS

Here’s the thing--the Recreance reveal doesn’t really change anything. The human heroes are still going to choose the options that are “good” or “right”--Dalinar was already suing for peace, Kaladin was already making friends with the listeners--so saying “these humans in the past were evil” doesn’t change their choices. It doesn’t change the Fused’s choices either--saying “these guys were good in the past” doesn’t make them good guys now--OBVIOUSLY, just look at that dialogue.

So why bother?

The whole series is about choosing to be better, to do better, but the characters were ALREADY DOING THAT, they didn’t need an extra, super depressing motivator to do that. It’s just there to....reinforce the idea? That’s already pretty solid?

idk, I’m still REALLY struggling with this

sigh

back to Venli

hm

so, Odium can CHOOSE what he looks like when he appears--obviously he doesn’t REALLY look like a parshendi, bc he’s not actually their god. If the humans were the voidbringers originally, then he’s theirs, no?

also, # y i k e s, there he is

TEFT IS IN THE RADIANT POV HELL YAH

“You don’t want me. I’m broken.” YES, DARLING, THAT’S THE POINT.

I love him so much I just want to hug this sad uncle of mine

AAAHHH FUCK  THE KHOLINAR GATE

WAIT, MAYBE SKAR AND DREHY WILL SHOW UP FUKIN FINALLY

“This is winnable” IS IT THO

BECAUSE LITERALLY NOTHING ELSE IN THIS BOOK HAS BEEN AND AIN’T THAT JUST FUCKING DEPRESSING

oh fun! the thing from the cover! finally!

Here’s the thing: three years ago, I would have loved this book. Three years ago, overwhelming odds and impossible battles and the downward, angst slide of all my favorite characters would have been SO MUCH FUN to read. But now? This year? I’m fucking over it. I’m done. Give me optimism or give me death.

I’m exhausted enough in the real world, I don’t need to be exhausted by the books I’m reading.

“You mind holds firm” UH HUH SURE. P SURE NONE OF THE FUSED ARE SANE, bUT THAt’S FINe

“Could he defeat six? Did he need to?” THE IMPLICATION THAT: IF HE NEEDS TO, OF COURSE HE CAN. I’M LOVE KALADIN SO! MUCH!

DO WE FINALLY GET TO STAB AMARAM!!!!!!!????? FINALLY!!!

DOES KALADIN GET TO KILL HIM? BECAUSE I WILL BE REALLY, REALLY MAD IF KALADIN DOESN’T GET TO KILL HIM

OMG I’M SO HERE FOR THIS

MY BOY

KALADIN RECOGNIZING HIS PROGRESS AND KNOWING THAT HE’S GOT SYL AND BRIDGE FOUR, AND PURPOSE AND THAT HE’S GONNA STAY ALIVE FOR THEM, FOR IT. THAT EVEN THO LIFE SUCKS HE’S GONNA STICK AROUND BC THERE’S GOOD PARTS TOO. KALADIN REALIZING HE’S STRONG AND STRONGER WITH HIS PEOPLE. I’M SO

MY HEART IS SO FULL AND I LOVE HIM SO MUCH

OOOHHH NOO THAT”S HOT

where’s my Kaladin alone in combat stance facing down 6 fused and GLOWING ART BC I NEEEEEEDD IITTT

my soul

I love him

my soul

You know what? Kaladin never gets the Thrill. I bet it’s because he’s too good for this world.

ahhh fuck they got the thing

at least Rysn and Vstim are still alive! for now.

why do they want the thing tho

whose heart is it

WORRIED ABOUT RENARIN 2K18

heheheh Pattern, “I do not like being stabbed” no, you are usually doing the stabbing, huh? heheh

ADOLIN KISS SHALLAN! ! AHH!! YAY!!!

