#i have faith in things like nature and storytelling

[lucky-clover-gazette]

balancing the niche loz fandoms collective discourse by putting very obvious anti-religious themes in every fic i write

[scattered-winter]

some of the ways y'all talk about buddie on here is. sure something.

i've seen so many people cry "queerbait" and similar sentiments and i'm just????? we must be watching different shows or something. 911 has a beautiful, canon queer relationship in the main cast, so we know they're willing to show them and write them in a realistic, beautiful way. and idk some of y'all are so up in arms about buddie not being canon yet but like....you do realize that part of storytelling is anticipation from the audience, right?? you do realize that storylines that are rushed to please the fans are never on the same level as storylines that take their time and bloom on their own, right???? you do understand what a slow-burn is, right???????

idk i just. i think as a whole the fandom needs to take a step back and trust that the writers know what they're doing with this. we're not here to fight and complain about this show, we're here to enjoy the ride. maybe we should let ourselves do that.

[starrynightmuse]

Sign of the Times 🏛⏳️ I. Broken Dragonfly Wings

Aemond Targaryen x reader, Library of Alexandria AU

(Title inspired by the Harry Styles song)

Blurb: It's summer in Alexandria, Egypt, and the heat has reached sweltering heights. Children dash toward the banks of the Nile, eager to find relief in the cool waters while ladies fan themselves under the shade of palm trees. Thick mud huts keep families cool under the boiling sun. It would be 1,892 years before the first ice cubes would be invented and nearly two millennia until air conditioning. Even Jesus Christ wouldn’t be born until another 48 years. But you have the teachings of Aristotle and the works of Euclid. You're the first and only female scholar at the Library of Alexandria, the first institute of its kind. All your life has been spent in the pursuit of knowledge — until the arrival of a mysterious young scholar named Aemond. 

Series warnings: period typical misogyny, ancient academia, teacher x student relationship (but they're the same age), violence, fire, sexual content (18+), reader is loosely based off of Hypatia of Alexandria, Targaryens x Ptolemies crossover, character deaths, inaccurate history for the sake of storytelling, accusations of witchcraft, debates on fictional religions, Plato, Daemon being a menace.

Word count: 5,380

Series Masterlist

Your heart was racing, terror coiling in your stomach like a serpent, but you refused to let it show as you looked out at the mob of angry faces around you in the pavilion.

“Traitor!”

“Death to the witch!”

“Kill her!” 

You knew there was no escaping this. This was the end. Yet, even as fear flooded your chest, you refused to let go of your pride. You held your head up high as Prince Daemon approached you where you kneeled. He looked down at you, his cold eyes gleaming in sick satisfaction.

"I'm giving you one last chance, witch," he said, his voice hard and uncompromising. "Renounce your unholy ways and convert to the Faith of the Seven, and you shall walk away unharmed."

You looked up at him, refusing to back down. You hypocrite, you thought. When you spoke, your voice was steady and firm. "I cannot.”

The prince's expression darkened. He stepped closer to you, his lips close to your ear so that no one would overhear.

“There is nothing left for you. It's over. Save yourself and the crown will grant you mercy,” he hissed.

You spat at his face. "If the right to think is treason, then I embrace it proudly. I refuse to remain supplicant to a crown that fears the power of knowledge and labels it treachery."

Daemon's lips formed into a cruel snarl. He stepped back and turned to the crowd, opening his arms in a dramatic display. "The punishment for witchcraft is death!" his voice boomed. The crowd erupted, snarling and roaring like a pack of lions.

Your heart raced as the people closed in with stones in hand, hungry predators circulating their prey. You took a final deep breath, bracing yourself for the onslaught. The first stone hit you, a dull throb of pain that quickly gave way to sharper, intense sensations as more stones followed. You feel your knees collapsing to the hard floor. In reflex, you cover your head with your arms. You shut your eyes, and the last thing you saw was the memory of a single blue eye.

🏛⏳️

6 months earlier.

There's a buzzing in the air, and not just from the hum of people in the atrium outside. Inside your classroom, a large blue dragonfly lazily flies in circles, your students taking turns swatting at it as it zips by. It’s an epaulet skimmer, or an orthetrum chrysostigma, a common dragonfly found around Egypt. Last month, you helped survey them with a fellow scholar who was putting together an account of all the various insects along the Nile River delta. The research project was commissioned by the Princess Helaena Targaryen herself, whom you've heard was quite fond of natural history. 

In the midst of your lecturing, the buzz of the insect feels amplified. In front of you sit nearly fifty pupils, all perched on wooden benches. Most of them are in their teens and early twenties, and all of them were young men with restless energy with wandering minds. While a few showed genuine curiosity, you knew that attendance was merely a formality to half of them, who were only present because their parents were wealthy aristocrats. Yet, you knew it was your duty to broaden their minds and instill some semblance of knowledge into their minds before they go on to graduate and become lords who make decisions that impact hundreds of people.

“Whether you believe in the Seven or the old gods, we accept that the divine has created all that we know,” you say, your voice carrying across the room. “Yet, the mechanisms behind how their creations work are a mystery to us mortals.”

There's a blur of blue near your eye when the dragonfly makes a landing on your nose. You swap it away and continue. 

“For example, what are the gears that drive a drought? Elders of the past have said that a drought is punishment from an angry sun god. Holy men today say it is the repercussion of having vexed the Seven. But how, precisely, do these divine beings bring this drought upon us?” You pause, pacing around the room. “Like observing the work of a craftsman, we can observe the handiwork of the gods. We can observe that volcanic eruptions are one tool that the gods use to give us droughts. Likewise, miasma from a plague, which spews vaporous acid into the atmosphere, can cause rising temperatures and dry up rivers. (Modern Fact check: Miasma does NOT cause plagues. They are caused by infectious bacteria and viruses.)

“Every natural disaster has forces, or causes, behind them. Although perhaps only the gods may know the truth of the workings behind these events, philosophers and believers of science have theorized why certain disasters come to be. Take earthquakes, for example. Compared to droughts, it is much harder for us to determine how earthquakes are created. Aristotle, for one, suggested that it is caused by winds in subterranean caves.”

One of your pupils seated on the front row raises his hand. Ebony curls, dark eyes that remind you of beetles, his robes a deep plum that only money can buy.

“Perhaps Aristotle failed to consider that earthquakes could just be Atticus's mother walking to the market,” he says, a cocky grin spreading across his face. His friend gives him a hearty slap on the back, nearly doubling over with laughter.

You offer a tight-lipped smile. "Thank you, Flavius." 

Some of your students were more mature than others.

Flavius's jolliness is short-lived, however. The dragonfly suddenly decides to dart into his eye and he lets out a startled shriek. He swats at the insect and tumbles forward off the bench. His friend roars even harder with laughter. Meanwhile, the dragonfly falls onto the floor, its delicate blue wings now broken. A couple students in the back crane their necks in curiosity as Flavius stomps his feet on the insect's body, crushing it mercilessly against the tile floor. Tiny blue limbs smear across the tiles, its wings in pieces like shattered glass. A life snuffed out in the blink of an eye.

Flavius settles back onto the bench, straightening his toga with an air of nonchalance. "Apologies, miss. Please, continue," he says.

You choose to ignore his interruption, redirecting your attention to the rest of the class. 

“When we attempt to unravel the mysteries behind the divine's creations, we begin to understand the natural world,” you say, thinking about the dead bug in front of you, its blue wings, the blue of the Nile, all the species of flora and fauna that have survived for eons thanks to its life-giving waters. “This is why we study the discipline of science.”

“Beyond these walls, I have heard many who deem it to be blasphemy,” a voice interjects. 

Your gaze shifts to a young man at the rear of the room. You've never seen him before, not in your classroom nor around the Library. If you've seen him, you would know. With his sharp features, nearly white hair cropped close to his head, and a leather eyepatch covering an angry scar on his left eye — his was not a face you would forget. 

“What do they call you?” You ask curiously, piercing blue eye meeting yours. He seemed a bit older than the rest of your students — perhaps in his mid-twenties, around the same age as you. You briefly wondered where he was from. His features stood out in a sea of dark haired Alexandrians.

"I am called Aemond, ma'am," his voice remained composed and respectful. "Just Aemond." There was a refinement in his speech that hinted of a privileged upbringing, yet the absence of a surname intrigued you. Perhaps he was an educated slave, adept at tutoring and managing the finances of the master's household — literate slaves were not uncommon in the Roman Empire.