SOFT BEFORE BATTLE THIS GOOD

god, yup. “Um, hello.” SPEAKING TO THE OATHGATE SPREN WOULD BE SO SCARY

the Argonath spren. Oathgonath? Argonoath? Argonoath. heh

I’ll take Bad Lord of the Rings Puns for 300, Alex

COME ON, VENLI. SPEAK ME SOME WORDS, GIRL.

Oh hey it’s Gawx! Wacky fun.

aahhh shit, it WOULD look like the Alethi were betraying everyone else for real. SIGH.

come on, Lift, get them to help. come on, come on, come on

can we unforbid it? esp since Honor is fucking dead and doesn’t care what’s forbidden or not?

“A man can rule his lands until the citylord demands his taxes. The citylord controls his lands until the highlord, in turn, comes to him for payment. But the highlord must answer to the highprince, when war is called in his lands. And the king? He...must answer to God.” BUT DARKNESS--WHAT IS GOD TO A NON-BELIEVER?

“Don’t be stupid. Let’s go fight those guys.” AMEN, NIGHTBLOOD.

“But it had always been nothing more than a rock.” YEEEESSSS OMG. SZETH!!! FINALLY UNDERSTANDING.

KALADIN NO

goddamnit

UH??? WHY IS NAVANI POV IN THE RADIANTS CHAPTER???? BRANDON??? WHAT DO I NOT KNOW?

Dalinar continues to be an extra son of a bitch, and I love him.

ok, I’m betting it’s just anyone’s POV can be in any chapter, ‘cause the symbol hasn’t changed. so nevermind. I retract my questions about Venli and Navani.

HI LIFT

I LOVE YOU

“Did you forget to feed them?” I’VE MISSED HER WHY ISN’T SHE IN ALL THE CHAPTERS

“Wyndle doesn’t like hurting people” I !!!! LOVE! THEM!

PLS BE CAREFUL ADOLIN AAAHH

NO???

NOOOOOOOOO??

DON’T?? STAB THE SUNSHINE BOY????

I’M?

his sord

w

swor

d aah

she protec hiom

uuuuuhhhhjfghmgdh

hmfzngrsmkdc

oh snap hold on

Hello Darkness is gonna swap sides? Not that he was really ever on our side, but like. “will make the transition to obeying the Dawnsigners easier” OBEYING? I’m.

that’s Not Great.

“Leave me”? ????? EXCUSE?? NO!!!?? ABSOLUTELY NOT, SUNSHINE BOY, WTF

he has more words

WORDS

GASP

AAHH

LISTEN, DALINAR, ADOLIN IS THE DUELLING BOY. IF YOU’RE GOING TO HAVE A CHAMPION FOR A ONE-ON-ONE DUEL. YOU NEED ADOLIN. AND HE’S BUSY BEING STABBED AND ALSO NOT HERE AND I’M

YELLING

UNEXPECTED SZETH FALLING FROM THE SKY TO SAVE LIFT??? I’M HERE FOR IT

oohh szeth. honey bunches of oats. one day--one day--you will realize that you don’t actually need a master. and you will become something more.

even if you’ve picked dalinar as your new master, which is good, bc following good men is better than bad ones, buT STILL

also, how come we didn’t get to hear his Words??? I WANT TO KNOW ALL THE WORDS. BAD POV SWITCH MADE ME MISS OUT ON SKYBREAKER IDEALS. BOO.

UGH, STAB HIM, NAVANI

ah. ShalASH, got it

there’s Too Much going on, tbqh.

*quietest of wimpers*: taln

help

aahhh darnit, ok. it IS Renarin that’s corrupted. someone PLS let this boy have, like, A MOMENT of peace

oh for fuck’s sake

Let Dalinar fucking have a moment

COME ON

HE’S THE G O O D G U Y, PLS

I’m suffering

RESIST, DALINAR

AAHH

genuinely don’t think you should just be waving Nightblood around

sheathe that motherfucker

pls

also, if Szeth said his words, shouldn’t he have bonded a spren? Doesn’t have have a sprensword? so maybe he....could stop? using Nightblood? 

somebody help Taln, I AM TOO FAR AWAY TO HUG HIM PLS HUG HIM

THIS IS WHY YOU DON’T USE NIGHTBLOOD

JUST SAYIN’

BLESS NAVANI. SHE HAS INVENTED THE TAZER

or possibly weaponized the Cruciatas Curse, but EITHER WAY: NICE.