"And what have you heard, Aemond?" you inquire.

"It is said that scientific inquiry is seen as an offense to the Seven," he responds evenly, referring to the gods. "Questioning their creations is considered sacrilegious." Several students nod in agreement around the room.

You paused for a moment, gathering your thoughts.

“It is true that outside these walls, the belief that science is sacrilegious is held by many people,” you say slowly. “Perhaps even now, some of you are wrestling with the idea, torn between conventional thinking and what you are learning at this institute. If this is the case, I implore you to consider this —” 

You look out at the faces of your pupils. Some are focused and deep in thought, while others are frowning. A lone blue eye is fixed on you.

"—What act of love is greater than seeking to understand the object of your affection? Mathematics, physics, and astronomy are not merely academic pursuits but they are expressions of love. They are avenues through which we seek to comprehend and appreciate the intricate beauty of our world.” You gestured around the room. “I am aware that some of you are followers of the Seven. Some of you are devoted to the old gods. But science does not seek to refute the existence of one God over another, nor does it attempt to debunk the existence of the divine altogether. Science seeks only to understand.” You look in Aemond's direction. He's watching, listening intently. “In attempting to understand the natural world, we may better love the divine and appreciate their creations.”

🏛⏳️

The remainder of the class concluded smoothly, and due to the sweltering heat, you dismissed everyone earlier than usual. Despite the hour not yet reaching midday, the air was thick with humidity, making the classroom feel oppressive. You had no desire to keep your students in the stuffy classroom for longer than necessary.

As the others rush to leave the room, you notice that Aemond was kneeling down and using a handkerchief to clean the dragonfly off the floor.

“Thank you,” you say to him earnestly. His brow is furrowed in concentration as he delicately holds the insect through the thin white cloth. He picks up a broken piece of an iridescent blue wing, the shimmer catching the light.

"It's an epaulet skimmer," you remark softly. But you're not looking at the bug, you're looking at him.

"Orthetrum chrysostigma," Aemond responds, using the scientific name. You regard him with curiosity. 

“My sister has a fondness for insects," Aemond explains. "She is extremely gentle with them. She maintains an extensive collection in her room — beetles, caterpillars, dragonflies, and the like. But she only gathers them once they've passed on. Her heart is too big to confine them before they've lived a full life." He gazes at the broken wing in his hand with a hint of sadness. You suspect that he is thinking of more than the fate of the squashed bug.

“Some cultures believe that dragonflies were once dragons who were tricked by a jackal to change shape into insects,” you say, looking at the wing in fascination. “Once they became a dragonfly, they couldn't transform back. As a result, they represented change and illusion.” 

You notice that Aemond's gaze is now fixed on you, a blue eye that reminds you of iridescent wings and the shimmering surface of the Nile on sunny days. You think of mirages in the desert, blue lapis lazuli on polished gold rings, the holographic shells of scarab beetles. 

“They must've been very grand in their past lives,” he remarks.

There's a short silence as you observe him, unsure of what to make of this strange new addition to your class. As your gaze shifts from his eyepatch to his eye, you notice that he's studying you too. Suddenly, you feel very exposed, as if he was somehow reading your entire life story just by looking at you. 

Breaking the tension, you extend your hand. "I realize I haven't properly introduced myself. It's been a pleasure having you in my class," you say, stating your name. He accepts your gesture, clasping your hand in a firm shake.

“You're the daughter of Theon. Your father is the greatest mathematician in all of Alexandria,” Aemond says. “I know who you are.” 

“Do you study mathematics?” 

“No. History and philosophy,” he replies. “But I've read enough across all the disciplines to know who the greats are.” 

“I don't think I've ever seen you around here before,” you note.

"I just started my studies here," he explains. "I arrived last night."

"Where else have you studied?" 

“Nowhere else. All my education has been from tutors hired by my family at home.”

"If you don't mind my asking, where do you come from?" 

He hesitates. “I've been around,” he says at last. 

🏛⏳️

That afternoon, you decided to teach your next class in one of the classrooms overlooking the sea. Arriving early, you unlatch the tall, arched windows, hoping to coax a gentle breath of ocean breeze into the room. As the soft light of the late afternoon filtered through, you arrange your teaching materials as the first of your students trickled in.

The class was on Euclidean geometry. As it happens, this was one of your favorite subjects to teach. You loved to move around the room, using various objects — such as a discus, a sphere, and even a pineapple — to illustrate geometric shapes and their properties. It was more than just memorizing formulas; it was about seeing and understanding the spatial relationships and practical applications of mathematics in the physical world.  

Two thousand years from now, Euclidean geometry would be the foundation for computer graphics, radiology, and geographic information systems. Without Euclid, you wouldn't have video games or anime. There would be no x-rays to help doctors treat broken bones. Without Euclid, there would be no Google Maps, nor would you be able to stalk your crush's location on Snapchat. 

Abruptly, you are cut off mid-lecture as a series of bold knocks echo off the door. You excuse yourself and open the door cautiously, finding yourself face-to-face with six armored men adorned in gold cloaks. You step out into the atrium.

"What is your business?" you ask, your gaze sharp and guarded.

“Prince Daemon Targaryen wants to speak to Theon of Alexandria. I'm told you're his daughter,” the guard at front says firmly.

“My father is indisposed. Whatever business you have with him, you can discuss with me.”

A sudden laugh rings out across the atrium. Every movement in the hall comes to a standstill as scholars pause their tracks and turn their heads. In front of you, guards quickly part ways for a tall man with long silver hair. His armor clinks as he strides towards you, his eyes mischievous like those of a jackal, reminding you of the ancient depictions of Anubis on temple walls. Adorning his shoulders is the same golden cloak worn by his men.

It was the unmistakable Prince Daemon Targaryen, brother of King Viserys and the consort of the crown princess Rhaenyra. But to the smallfolk, he is known as the merciless commander of the City Watch. 

Daemon looks at you like you are the scum on his shoes. “I don't have time for games, girl,” he says mockingly. “Where is your father?”

“Like I've said, he is indisposed,” you repeat, meeting him with a steady gaze.

“I have come a long way from the palace,” he says, offering a false honeyed grin. “You will fetch him for me.” 

You give a smile that mirrored his. It was common knowledge that Prince Daemon frequented the company of his mistress in the city more than he did his own wife at the royal palace.

"I speak the truth when I say my father cannot be here right now, and I apologize on his behalf. However, I am willing to assist you,” you assert calmly.

"This does not concern you," Daemon retorts dismissively. "I am here on business concerning your father's governance of this... academic institution."

"I am a professor here and a senior member of the Library of Alexandria," you counter, maintaining your composure. "After my father, you will find no one more knowledgeable about the affairs of this institute than I am."

Daemon scoffs, his tone condescending. "There are matters too serious to discuss with a woman.”

“Then I'm afraid you will have to come back another day, my prince.” 

“Where is your father?”

“He is sick. Unless you have a direct order from the king, I would prefer not to disturb him from his much-needed rest."  

The unspoken truth hangs heavy in the air — the Library is under the protection of the crown, and Daemon, despite his authority, is not the king. The prince's expression darkens, a sneer painting his features as his knuckles grip around the handle of his sword on his waist. You find yourself locked in a tense staring contest, both unwilling to yield. Moments tick by in silence, each waiting for the other to give in. Then —

“Very well,” he concedes, letting go of his grip on the sword. But you knew from his expression that this was far from over. Daemon casts a disdainful glance around the atrium as if the place offended him before turning and walking away from you. His gold cloaks follow him, their armor clanking all the way to the main doors of the library. 

It is only when the last of them exited onto the street that you allow yourself to release the breath you've been holding.

🏛⏳️

“Daemon Targaryen? What was he doing here?” You hear Cregan before you see him.

You're in the far corner of the main reading room, kneeling before a crate with a new shipment of scrolls that came in from Greece. Gently opening the lid, you discover a signed note from the head of the Platonic School of Athens. Ἕν οἶδα ὅτι οὐδὲν οἶδα. Αὕτη ἡ γνῶσις ἐμοῦ ἐστιν, it reads at the end. One thing I know, that I know nothing. This is the source of my wisdom. It is a quote by Socrates.

Cregan emerges from behind a shelf, his gray eyes wide with exasperation.

“I can't say that I haven't expected this,” you say to him, picking up a scroll and lightly dusting it off. “It is no secret that Daemon puts up with us only because of the pharaoh.”

“Well, yes. But to barge in here and demand for the Professor—” he means your father Theon.

“He's been sending us threats for months.”

Cregan paused. “When did this start?”

“Four moons ago, when King Viserys reinstated him as Lord Commander of the City Watch.” 

Daemon had been the commander of the city watch once before, but that had been years ago, and back then he was more interested in dealing with criminals in the worst parts of the city. But after some scandal with the Princess Rhaenyra, Viserys had exiled him to Rome. Now, he was back and had regained both his old post as leader of the city guard and the Princess Rhaenyra, whom he took to wife. However, this time, Daemon was turning his policing to the University of Alexandria, more commonly referred to as simply the Library. Apparently, scholars are the new criminals.

“Why didn't you tell me?” Cregan asked, clearly frustrated.

“I didn't want to burden you with it," you reply honestly. "You've been occupied with your research with Princess Helaena these past four moons.”

Cregan rubs his eyebrows. “What has he been threatening?”

With a sigh, you rise to your feet, making space on the shelf for the new scrolls. Cregan joins you, handing over scrolls from the crate as you arrange them carefully in their designated spots on the shelf. 

“He wants to shut down the Library if we don't — and I quote his words — ‘tone down on the science’,” you explain. "He's pushing for censorship, insisting that everything that is taught and published here must be 'safe' for the public. He claims it's about protecting the moral well-being of Alexandrians."

Cregan snorts derisively. "I wonder what his wife thinks of his moral well-being."

"That's an ad hominem attack, Cregan," you chide gently. But you're smiling.

“We're the best scientific research institution in the Mediterranean,” he says. “And, let's face it, we're probably the best in the entire world. We owe it all to King Jaehaerys's proclamation over 50 years ago, protecting our intellectual freedom. Even Daemon Targaryen can't derail something like that.” 

“Daemon doesn't like anything he can't control,” you say. “Nor does he like taking no for an answer.”

“He's a cunt,” Cregan muttered angrily. “His word isn't law but he sure does want to act like it. Did you hear he's been trying to ban all Northerners from entering Alexandria? Unless they're slaves, that is. It's utterly absurd. He's a Northerner himself. His entire family hails from the north—well, not the North, but north of the Mediterranean. Valyria is a small city-state in Greece. Still, that's north of us. If he wants only true Alexandrians in the city, maybe he should consider leaving as well." The Targaryens, although originally from Greece, had become the longest-reigning dynasty in Egypt, despite their non-Egyptian origin.

"What does Princess Helaena think?"

"Of Daemon?"

"Of the North."

Cregan blushes slightly. "She's mentioned that we should visit there together someday," he admits. “For research purposes, of course,” he adds quickly. 

You grin. Cregan has been your closest friend since childhood, and you swear you've never seen him as happy as he's been the past few months.

"She wants to see the direwolves and the aurora borealis,” says Cregan. “I promised her I'd show her around Winterfell when we go." Winterfell, Cregan's hometown, nestled in a far-off corner of the world where snow and frost dominate most of the year — a large contrast to the sandy dunes of Egypt.

“You like her,” you mused.

“Don't be absurd,” Cregan says, but he's failing miserably in hiding a smile.

There's a rustling among the shelves behind you, and the next thing you know, you're face to face with a single blue eye that reminds you of ocean water and iridescent wings.

"Sorry, I was told that the texts about Plato are in this section?" Aemond asks.

"Oh. Yes. Absolutely," you reply quickly, gesturing around you. "I mean, they're all here. Everything on this wall is Plato. We've just received a new collection of his works from Greece and we just finished cataloging and setting them up. They're on this shelf. Here." Your words stumble out awkwardly, and you feel your cheeks flush with embarrassment.

“Perfect,” Aemond says, looking at you. Neither of you move. Cregan eyes the two of you with amusement. 

“Well, I was just about to head out,” Cregan says cheerfully, sashaying past you. You turn, widening your eyes and mouthing no to him. Cregan simply grins as he disappears behind the bookshelves, leaving you with Aemond. 

“You read Plato?” you ask.

Aemond nods. “I am an admirer of his work,” he says. “You were one of my first introductions to him, actually. I read your thesis on him, An Exploration Into the Metaphysics of Plato, when I was sixteen.” 

“I can't imagine there would be many copies of that,” you say with amazement. “I wrote it when I was—”

“Sixteen,” Aemond says. You blink. He clears his throat. “I've been a follower of your work,” he adds shyly.  

“Oh. I'm flattered.” You’re blushing.

“Is it true that you started studying at The Academy when you were fourteen?” He means the Platonic School of Athens, founded by Plato himself over 300 years ago. Most scholars called it The Academy. It is the first university to ever open in western civilization.

You nod. “I learned mathematics and astronomy here, but my father wanted me to get a hellenistic education on top of it, so he sent me to Greece. I stayed there for four years before returning to Alexandria.”

“I have a brother who studies there,” Aemond shares, leaning against a bookshelf. “My mother, being an Athenian herself, insisted he be sent there. He writes to me sometimes, telling me about the professors he works with. I had considered studying there myself.”

“What made you choose Alexandria over Athens?”

Aemond smiles. “I'm at the center of the world here. It seemed foolish to want to go anywhere else,” he says, his gaze sweeping the library around him. After a pause, he asks, “What made you want to teach?”

“The fear of oblivion,” you reply. "It's the realization that everything we do, everything we learn, and everything we create could be forgotten someday. Teaching, for me, is a way to combat that inevitability. By sharing knowledge, by shaping young minds, I can hope to leave a lasting impact — a legacy that outlives me."

Aemond nods thoughtfully. "So it's about leaving a mark on the world?"

"In a sense, yes," you affirm. "It's about contributing to something greater than myself, ensuring that knowledge endures beyond individual lives and fleeting moments."

He smiles faintly. "That's a noble pursuit."

"It's what drives me," you conclude. As you look at each other, you feel his gaze tracing over your face with a strange emotion. Awe? Admiration? Before you can decipher his thoughts, a scholar approaches the shelf behind you, prompting you to awkwardly step aside.

"I hope you find the resources on Plato you're looking for," you say to Aemond, refocusing on the moment. You pause. "We're hosting a seminar on Plato's metaphysics tomorrow afternoon in the Rose Hall. You should join us."

Aemond smiles. “I’d be honored to.”

🏛⏳️

Daytime in Alexandrian summers can be hot enough to fry an egg on the sidewalk, but when the chill sets in at night, the city transforms into a completely different land. It is under the cloak of darkness that Alexandria truly comes alive.

You’re wrapped in a headscarf, its tail fluttering in the gentle wind from the Mediterranean as you navigate the narrow streets of the night market. Oil lamps and torches cast a soft, flickering glow as shadows danced across buildings decorated with a mix of hieroglyphs and hellenistic art. On the streets, you hear people speaking in both Greek and Egyptian, but also Persian, Moroccan, and other various African and Asiatic dialects. Various aromas filled the air— spices mingled with the savory scents of grilled meats and the sweet notes of baked pastries and delicacies from the far corners of the world. It was the New York City of the ancient world.

Weaving between stalls adorned with colorful fabrics and gleaming trinkets, you spotted one of the gold cloaks from earlier that day. Upon noticing you, he gave you a brief, curt nod before turning his attention sharply towards a group of rowdy children who were blocking the path of a passing wagon.

You make your way to an apothecary stall, securing the medicine your father needs before turning to leave. Suddenly, a hooded figure trips over a wooden crate and crashes into you, causing both of you to tumble to the ground. You fall flat on the cobblestones, his weight on top of you. Your basket with the apothecary vial shatters on the road.

“Ow!” he yelled. You struggle to push him off and get to your feet, then reach down to help him up, steadying him as he sways unsteadily. His hood falls back, revealing a mess of unruly white curls. 

Prince Aegon Targaryen. You’ve seen him a few times while going around the city. The eldest son of Queen Alicent, known to frequent the streets of Alexandria often. Aside from Daemon, he was the only royal that most of the smallfolk could recognize by appearance.

"Prince Aegon," you say cautiously, helping him steady himself. "Are you alright?"

He blinks a few times, focusing on you with bleary eyes. "Why, hello," he slurs slightly, attempting a lopsided smile. For a prince, he seemed dirtier than Diogenes and his barrel.

"Let me help you," you insist, guiding him away from the scattered shards of glass. You maneuver him towards a nearby bench, ensuring he sits down safely.