“Dalinar pulled the Way of Kings close to his chest, clutching it like a child with his blanket at night” MOOD ALSO SAME I FEEL THIS ABOUT MY COPY, TOO

STOP KILLING BRIDGE FOUR

I WILL YELL AT YOU, BRANDON

I WILL SEE YOU ON THURSDAY AND I WILL YELL AT YOU

“Dalinar Kholin is no more” UH HUH, SURE

That would be boring. We’ve already seen the Blackthorn. It’s boring unless we get something new.

fuck off amaram

gross? not recommended.

don’t swallow foreign objects

something GOOD HAS TO HAPPEN SOON OR I’M GONNA FUCKING SCREAM

I’M TIRED GIVE ME HOPE

IT’S BEEN, LIKE, 300 PAGES SINCE ANYTHING GOOD HAS HAPPENED

BRIDGE FOUR KEEPS DYING, ADOLIN GOT STABBED, DALINAR IS BEING TORTURED, FOR FUCK’S SAKE C O M E O N

(purposely forgeting Lift showing up and Navani tazing people in her assessment of how many pages it’s been since good things have happened)

NO FUCKING SHIT, KIDDO!!! THE FUTURE IS MALLEABLE!!! IT CHANGES!! OF COURSE IT CAN BE WRONG

oh

duh

even I had that wrong--the NEXT step, not the first

GOOD

STAND UP

AAAAHHH

“If I didn’t do those things, it means that I can’t have grown to become someone else.” AND YOU DID! YOU DID GROW! LOOK AT YOU! FINALLY YOU ARE REALIZING IT ONLY TOOK 3FUCKINGTHOUSAND PAGES AAAHHH

YAAAS

YOU’RE MY FAMILY

AAAHH

GOOD SOFT JASNAH!!! NOT A THING I EXPECTED BUT HERE WE ARE

“Maybe it’s time for someone to save you.” *MEEP*

hel p

that’s intense

AAAHHHH

EVI IS A GOOD AND I LOVE HER AND SHE DESERVED BETTER ALSO SOFT AND GOOD AAHH

# yikes

but like, a good yikes

yeah, you fucking better apologize to him

Taln deserves an apology form every single person on this planet, and that includes all the Heralds, and the Heralds owe him, like, a hundredbajillion apologies extra

I have emotions

and opinions

HE’S SO GOOD

AND SOFT

MY GODSON

OH MY GOD

OHHHH MYY GOOODDDDDD

HE’S SO GOOD

oh no I love him so much

TEEEEFFT

FINALLY

YES

GOOD WORDS I’M CRYING OH NO

HE’S

SO MUCH

all my soft boys

best boys

dominoes with crystal transformation? MORE GOOD YIKES

YEESSSSS

KALADIN!!!!!

VS

FUCKFACE!!!

HERE WE GO

LOOK KALADIN, YOU DID SAVE HIM!!! YOU PUT THE SYLSPEAR IN JUST THE RIGHT PLACE TO BLOCK THE SWORD AND YOU DID SAVE DALINAR, LOOK AT YOU

NOW PLEASE PLEASE PLEASE STAB THE EVERLIVING FUCK OUT OF AMARAM

STAND UP AND DO BETTER

LOOK IT’S WHAT i’VE BEEN SAYING THE WHOLE TIME

yes good, heal Adolin, thank you

GOD FUCKING BLESS

LITERAL ORDERS TO STAB THE FUCKFACE

THANK YOU

ofuck he did swallow it

Not Great

every time Adolin talks to his sword, my heart leaps. he actually apologizes and also thanks her and I just! want her to know! how much he loves and appreciates her!