"I’m alright, I’m fine," he murmurs, running a hand through his disheveled hair. He groaned and vomited on the ground next to him. You pat him on the back awkwardly as he empties his stomach.

“Did my mother send you?” he said abruptly.

“What?”

“My mother. She sent you, didn’t she? I can’t catch a break these days,” he grumbled. “The woman is a menace. She’s become crazier since my brother got exiled. I can’t even drink in peace now. She’s sending her spies everywhere.”

You frowned. “I’m not a spy, my prince.”

Aegon wipes his mouth with the back of his hand and sits back heavily on the bench. He tilts his head up at you, scrutinizing you, and then he sighs and hungs his head.

“Forgive me,” he mutters, almost to himself. “I’m tired of the games. Tired of the scrutiny. I’m tired of the standards that she sets for me, and I’m tired of her disappointment when I fail to meet them. Can’t she see I don’t want any of this? Can’t she just let me be?”

You hesitate, unsure how to respond to the prince's candidness. He was clearly drunk and you’ve only just met him, and you’ve heard unsettling rumors about him. Stories of his frequenting brothels and fighting rings, of fathering illegitimate children and neglecting them. But in this moment, he seemed far from the crooked prince that people whispered about. He seemed like a child in need of comfort.

“Your mother worries about you,” you say gently. “She only wants what’s best for you.”

He scoffs bitterly. “Does she? Tell me, have you ever had a mother who would rather marry you to your own sibling for political gain than let you live your own life?”

You shake your head slowly. “I cannot say I understand fully, but I know you carry a heavy burden.”

“Sometimes I wonder if I’ll ever be free of it.” Aegon leans back, staring up at the night sky with weary resignation. “My brother was lucky. I’d do anything to exchange places with him.”

You recalled hearing news of Queen Alicent’s second son, who had been condemned to work in the mines of Nubia as punishment for the murder of his nephew. The usual penalty for murder was death, and much worse if the victim was a royal, but since the criminal was a prince himself, it changed a few things. The Nubian mines were typically reserved for lesser crimes in Alexandria.

“The one who was exiled to Nubia?” you asked Aegon.

He chuckles bitterly. “My brother didn’t get sent to Nubia. Mother loves him too much for that.”

You stayed quiet, not knowing what to say. You had a feeling that you weren’t supposed to be hearing this piece of information. Yet, Aegon didn’t seem to expect a reply. He’s looking up at the stars, as if he wished to fly off into the heavens and leave his miseries on the ground.

“Thank you,” Aegon finally said, breaking the quiet that had settled between you. Thank you for listening, thank you for not judging, thank you for watching out for my drunken mess. He rose to his feet, a bit unsteady but more composed than before. He took out a pouch of coins. “This is for… what I broke,” he said, gesturing to the remnants of the vial around you, shards of glass glittering under oil lamps. You thought of the broken dragonfly wings from earlier in the day.

You accepted the pouch gingerly. What he gave you was worth much more than the cost of the medicine, but you didn’t want to offend him so you decided not to mention it.

“Should I call the guards to escort you back to the palace?” you asked.

Aegon blinked, his gaze drifting momentarily. “No, no,” he said, waving dismissively. “They’re my uncle’s people. They don’t like me.”

"Will you manage on your own?" you pressed gently.

Aegon straightened his cloak and mustered a tired smile. "I always do," he said. 

With that, the prince turned and started to walk away. You watched as he disappeared into the narrow streets, his figure gradually blending with the shadows.

Chapter II: Coming Soon

[iamnmbr3]

what are some really outstandingly written and creative hp fics. (please no wholeslae canon rewrites tho. AUs are fine).

Here are a few fics that I find to be especially outstanding and creative and well written.

Amulette d'amour by The_Carnivorous_Muffin, Vinelle (words: 58,092 | not rated | Tom Riddle/Alphard Black)

Tom is commissioned to repair a magical amulet.

Why I rec it: Listen. This fic is absolutely phenomenal. It has a fascinating and well developed exploration of wizarding society, brilliant and highly complex and multifaceted characterization, and very original and unique plotting. It's extraordinarily well written and is both thought provoking and dramatic as well as laugh out loud funny in places. It's not a fic premise or pairing I would ever have imagined but it's legitimately an outstanding piece of writing that will live rent free in your head.

At Your Service by Faith Wood (faithwood) ( words: 95,752 | rating: E drarry )

Hogwarts students are in danger; Harry is determined to save them all. There’s only one thing he knows for certain: Draco Malfoy is somehow involved.

Why I rec it: This is the closest to book 8 that I've seen. Stylistically it really recalls the feel and structure of the canon books and it has a lot of really cool plot developments and world building. It follows on nicely from the rest of the series and expands on whats there. It feels like a book 8 where drarry happens.

the pleasure, the privilege by asterismal (asterisms) (words: 19,901 | rating: M | Harry/Voldemort | CW: Horror, Extremely dark themes)

It begins with Vernon Dursley’s body, dead across the table. In which Voldemort is dosed with amortentia, and nothing is better for it.

Why I rec it: It takes a crack plot premise and runs with it and really makes it work in a serious way. This fic is DARK and very unique and creative in its plot resolution. It kept me on the edge of my seat and is incredibly innovative and dramatic.

Running on Air by eleventy7 ( words: 74,876 | rating: T | drarry)

Draco Malfoy has been missing for three years. Harry is assigned the cold case and finds himself slowly falling in love with the memories he collects.

Why I rec it: Brilliantly well done characterization and amazing world building and plot. The relationship and characters all develop so naturally and the writing is incredibly beautiful. It never feels rushed and yet you can't put it down.

Denude by Faith Wood (faithwood) (words: 4,172 | rating: E | drarry | CW: Underage)

This is a HBP AU. It's set a few days after the Sectumsempra scene and takes the story in another direction, asking the question: "What if the Sectumsempra scene had a greater impact on Harry and Draco?" Harry and Draco are sixteen. In medias res beginning. Non-linear storytelling.

Why I rec it: Stylistically it feels like it could be taken out of book 6. The characterization and dialogue is so spot on and its very emotionally evocative.

Sparkling Cyanide by Asenora (words: 1,415 | rating: G | Gen | complete)

Tom Riddle had nothing to do with the death of Hepzibah Smith. Hokey had just had enough of being a slave.

Why I rec it: Amazingly creative world building and premise and characterization. It feels brand new and yet wholly plausible and right.

[golvio]

I think the metanarrative reason for the Princess being put into an antagonistic role in the “intended story structure” instead of being the protagonist is a big hint to her true nature.

While the protagonist gets to have the POV and make the major decisions that determine the story’s resolution, the antagonist is the one who actually makes things happen. Even when she’s not an antagonist and you’re working together, she’s still making things happen solely by being the only visible character present. Her mere presence changes things.

It’s very, very difficult to have a story without some external force or another character acting upon your protagonist and pressuring them to make a move. Even stories told primarily in flashbacks have the main character interacting with something, even if only in the past tense. A story where the main character just sat there, never interacting with anyone or anything, never having any experiences to learn from, would be incredibly boring. Simply having someone else there to talk to and play off of is enough to get things to move again.

Contrast this with The Narrator’s ideal story, which is a Wholesome™️ story where the main character does what they’re told and then never has anything bad happen to them ever because, as the only character left in the story, they’re safe from conflict, change, or heartbreak. Sure, it might not be a controversial story that would upset someone, but it’s also incredibly dull and unfulfilling. The credits roll and that’s it? That’s all we get?

It’s absolutely hilarious to me that, while The Narrator inserted his echo into the Construct under the conceit of being the literary device that’s the vehicle delivering the story to the reader, he really sucks at storytelling. He can’t build rapport with his audience (us) because he doesn’t understand what we want or how to persuade us beyond vague moral arguments with no emotional hooks whatsoever. He’s so inflexible and refuses to allow alternate interpretations that he can’t handle when things go off script, and can’t get the story back on track when we start going off the rails short of pulling a deus ex machina (which only works when the audience still has enough faith in him to take him seriously as storyteller instead of doing their own thing). Things only get interesting when the Princess gets involved. Things only move forward when she forces the issue, particularly in the Nightmare route, where you refuse to commit to a choice out of fear of potential consequences.

A friend of mine who recently did their first playthrough commented on how the underlying quest to collect perspectives for the Shifting Mound was basically an improv session. I think they’re right on the money. Each chapter is like a game of “Yes, And” between you and the Princess that continues until neither of you can think of anything else. The developers mentioned in an interview that Shifty M. only arrives to take the vessel home when the story “ends.” That is, when there’s nothing left to do. Improv is one of the genres of performance that best encapsulates Change in its demand for adapting to circumstances and new information, so of course The Narrator would be against it, preferring simple, linear narratives.