WAKE UP, SWORD! MAKE HIM RADIANT!

COME ON

FUCKING

YOU ABSOLUTE HOOKWORM I CANNOT BELIEVE

TWO SHARDBLADES. OF FUCKING COURSE HE NEVER GOT RID OF KALADIN’S. FUCKING

PIECE OF

ROTTEN SHIT I’m. hate him.

so

much

ooohh Shallan!!!!!! I’m proud of her!! She’d created them to be strong when she wasn’t but she doesn’t need them now aahh!!

OH HEY, FEN’S SON DOES HAVE A NAME and it’s a garbage Thaylen name. Kdralk? all right then

“Life could not be lived making decisions at each juncture.” Szeth.... Szeth that’s. that’s...exactly what life is??? That’s. how you do, actually, live life? I’m ???? ??

‘at the top, they found a jumble of Sadeas troops chipping at a door with hand axes. “I can probably get through that a little easier.”’ HEHEHEH

Lov me a sunshine boy

GOD FINALLY

LET! NAVANI! GRIEVE! THANK YOU

ADOLIN IS SUCH A GOOD COMMANDER, GOD

EXCELLENT TACTICS

I’M SO PLEASED

It’s very satisfying to get Kaladin fighting Amaram and Dalinar fighting the thrill Unmade at the same time

fINALLY something SATISFYINg in this book

listen, I love having the visual of Jasnah’s effortless airsteps from the cover, but I’m still REALLY Disappointed that the covers don’t match up with the flashback character.

It’s Dalinar’s book, it should be Dalinar on the cover, but WHATEVER, WHELAN, ugh.

THANKS FOR ALL THE BROKEN BONES, I HATE IT

It’s never fair when the bad guy brings so many friends to the party.

SHE FINALLY HAS A NAME YES

MAYA IS A GOOD SWORD AND I LOVE HER

eeyyyy GOOD JOB, VENLI!!!

PETITION FOR SUNSHINE BOY TO STOP GETTING HURT

ngl, his is the battle I’m actually most invested in rn, other than Kaladin, I just.

want him to be okay

“half expecting Skar and Drehy to be there to pull him to his feet. Storms, he missed those bridgemen.” ME FUCKING TOO, ADOLIN. WHERE ARE THEY ARE THEY OKAY 

AAHH!! Renarin gets to protect Adolin THAT’S SO NICE GOOD

I ADORE that Lift and Dalinar are besties. It’s the BEST dynamic, such an interesting combo, and I LOVE IT.

“Amaram was screaming in pain.” GOOD.

WONDERFUL. AMAZING.

BRILLIANT.

FRAME IT.

Overconfident fuckface took his own helmet off, bless hiS HEART

“I hurt, once...after I killed your squad, I hurt.” OH BOO HOO, POOR BABY FELT A TWINGE OF GUILT FOR A HOT SECOND I DON’T FEEL BAD FOR YOU, YOU ABSOLUTE FUCKWEASEL

oh, gross

thanks

THE SPEAR THAT DOESN’T BREAK AAAHHHHHH MY SOUL

OH FOR FUCK’S SAKE, WE WERE SO CLOSE

it’s ok, we just need one more good solid hit on that gemheart and we’re DONE WITH THIS LOSER

A DOZEN

RENARIN CAN’T FIGHT A FULL DOZEN BY HIMSELF? OH MY GOD

not good

uugghh fuck Malata, I DON’T TRUST HER

Renarin is very brave. A Good.

OH WAIT, TEFT CAN OPEN THE OATHGATE

YAAASSS

YAAAAAAAASSSS

YAAAAAAAAAAAAAAAASASSSSSSSSSSSSS

I’M SO HAPPY

TEFT OPENED THE OATHGATE

LOOK AT MY BOYS

*SCREAMING CONTINUES*

PHEW ROCK IS ALIVE, I CAN KEEP READING

“YOU LOOKED LIKE PERSON WHO NEEDED HUG” ROCK IS THE BEST I LOVE ROCK I’VE MISSED HIM SO MUCH

Oh right, Dalinar’s still, like. doing stuff. I forgot, ‘cause it’s. Nothing’s happening with it.

Should be focal, but there’s. So much going on.

COME ON, KALADIN, YOU’VE GOT WORDS WEIGHING DOWN YOUR TONGUE.

COME ON, DARLING, PLEASE.

ok that’s acceptable

not ideal

but beautiful

a good, solid Rock.

I will accept this end.

Bridge Four is so, so, so important, I cannot express in words.

oh, quiet screaming:

Moash chapter

oooohhhh buddy

One day, you’ll wake up.

Until then, my very garbage brain will write fic, and it will be glorious.

how do people not ship this

he literally helped her remember herself

he recognized her in her sea of selves and pulled her out, cOME ON

THIS IS THE SOFTEST OF SHIPS AND I’M CRYING

AAHH VENLI!! PROGRESS!!! also what order, I must know

whoo Braize IS Damnation, called that shit, like, a book and a half ago.

“only Ishar survived with his mind intact” A RE Y O U V RE Y SU RE AB T T H A T? ???

oh. those are boring Words, but okay. makes sense, the Skybreakers are kinda. Meh.

ugh, we still have to deal with Hello Darkness My Old Friend? He’s going to come oversee training? ugh.

BEST KISS BEST KISS BEST KISS

OTP: NO MATING

OTP

BEST

KISS

YES

“You mentioned something about kissing me until I can’t breathe, but here I am, not even winded--”

B E S T K I S S BEST BEST BEST KISS

“I don’t think I loved her, Syl. I felt...something. A lightening of my burdens...” THE FEELING WAS FRIENDSHIP BUT NEITHER OF THEM HAD EXPERIENCED IT BEFORE.

“I knew you’d come for me.” brb crying forever

I don’t know if you know this, but I really love Bridge Four.

“We lift the bridge together, Teft. And we carry it.”

[cries quietly into that sentence for the rest of eternity]

TARAVANGIAN IS LITERALLY CONFESSING, BUT WHO WANTS TO BET DALINAR FORGIVES HIM AND STILL TRUSTS HIM

i s2g, Dalinar’s pure goodness is going to be the thing that kills him, in the end.

MOASH WHAT THE FUCK

JEZRIEN

I KNEW Ahu was a Herald, HA, but JEZRIEN HOLY FUCK  

actually dead or just bound in the sapphire bc it IS glowing, so. hm.

hm

god

Moash, plllleeeaasseeeeeeeee ugh

ahhh YAY LOPEN!!!

but it. should have been Moash. It was always supposed to be Teft and Moash and Skar and Rock.

And I love Lopen, really, I do. b ut.

I’m also:

~*~GARBAGE~*~

mmmmm ACTUAL FATHER? OR? HMM

I’M WORRIED ABOUT MY ANCIECT GODCHILDREN OKAY? HELP THEM.

OH THANK FUCK

SKAR AND DREHY ARE OKAY

SKAR AND DREHY PROTECT THOSE WHO CANNOT PROTECT THEMSELVES!!!!????

THAT’S!!!! THEY DID THE THING???!!! THEY’VE GOT THE WORDS!!!

LOOK AT MY BOYS GO! LOOK AT THEM ALL!!

TEFT AND LOPEN AND SKAR AND DREHY!!!!

I’M SO PLEASED

oh yeah they saved the kid that’s good

LOOK! AT! MY! BOYS!!!!!

Taravangian might be the ONLY fictional grandpa that I dislike

I always like the grandpas.

but noT THIS ONE

hm

by becoming king of the world and then asking odium to spare everyone he ruled, he was going to save everyone.