People tend to become fascinated with antagonists because they’re the ones who make things happen. Adding an antagonist who’s also a person is one of the easiest ways to start building a story. By making the Shifting Mound and her fragments our enemy and requiring us to get within talking distance in order to slay her, The Narrator shot himself in the foot by making Her the most compelling and interesting character by default.

[soapoet]

W.I.T.C.H. pick-a-card reading

Irma Lair; your gifts

like & rb if it resonates ♡

01.

Shufflemancy: John my beloved by Sufjan Stevens

you probably already know this, and have heard it time after time, but you're very sensitive. not in a bad way, except when it overwhelms you and drains all your energy, but you are insanely intuitive. you may struggle a lot with your faith in humanity. one day you're snuggled up in bed sobbing over compilations of human kindness, then the next you log on twitter and declare humanity irredeemable. and worst of all you feel so alone. it's frustrating feeling like those around you go through the motions of life seemingly unaffected by the constant eldrich horrors around every corner. you know that it's not that they don't care, but sometimes you might secretly wish you could have a sip of whatever it is that's numbing them down. finding supportive and understanding friends to surround yourself with is important to your well-being because harsh words and criticism can bruise you harder than most. this sensitivity may sometimes feel more like a burden than a gift, but i assure you that there's a lot of positives to it.

you are naturally inclined to do well with energy healing and may develop clairvoyance on top of your already prominent clairsentience, and quickly learn how to wield these abilities. your compassionate nature makes you a very good source of comfort and support for others and you're able to gently guide others in a way that isn't intrusive, so many would flock to you for advice if you opened up shop as an emotional support human of some kind. be sure to safeguard your own energy and do as much or as little as you want and can when you hone your skills should you decide to practice any kind of divination or spiritual practice. even outside of more spiritual things you'd make good use of your gifts in teaching, psychology, or medicine. you put people at ease and it's easy for others to get attached to your energy, and you just as easily get a little too invested from time to time, so be sure to keep your boundaries clear and take plenty of time for yourself to recharge and ground yourself.

02.

Shufflemancy: Brittle bones Nicky by Rare Americans

some call it chaos, you call it fun. you have a knack for entertaining a crowd. even if you're shy around people you don't know well enough, those closest to you know you best for your creative genius. you're an engaging communicator and storyteller, and have a lot of ideas swirling around your brain. you really should get some of it out before you get dizzy. you'd make a terrific writer, artist, a performer, or public speaker. yes, even if that last one made your stomach churn a little. you're very likeable and fun, and you'd draw a lot of attention if you just put yourself out there. lots of people could use your zest for life and learn a lot from the stories you could tell, whether real or fictional.

music, cinema, theatre, story driven games, and literature may be things you find a lot of joy in. you're inclined to develop clairaudience, and you may already notice auditory cues and coincidences more than most, and find a lot of guidance and motivation from the music you listen to or from your own inner monologues that lead to aha moments. are you afraid of the spotlight? not sure where to start? if what's stopping you from pursuing your wildest dreams is a jumbled mess of what ifs and lists of things you need to perfect and reconfigure and practice until your face turns blue, stop. you're already good at cartwheeling your way through life, talking yourself in and out of things and thinking on your feet, so you absolutely got what it takes to just go, and figure out the minute details along the way.

03.

Shufflemancy: Pavlov's daughter by Regina Spektor

people usually hire staff to do all that you're able to do all on your own. you're very well-rounded. a jack of all trades, perhaps? you're intelligent, practical, and very creative. you'd make a great entrepreneur because you're such a hardworker once you set your sight on something you want to achieve. you seem to have a deep trust in your own strength and abilities. you're emotionally strong and very independent. freedom is likely a big motivator for you, and being your own boss sounds very appealing to you. you're claircognizant and just seem to know what needs to be done and also get things done. you're an incredible taskmaster and do well with organising your thoughts and ideas and solving problems that pop up.

manifestations must come easily to you, unless your ties to the 3d and a distinct flair of realism and tendency to 'believe it when you see it' holds you back from having faith. but there is nothing you couldn't do, and those limitations should be easy enough for you to clear. i mean, look at everything you've already done and what you're capable of when you decide that what you want is what you get! make sure to rest plenty, though. you're often at risk of burnout because you strive when you have things to do and may have a hard time kicking back to relax when you could be spending that time doing something. even your hobbies align with your goals or fit right into your resume, so do try to find something to do that isn't so much about chasing accolades as it is simply enjoying yourself for the sake of pure enjoyment.

[taggedmemes]

SENTENCE MEME BALDUR'S GATE 3 / PART FOUR

i'll feed your innards to the ants before i do that.

you're not here to play with the locals.

question, kill, then move on.

fail her at your peril.

were i not merciful, i would slice the skin clean from your meat.

i am nothing if not merciful.

tell me: why shouldn't i run you through this instant?

you are nothing until i tell you otherwise.

nothing even approaching a useful thought in that skulll.

it costs me nothing to spare your sorry life.

i required your silence and you made me a mockery.

save your anger for the enemies.

i will skewer the jeretic with his own silver sword.

don't trust a word out of her mouth.

you were supposed to rush to my defense.

fat lot of good you are.

she could shoot fireworks out of her backside for all i care.

i don't know what just happened any more than you do.

not my usual quarry, not my usual ally.

your faith is your own concern, not mine.

i didn't think you'd react so pragmatically.

in the future, i expect you to be honest.

as if mingling with a horde of goblins wasn't bad enough.

let's do what we have to, then get out of here.

let's not linger in this place any more than necessary.

pain without purpose is a terrible thing.

you bore the pain like a true believer.

i don't think i have the stomach for this.

this place was supposed to be abandoned.

a joy to see a familiar face in such a precarious setting.

a fine mess you landed yourself in.

how better to learn the ways of a people than to live among them.

one should cherish all of nature's bounty, but goblin guts are quite far down the list.

you're a true friend of nature, or perhaps a lunatic.

it's unbecoming to demand honorifics from the one who saved my hide.

you weren't speaking lightly when you said you needed help.

that doesn't mean i can't help.

you have my sincere sympathies.

the magic used is beyond me. it's either not of this world, or so ancient as to be lost to even nature's memory.

the natural order must be protected.

there's no order anymore, only chaos.

chaos is welcome in doses.

i'm practically an expert.

you're either an excellent storyteller or you've experiences something quite exceptional.

i'd be irresponsible not to debunk such a strange claim.

i cannot trust my own mind.

there is great potential within you.

you're looking for solutions in the wrong places.

if we work together, we may turn this around.

until it is found, i will take something precious from you every hour that passes.

silence now, or i will silence you forever.

he's been resilient, but he'll talk.

i will have an explanation, or your head.

i do not wish to spill blood here.

come daylight, we will find a place to end this.

you can accept you're wrong, or we'll be rid of you permanently.

you had every chance to look the other way.

you chose this.

don't expect to be mourned.

she's a liability.

thieves aren't afforded such luxuries.

loosen the grip on your pride for one blasted moment, won't you?

imagine what we might achieve if we channeled some of that hostility back at our real foes instead of each other.

[corellianhounds]

The Acolyte Criticisms, with Suggested Changes

Part 1

Word Count: 7.5k. whatever.

(I should mention that these mostly came from episodes 1 and 2, with minor details up to episode 4. Nothing’s been changed despite having seen episodes 5 and 6 since most of this was written)

My complaints so far with The Acolyte are as follows:

The script is weak and boring to listen to

The show tells the audience exposition, character emotions, and backstory instead of showing us characters and history through actions that develop and unfold naturally on screen as they do things to drive the plot

Characters don’t have significant character flaws or depth and are content to go with the flow without taking actions contrary to what others on their side are doing. Any disagreement is solved with a conversation. If it’s supposed to be a mystery, it’s to be expected that people are going to lie, to snoop, to evade the truth, go digging into questions where they’re not supposed to, and not get along with each other: characters (especially and including ones you’re setting up for a redemption arc) don’t have to be nice

The acting itself is boring to watch because most of the scenes are sitting and talking or standing/walking and talking without building the tension or taking action as they speak, which could also be because—

The settings feel like sets, not lived-in environments

Every obstacle is barely an inconvenience and is easily resolved

Issues with pacing in writing, direction, and editing

Missed opportunities for more interesting, dynamic choices

They’ve already answered a lot of the questions they set up. If you’re going to bill your show as a crime drama/murder mystery, you can’t immediately show all your cards in the beginning, meaning—

There’s no rising tension. Events are simply set up and then they immediately happen. There’s no connective tissue or resistance or compounding storytelling taking us from one place to the next, making it feel like a collection of individual scenes that exist just to tell us the exposition we need, instead of showing us how the characters act and interact within the environment with the other people there

There’s not always a logical cause and effect between the characters, actions, and/or actual dialogue/lines of thought

There are inconsistencies with genre and tone, often leading to failed attempts at both humor and drama

The writers attempts at misdirection are sloppy because the dialogue or actions they do or don’t give are either telegraphed too obviously, or they fall into the category of not having a sense of logical cause and effect within that scene itself regardless of if there’s supposed to be a reveal later. Scenes have to be cohesive on their own.

I’ve had similar criticisms of Kenobi and The Book of Boba Fett. I went into The Acolyte in good faith! The story itself at the core of these characters had potential! I was looking forward to seeing a mystery! But if this is what half of the season is, I don’t have high expectations going forward.

Here are some specifics for episodes 1 and 2 with references to episode 3 below (spoilers abound):

They billed the show as a mystery but they’ve already answered a bunch of questions that were set up in the first two episodes, sometimes within the same scene the question is asked. The characters (and by extension the audience) have a pretty wide understanding of who both Osha and Mae are and where they come from, even if we don’t have the exact details of what happened the night of the fire. Osha and Mae both know the other is alive, we already know who the assassin is without there being another possibility or explanation for them, we know who all of the targets are and where they’re located, we have the motive, and each conflict or scenario they introduce is resolved almost immediately. There’s no rising tension in the story or significant interpersonal conflict between the characters on each side, the characters aren’t that complex, and people too readily accept the answers they’re given with little protest or reactions based on a unique perspective that would make them feel more like people.

Even if who the assassin is, what their motive is, who their targets are, and where those targets are located apparently isn’t the main mystery we’re supposed to be following with the show, all of those questions are put forth and then immediately solved, meaning there’s not really a whole lot of mystery in a storytelling sense. If the main mystery is supposed to actually be about Mae and her master, not the crime drama about the assassinations that the marketing team billed the show as, then they should either have had Mae commit all three assassinations in the first episode while Osha is having to contend with the core cast being suspicious of and finding her, or made those the inciting incidents that happen prior to the show that cause the rest of the story, cutting out most of Mae’s appearances in the episodes to keep her character a mystery and focusing on Osha figuring things out. That gets a lot of things out of the way and opens up a lot more time in the show to explore the characters and move forward with Osha discovering and driving the story herself

I have some criticisms of their choice of technical production and design, but most of them come down to uninteresting camerawork on uninteresting and ineffectual set designs and environments. It feels like they plopped cameras onto singular sets they built to represent the entirety of that location without creating the connective tissue used to show characters going from one place to the next. Characters are in one place before we see them already in the next plot relevant location they need to be in with little travel time. We don’t see them arrive or depart or enter anywhere, they’re simply there. The temple had Sol’s one classroom, and later the jail cell. We didn’t get to see Vernestra following Sol to his office where they could talk about the assassin in private, we didn’t see Sol and Jecki walking out into the halls of the Temple during their discussion of Sol’s connection to Osha, we don’t see Osha traversing the ship and climbing up to the hatch to the outer hull of the freighter, we don’t see Yord and his padawan getting to Osha’s quarters, we don’t see much of the trio on Sol’s ship, we don’t see the escaped prisoners being found or taken to Coruscant, we see Torbin’s room from the same angles every time people are there, etc. etc.

The camerawork doesn’t help either. It feels like it’s being shot by people accustomed to doing theater on a proscenium stage, mid shots for conversations and wide shots for walking and rarely any tracking cameras following movement or pulling back to show travel from one location to another or following characters as they walk away, let alone anything more complex than that. Both the sets and cameras feel stationary, not dynamic and interesting, and it doesn’t help that a lot of the script consists of conversations that take place sitting and talking, or standing and talking. People aren’t DOING anything during these scenes and it’s hard to walk and chew gum at the same time when there doesn’t seem like any action is needed to get from one location to the next, or any obstacles (physical or emotional) forcing them to double back or change trajectory or pursue objectives other than get to the location that character needs to go next for the main plot to happen. It’s just not interesting or dynamic, and while you can tell the actors did what they could with the scripts they were given, the writing is weak and there’s only so much you can do with a bad script.

Character and Plot: Mae

I don’t know what a good alternative would be but I would have liked a different means of provoking the Jedi into a fight outside of Mae intentionally causing havoc and killing/maiming a bunch of people first. It was only after she assaulted the bystanders that they started to fight her back, and she was willing to presumably kill a bunch of other bystanders first as a means of distracting or provoking the Jedi when the Jedi already had engaged her in her fight.

I think Mae’s focus needed to stay on the Jedi because otherwise Mae garnered a lot more attention from local authorities and put a price on her head for drawing the wrong kind of attention (senseless killing of innocent people, causing mayhem and collateral damage and picking fights with everybody, not just the specific person she had beef with), making her overall objective more difficult since assassinations are supposed to be done in stealth, which seems to be how the writers intended for her to be interpreted. If anything, sparing bystanders in order to have them witness a fight where the Jedi attacked first seems like it would support her case after a declaration that the Jedi do attack the unarmed. Is she intended to be seen as a ruthless killer, or are her attacks purposeful, calculated, and premeditated?

If all it took was one small blade to kill Indara, I’m not inclined to believe she’s that good of a Jedi Master. We the audience have seen hundreds of examples of Jedi being trained to combat multiple assailants while experiencing numerous distractions, and we’re supposed to believe Indara couldn’t stop two blades she had time to see and knew were both coming? One of which Mae doesn’t even throw until after Indara has already stopped the other one? What it tells me is that Indara isn’t really that aware of her surroundings and isn’t a seasoned Jedi

That moment would have played better if Mae had thrown both at once, and if we’d seen the evidence of the blade going clean through Indara’s chest to the other side. If Mae is angry and if her use of the Force gave her enough physical strength to kick the four-hundred pound table at ground level earlier, there should be enough force and emotion behind the blade that it drives through Indara’s chest into the post behind her and splinters the wood, buckling the support beam. The showrunners made a Jedi assassination show, so show us what level of ability— Force-powered or otherwise— it takes to assassinate a Jedi. Make it bloody, make it vicious, and convince me this assassin is a legitimate danger.

If they didn’t want to show enough bloodshed to warrant the right audience reaction, my alternate suggestion would have been to have Mae level the building. We could still have Mae choosing to allow the barkeep and his kid to escape, with him being able to act as witness later. If she’s been practicing the Force in secret like the opening lines say, show her using the Force more impressively, or using skills we and the people within the show haven’t seen before. I don’t know if bringing the building down would count as not using a weapon to kill the Jedi, but it would have been a better way to show how someone not formally trained by the Jedi was able to take down a master.

Even if Mae isn’t supposed to have mastery of the Force yet, we need to see her do more than small-scale telekinesis and heightened agility, acrobatics, and strength. Her master can (we assume) be withholding even more impressive dark-side Force powers from her until she completes the mission to kill a Jedi without a weapon, but I don’t quite believe she’s strong enough to evade or defeat the numerous trained Jedi in those first two episodes. It felt like the showrunners were dampening the Jedi’s capabilities in order to make her seem like she could be on their level, when what they should’ve done was elevate Mae to theirs.

I want to see proof she’s being trained by a Dark Force user, and right now she reads as a pretty good infiltrator, but not all that impressive of a killer. All of her skills right now are no different than ones the Jedi already use. Giving her some kind of Dark Force powers would make her more impressive and feel more like a threat, something like a Force lightning whip, or blades of pure energy, or puppeteering bystanders to fight her targets/act as human shields against their will, or pyrokinesis (which tbh would be very cool thematically, especially when it’ll probably later be revealed she didn’t intend to set fire to the coven’s headquarters). Redemption arcs will always be stronger when a character has done some legitimately terrible or horrific things before they change.