Not

actually a bad plan

Not a great one, obviously. but. not a terrible one.

Too bad it was NEVER GOING TO WORK

oh fuck off, he stole the Honorblade, which means Malata probably killed Eth, so GOOD NOW I HAVE A SOLID, CONCRETE REASON TO HATE HER, GOOD.

“Why would [Taravangian] work with the enemy? Everything he’s done so far has been to secure a safe Roshar--if through brutal means. Still, I have to wonder. I can’t afford to be too trusting.” I CAN’T BE TOO TRUSTING, EXCEPT TARAVANGIAN, I’LL DEF TRUST HIM OF COURSE, Dalinar, pLEASE

I’m dying, you gotta. ugh

he’s EVIL COME ON

ppppssssssst

*put Jasnah on the throne*

we need someone who’s good at diplomancy, who can inspire people and command them! GEE WHO’VE WE GOT WHO CAN DO ALL THOSE THINGS AND LOOK SHARP AF DOING IT?

I W ON D E R

oh holy shit, they actually did it

they actually did put Jasnah in charge

holy fuck

YEEEESSSSSSSSSSSSS

EXCELLENT

really moash

the stolen honorblade

HE WHO QUIETS --admittedly a great assassin epithet, but

Mooooooaaaaaaaassshhh

S I G H

okay, so we figured out that Sja-anat is anti-odium, that’s good. but HOW do we know that Renarin bonded one of her spren? just...’cause it’s corrupted and that’s what she does? or did I miss something more specific?

oh huh

ok

cool

OH!, he went to get Elhokar’s baby spren. interesting.

does that make Wit a Radiant? ‘cause I bet that’s not going to go over well heheheheh

WHOOOOOO I’M FREEEEEEEEEEEE!!!!!!

Defo not my favorite, but it did pick up at the end there. Part 3 was A TRIP that I enjoyed and I’m still pumped that Bridge Four got 1. POVs and 2. SPREN that was really nice. I’m ~*~GARBAGE~*~ and there was some good garbage Moash content, so I loved that. The roadtrip was Sure A Thing. I love my sunshine boy, Adolin Kholin with all my heart. Aaaaand I’ll circle back to Part 4 and the beginning of Part 5 when it’s NOT 4am!

[ekatheshallowbird]

Kayaknya berapa kali pun nonton series ini nggak akan pernah bosan. Always like everything’s going on in their lives. Instead of watching the newest season, I put it off only to rewatch the previous seasons. And it’s gonna take a loooong time. It depends on my mood, though. Everything’s negotiable. 

MY FINE LINE

      “Oh, it is really good. It’s the best coffee in town.”

(Lorelai Gilmore)

      “You’re a regular Jack Kerouac.”

(Lorelai Gilmore)

      “I’m just screwing with your mind.”

(Lorelai Gilmore)

      Dialogue

  Rory: Hey. It’s freezing. Lorelai: Oh, what do you need? Hot tea, coffee? Rory: Lip gloss. Lorelai: Aha. I have vanilla, chocolate, strawberry, and toasted marshmallow. Rory: Anything in there not resembling a breakfast cereal? Lorelai: Yes. It has no smell but it changes colors with your mood. Rory: God. RuPaul doesn’t need this much makeup.

      “Wow. You do not look old enough to have a daughter. No, I mean it. And you do not look like a daughter.”

(Joey)

      “Korean never joke about future doctors.”

(Lane Kim)

      Dialogue

  Sookie: I want to put it on the waffles for breakfast. Lorelai: I want to take a bath in that sauce. Sookie: I will make more. Lorelai: Someday, when we open our own inn, diabetics will line up to eat this sauce. Sookie: Won’t that be great? Lorelai: Yeah. But the key to someday achieving that dream is for you to stay alive long enough, so we actually can open an inn. Do you understand? Sookie: Yes, I understand.

      “It sucks that after all these years your mom still hates me.”