—

One of the criticisms I mentioned is the script. There’s frequently unnecessary dialogue; in this opening fight when Indara asks “What are you doing here,” Mae doesn’t have to say “I’m here to kill you” because it’s already obvious by Mae’s actions that’s what she’s there to do. Indara’s real question is either “How did you survive?” if she knows it’s Mae despite all odds, or it’s “Why are you trying to kill me?” if her part in Mae’s past truly is innocent and/or she believes Mae to be Osha (forehead tattoo notwithstanding; Osha left the Order and for all Indara knows there could have been other witches like their coven).

Mae could have simply gone on the offensive without saying anything. If Mae does respond, it shouldn’t be to state the obvious when both Indara and the audience can see what’s happening. Her response could simply be “Retribution,” or “Justice.” That gives the audience motive and intent and tells us more succinctly than anything that there is an established history or past connection between the two characters.

Indara extinguishing her saber in response to “A Jedi doesn’t pull her weapon unless she’s prepared to kill,” seems foolish because even if Mae’s bias is confirmed if Indara keeps her blade ignited, the logical response from a seasoned fighter and defender of the people should have been “If that proves the only way to stop you I will do what I must,” because Mae’s the instigator who made it clear she’s there to kill Indara anyway, we know the Jedi will obviously fight in the name of self defense, and Mae made it a point to hurt a bunch of other people unprovoked in the fight leading up to this line first; how is she any better than the person she’s challenged with that accusation?

If Mae does have a genuine reason to believe what she says, then covertly drawing another blade with the audience knowing her intent results in said audience NOT believing she has a genuine reason to say it and is only using it as a means of getting Indara to lower her defenses. That combined with her instigating an assault on bystanders won’t make the audience see her as a sympathetic character, even if/when her motives against the Jedi are later revealed to be justified. She’s already proven to be deceptive so there isn’t really a reason to believe anything she says regarding her justifications/motive after this 🤷‍♂️

(Unrelated: Though I’m sure it’ll probably be revealed later, I’m not exactly sure why Mae left Indara’s lightsaber if she made it a point to go after it in their fight.)

(A note on the technical side of things: If the story hadn’t immediately revealed and confirmed for the audience in the first two episodes that the assassin is an entirely separate person, part of the mystery as to who the assassin really was could have been the clue that the assassin’s hair is longer than Osha’s. That detail is irrelevant since the reveal happens in episode two though, but if they’d wanted to build the mystery for longer and have us looking for clues and wondering if Osha is the assassin or later wondering which of the two it could be, it would have been good if they gave the assassin the short hair and Osha the longer hair. The first episode already made us suspicious (Is Osha an assassin and a very good liar in the face of questioning, or is she actually innocent because everything she says on the freighter is true and it just happens to be suspicious? Or is Osha being possessed or mind-controlled against her will and without her knowledge into being an assassin for a time, blacking out entirely and waking up with her regular life and lack of memories as the perfect cover? Or is Mae’s spirit inhabiting/controlling the same body as Osha with Osha entirely unawares? If that’s the case, does Mae know that she’s also Osha in that scenario or are both twins kept in the dark?) If it was the case of two separate identical people, on rewatching the episode the audience would have been looking for the clues that would lead to the reveal; an assassin can cut her hair upon returning to her regular life in an attempt to blend back in and cast suspicions of her appearance on Ueda elsewhere, but you can’t grow eighteen inches of hair overnight.)

(But like I said, once you’ve already revealed who the assassin is in this mystery, there’s no reason to rewatch the story in an attempt to see how they set that mystery up, so those suggestions are irrelevant anyway)

—

Exposition, Character Building, and Poor Scripts: Osha and the freighter sequence

The dialogue with Fillik sounds kind of boring because it’s too generic. It could have been made more specific to those people to really show her relationships and history on the freighter, building up suspicions and lack of alibi. An example that comes to mind is Cassian’s introduction back on Ferrix as he’s going through the town, making points of contact with a dozen different people. We really get a sense of who those people are and what they want in just a few lines of dialogue, whereas Osha and Fillik sound like surface-level coworkers; “What I do with my time off is none of your business.” “No rest for the wicked, huh?” “Well the wicked rest, but when they do they usually don’t brag about it.” None of that really gives us anything besides the normal water cooler talk you could get at any office, regardless of whether your coworker may secretly be an assassin.

Since Fillik doesn’t come back in the freighter sequence after their work on the hull, it seems like he’s only there to establish that Osha doesn’t have an alibi for the previous night and Indara’s murder, but if you’re just going to reveal with pretty damning evidence that she didn’t do it in the beginning of the next episode, why set her up to be suspicious in the first place with that dialogue? Either swap it out for something more interesting, or if you want to keep the line because you do intend to keep her a suspect for longer, have Fillik come back towards the end when she’s being questioned.

In that scenario we see this: The door to her bunk is open, he hears her getting upset and goes to investigate, he can vouch for her character to Yord and the padawan, and/or Yord asks him specifically if he was with her the previous night. If Fillik is a close friend and can see Osha’s in trouble he can come up with a lie and cover for her. It can complicate things for Yord and possibly give Osha some time/evidence on her side with an alibi, considering she’s being accused of murder, or Fillik could even be angling to give Osha a chance to escape. If Fillik hesitates because he recalls their first conversation of the day, it could be enough evidence for Yord to conclude that Osha needs to be taken in for questioning.

Either way you do it, you’re using more characters who have already been established as a means of organically complicating the plot and interactions in the next few scenes, weaving these people together and opening up more opportunities for organic exposition so we don’t have to hear the same things being said twice

—

Exposition: Telling vs. Showing

I mentioned above that there doesn’t seem to be a logical cause and effect happening within the show. If they suspect someone of killing a Jedi Master, why are they sending a knight and a padawan to apprehend them? It doesn’t matter if Yord knows Osha: the fact a Jedi was killed should have told the council that 1. The assassin obviously has an issue with them, so any prior history between them is negligible and 2. The assassin is powerful enough to kill a Master, therefore two people of lower ranks with less experience and capabilities are not likely to succeed where a Master failed, and the council is putting them in danger by doing so.

Moving on to exposition: Audiences shouldn’t be hearing exposition through one character telling somebody’s entire backstory out loud, especially when the person they’re saying it to is the one they’re talking about. The entire questioning scene with Tasi and Yord is telling the audience who Osha is and how Osha came to the temple and the tragic circumstances under which she got there. It’s boring to listen to and it’s bad, lazy storytelling. It seems like the writers had a bunch of information to get out in order to move to the next plot point, and it won’t be the last time it happens. Osha’s backstory should have been revealed in relevant bits and pieces as circumstances developed.

Within the scene, Osha should have had a much stronger reaction to Yord bringing up the topic of grief (especially if they both know it’s not something she was able to reconcile). He’s the one who showed up out of the blue and brought it up and forced her to talk about something personal in front of a stranger.

In my opinion, I don’t think Yord should’ve known anything prior to Osha’s arrival at the temple. It leaves no questions to be answered for later; mysteries (and stories in general) are supposed to start with a lot of unanswered questions.

A way to change the scene on the freighter is to instead have first had a scene on Yord’s ship before he and the padawan arrive. We see Yord deep in thought, conflicted about having to arrest an old friend especially given the crime that’s been committed, and Tasi Lowa is introduced by listing the mission details on a datapad, going through it again before they dock but realizing Yord’s acting uncharacteristically quiet or somber, and asking Yord why it’s significant that he was sent to apprehend this person in the first place. Yord is reluctant to answer, Tasi presses for more information, Yord eventually reveals that the target is somebody he knows.

“… How do you know an accused murderer?” Tasi says carefully.

Yord’s expression remains conflicted as he docks the ship, not meeting his padawan’s eye. “Because we trained together at the Temple.”

This creates intrigue regarding Osha, tells the audience the council chose Yord specifically, that silence and somberness is out of character for Yord, and that Tasi is forward thinking and inexperienced, hence her need to ask questions.

I think I would have liked for Yord to at least attempt to compel Osha to tell the truth since that’s what he did to the Nemoidian officer on the bridge. Osha resists because he didn’t ask. Her being able to resist further establishes that she had training at the temple, showing rather than telling us more about her character. How she responds to that compulsion would inform Yord (by extension the audience) of her character, and regardless of her emotional response it raises suspicions around her.