(Rory Gilmore)

      “Boys don’t like funny girls.”

(Mrs. Kim)

      “Protestants love oatmeal.”

(Sookie St. James)

      “People are particularly stupid today. I can’t talk anymore with them.”

(Michel Gerard)

      “There’s something I haven’t thought of. I know there is something staring at me right in the face. I just… I haven’t seen it.”

(Lorelai Gilmore)

      “Since we are now financially involved in your life. I want to be actively involved in your life.”

(Emily Gilmore)

      ”God! You’re like Ruth Gordon just standing there with a tannis root. Make a noise.”

(Rory Gilmore)

       Dialogue

  Rory: Hey, how did you know I was reading Moby Dick? Dean: I’ve been watching you. Rory: Watching me? Dean: I mean, not in a creepy, like “I’m watching you” sort of way. I just, I’ve noticed you. Rory: Me? Dean: Yeah. Rory: When? Dean: Every day. After school you come out and you sit under that tree there and you read. Last week it was Madame Bovary. This week it’s Moby Dick. Rory: But why would you— Dean: Because you’re nice to look at. And because you’ve got unbelievable concentration. Rory: What? Dean: Last Friday these two guys were tossing around a ball and one guy was nailed other right in the face. I mean, it was a mess, blood everywhere, the nurse came out. The place was in chaos, his girlfriend was all freaking out and you just sat there and read. You never even looked up. I thought, I have never seen anyone read so intensely before in my entire life. I have to meet that girl. Rory: Maybe I just didn’t look up because I’m unbelievably self-centered. Dean: Maybe, but I doubt it.

      Dialogue

  Lorelai: I forgot to tell we’re having dinner with your grandparents tomorrow night. Rory: We are? Lorelai: Mm-hmm. Rory: But it’s September. Lorelai: So? Rory: So, what holiday’s in September? Lorelai: Look, it’s not a holiday thing. It’s just dinner, okay? Rory: Fine, sorry.

      “Red meat can kill you. Enjoy.”

(Luke Danes)

      “I don’t tell you everything. I have my own things.”

(Rory Gilmore)

      Dialogue

  Lorelai: This is about a boy. Of course. I can’t believe I didn’t see it. All those talk about money and bus rides, you got a thing going with a guy you don’t wanna leave school. Rory: I’m going to bed. Lorelai: God, I’m so dense. That should’ve been my first thought. After all, you’re me. Rory: I’m not you. Lorelai: Really? Someone willing to throw important life experiences outta the window to be with a guy. It sounds like me to me. Rory: Whatever. Lorelai: So, who is he? Rory: There’s no guy. Lorelai: Dark hair, romantic guy, looks a little dangerous. Rory: This conversation is over. Lorelai: Tattoos are good too. Rory: I don’t wanna change schools because of all the reasons I’ve already told you a thousand times. If you don’t wanna believe me, that’s fine. Goodnight. Lorelai: Does he have a motorcycle? ‘Cause if you’re gonna throw your life away, he better have a motorcycle!

      Dialogue

  Lorelai: Listen. Can we just start all over, okay? You tell me about the guy and I promised not to let my head explode, huh? Rory, please talk to me. Okay, I’ll talk. Don’t get me wrong. Guys are great. I am a huge fan of guys. You don’t get knocked up at sixteen being indifferent to guys. Babe, guys are always gonna be there. This school isn’t. It’s more important. It has to be more important. Rory: I’m going to sleep. Lorelai: Rory. You’ve always been the sensible one in this house, huh? I need you to remember that feeling now. You will kick your own butt later if you blow this. Rory: Well, it’s my butt. Lorelai: Good comeback. Rory: Thank you. Lorelai: You’re welcome. Rory, come on. Rory: I don’t wanna talk about this. Could you please, please just leave me alone? Lorelai: Okay, fine. We always had a democracy in this house. We never did anything unless we both agreed. But now I guess I’m gonna have to play the mom card. You’re going to Chilton whether you want to or not. Monday morning, you will be there, end of story. Rory: We’ll see. Lorelai: Yeah, we will.

      Dialogue

  Rory: So, do we go in and do we just stand here reenacting ‘The Little Match Girl’? Lorelai: Okay, look, I know you and me are having a thing here and I know you hate me but I need you to be civil. At least through dinner, on the way home you can pull Menendez. Rory: Fine.

      “Is that a collector’s cup or can I throw it away for you?”

(Emily Gilmore)

      “Well, it’s not every day that I have my girls here for dinner on a day the banks are open.”

(Emily Gilmore)

      “An education is the most important thing in the world, next to family.”

(Emily Gilmore)

      Dialogue

  Emily: Lorelai, come back to the table. Lorelai: Is this what it’s gonna be like every Friday night? I come over and let you attack me? Emily: You’re being very dramatic. Lorelai: Dramatic? Were you at that table just now? Emily: Yes, I was. And I think you took what your father said the wrong way. Lorelai: The wrong way? How could I’ve taken it the wrong way? What was open to interpretation?

      Dialogue

  Lorelai: Why do you pounce on every single thing I say? Emily: That’s absurd. You barely uttered a word all night. Lorelai: ‘That’s not true.’ Emily: You said pie. Lorelai: Oh, come on. Emily: You did. All I’ve heard you said was pie. Lorelai: Why would he bring up Christopher? Was that really necessary? Emily: He likes Christopher. Lorelai: Isn’t that interesting? Because, as I remember, when Christopher got me pregnant, Dad didn’t like him so much. Emily: Oh, well, please, you were sixteen. What were we supposed to do? Throw you a party? We were disappointed. The two of you had such bright futures. Lorelai: Yes. And by not getting married we got to keep those bright futures. Emily: When you get pregnant, you get married. A child needs a mother and a father. Lorelai: Oh, Mom. Do you think that Christopher would have his own company right now if we’d gotten married? Do you think he would be anything at all? Emily: Yes, I do. Your father would have put him in the insurance business and you’d be living a lovely life right now. Lorelai: He didn’t wanna be in the insurance business and I am living a lovely life right now. Emily: That’s right, far away from home. Lorelai: Oh, here we go. Emily: You took that girl, completely shut us out of your life. Lorelai: You wanted to control me. Emily: You were still a child. Lorelai: I stopped being a child the minute the strip turned pink, okay? I had to figure out how to live. I found a good job. Emily: As a maid. With all your brains and talent. Lorelai: I worked my way up. I run the place now. I built a life on my own with no help from anyone. Emily: Yes, and think where you would have been if you’d accepted a little help, hm? And where Rory would have been. But no, you always too proud to accept anything from anyone. Lorelai: Well, I wasn’t too proud to come here to you two begging for money for my kid’s school, was I? Emily: No, you certainly weren’t. But you’re too proud to tell her where you got it from, aren’t you? Well, fine. You have your precious pride and I have my weekly dinners. Isn’t that nice? We both win.

      “You know what’s really special about our relationship? The total understanding about the need for one’s privacy. I mean, you really understand boundaries.”

(Rory Gilmore)

    Mentioned:

Rosemary’s Baby 

Moby Dick

Madame Bovary

The Little Match Girl

Menendez

Nick at Nite

    MY BEST SHOT

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***

    Sutradara: Lesli Linka Glatter

Penulis Skenario: Amy Sherman-Palladino

Musik: Sam Phillips

Sinematografer: Teresa Medina & Hiro Narita

Desain Kostum: Vicki Graef & Caroline B. Marx

Tayang Perdana: 5 Oktober 2000

Durasi: 45 Menit

Nonton di: Netflix

Rating: 5 dari 5 Bintang

    Gilmore Girls S1 : E1 – Pilot Kayaknya berapa kali pun nonton series ini nggak akan pernah bosan. Always like everything's going on in their lives.