On the other side, Yord could ask her if he could search her mind for the truth and if she says no -> suspicious, but if she says yes and he can’t find anything, it gives his character reason to doubt she did it, furthering the mystery, though his padawan could then point out “Unless she really is powerful enough to have killed a Jedi Master, which means she’s powerful enough to hide it from you.” Everything can be used to further the conflict and give it more complexities while still feeling like the natural progression the story would take. Yord will ultimately decide during the span of questioning, given what else they glean from her responses and Fillik’s possible interruption, that even if he could sense she was telling the truth they should still bring her in. Maybe a Jedi Master will be able to tell if she’s lying.

Having Yord be quiet, observing Osha’s responses while Tasi questions her on her whereabouts and opinions on the Order and Indara would have also built up his character as intelligent/capable of deductive reasoning and cautious/prepared in the face of danger, thus being the right choice to send on a mission to apprehend somebody who they believe capable of killing a Jedi Master. He shouldn’t have been revealing all of his cards while he was there in the first place— People will reveal themselves as they talk the longer you stay quiet.

Now the questioning scene is open to them asking specific questions regarding Osha’s recent activity without being bogged down by the past. The padawan goes in understanding why they doubly need to remain on guard, she’s able to ask questions specific to Osha’s whereabouts and see if she has an alibi with witnesses for the night before, Yord is able to ask questions specific to the Temple without having to spell everything out, and Osha can gather from their questioning that a crime has been committed and that she’s considered a suspect. Yord asks Osha questions specific to Osha’s past relationship with Master Indara, tensions rise between them as Osha starts to ask her own questions, piecing things together and asking what happened to Indara, Fillik could come in and the questioning broadens to him like above, and the four of them are interrupted by the witness being escorted in and saying “That’s her, she’s the one that killed the Jedi!”

The scene has its own building tension, we get exposition in the form of forward momentum, characters discovering things as they happen, and it would logically (like it should have in the canon scene) result in Osha having a much stronger response and protestations at being wrongfully accused of a pretty heinous crime against somebody she had no reason to kill. She should have been either verbally or physically fighting back/resisting being dragged away, the revelation as much a surprise to her as it would have been to the Jedi including Yord and Tasi when they heard it at the temple. Her protests can still be followed up with her vehement denial of such a thing, fiercely stating that she knows the council will believe her. Depending on how you want character relationships to develop, Yord can either try and fail to remain neutral as he’s cuffing Osha as she pleads and we can see that it’s a genuine struggle for him, or he manages to control his emotions to the point he can appeal to hers, telling her not to fight, that they’ll take it up with the council

—

Always Be Introducing Your Characters

I have to say I don’t really care about Jecki Lon, and indifference to a character is almost worse than active dislike. There are really no strong opinions to be had one way or another because she’s not really that interesting and there’s nothing that really ties her to the plot other than to be someone to ask Sol questions he can give exposition to. She doesn’t have any flaws, she doesn’t have her own objectives, and she’s kind of dull to listen to like the rest of the side characters.

Considering her introduction is with the “Doomed to repeat the past if we don’t learn from it” conversation with Sol, I thought Jecki, Sol’s current padawan, was going to be a mirror to Osha, Sol’s past padawan, but there hasn’t been enough significant development on her part with (or without) Sol for there to be any strong correlations or parallels.

To establish some sense of objective and character flaw it would have been good for her to go digging into Osha’s past and information the Jedi temple would have on her so that 1. The audience receives exposition in a more natural way than her and Yord just straight up asking Sol a bunch of (potentially painful) questions for the audience’s sake on the ship, and 2. So we see more of her character and she’s given a proactive goal and interest of her own in the story. Right now she still feels like she’s tacked on to be an extra set of hands and act as a mouthpiece for exposition. I don’t really get much of a sense of individuality or character from her outside of “follows rules,” which isn’t enough to interest me.

A way to improve the exposition and tell us more about both her and Yord’s characters is if Jecki started digging through Sol’s personal effects on the ship or was shown to have stolen a temple dossier or files from Sol’s office to look through and get some more background on Osha since Sol should have been more evasive about answering questions about Osha, reserving his thoughts for when he’s able to track her down. Sol has already shown resistance to her questioning his past with Osha, so it would be only natural for her to continue investigating.

Jecki could have been established with the rule-following characterization but then shown starting to bend the rules after Sol evades some (better-written) more pointed questions, going against what her own character would prefer, because she sees her master not abiding by the rules they both should already know to be true (not allowing one’s attachments to interfere with what needs to be done for the greater good). It gives her enough internal justification to satisfy her curiosity, since investigation is part and parcel to how mysteries as a genre work in the first place.

With the change of Yord only knowing about Osha’s past at the temple, he wouldn’t think to go digging into anything prior to her time there since he’d have no reason to think it had a bearing on the current investigation. When Jecki’s curiosity compels her to snoop, the scene on the ship becomes more interesting because Yord could’ve caught her and started to reprimand her (also being a stickler for the rules) before she asks him if he knew anything about Osha’s past. Osha’s homeworld, details about the coven, the fire, how it was started, or the fact Osha had a twin who didn’t survive are all possible pieces of exposition Jecki and by extension Yord could find that feel more natural under these circumstances, and it gives those two characters reason to be suspicious of any leeway Sol grants Osha when they find her. Any or all of it reveals something to Sol’s current padawan about his past one, setting up how Jecki (and Yord) will interact with Osha and Sol down the road.

As the two of them discuss what they’ve found, drawing conclusions and debating in whispers, neither realize their absences were noticed, and ultimately that’s when Sol catches them both

Sol either closes off their line of questioning (their specific questions revealing more of what either character prioritizes, Sol’s responses revealing more of his own character), or he could give a cryptic, heavy answer that tells them enough to realize something bad went down that night, shutting the both of them up. It leaves questions unanswered to come up later, it reveals more of the characters, and it sets up Yord and Jecki to have their own perspectives that develop over the course of the story. They get the same information as in canon in a more interesting way, and it keeps Sol from flat out stating something he then immediately goes back on when he meets Osha again at the end of the episode. Jecki now has to wonder what it is about the past Sol doesn’t want to repeat, and at the end of this episode when Jecki and Yord see Sol save Osha and refuse to handcuff her, the two of them could then share a look of trepidation after Sol and Osha pass, both thinking the same thing: Sol may already be too emotionally compromised to make clear calls regarding the alleged murderer in their midst, and they need to watch/listen to him carefully moving forward. That creates a source of interpersonal conflict that will keep the characters (and by extent the audience) asking the right questions as the mystery unfolds.

The Jedi rule warning against attachments is meant to be a self-imposed accountability measure against caring about any singular person or thing above doing what is best for the greater good. Because the Jedi were a specific order of people dedicated to protecting others, it wasn’t just a belief system but a lifestyle combined with a martial art and specific training in the Force. A Jedi’s relationships with other people, regardless of how good and selfless they are, cannot take precedence above doing what is necessary to save or protect the most amount of people. They knew if they allowed their emotions to cloud their judgment, they were capable of harm (either directly or through negligence) greater than that of the average person because they had been specifically trained with those abilities.

Depending on how you wanted Jecki’s character to evolve throughout the season, her curiosity could either lead to jealousy, if Sol genuinely does start to neglect her in favor of Osha (even if its not purposeful on his part, Osha just happens to be who the story/mission is centered around), or it could lead to a more mature response of seeing Sol more of a peer to be held accountable and less of a mentor to be admired and followed with few questions as she nears the end of her time as a padawan, meaning she’s concerned his own perspective will be compromised because he loves Osha too much to remain objective.

Either of those could result in a more severe fight with Sol later on when he inevitably does make a bad call, and regardless of Jecki’s progress leading to that point, even righteous anger directed towards holding him accountable can be interesting and still done in a way that audiences haven’t seen before. Holding one’s mentor accountable and saying the hard things that need to be done without involving one’s own emotional attachment to the relationship creates plenty of opportunities for drama, hard decisions/discussions, and character development, furthering Jecki’s standing as someone committed to following the rules because the rules are there for a reason. That response from somebody younger and less experienced would be harder for Sol to take as opposed to people higher than him on the council. Jecki wouldn’t even have to take issue with Osha personally for that to develop, which gives her own character inner conflict as well. Any or all of that would have been a unique perspective and character we haven’t seen yet from Star Wars, and it gives the characters actionable objectives to pursue or work around the rest of the story.

—

Humor/Tone Falling Flat, Undermining Characterizations and Tension

A lot of the humor doesn’t land for me because the jokes either feel like ones we’ve heard before that are now overdone, or they feel out of place within the progression of the scene, story, or characterizations, as though the writers came up with a bunch of jokes and tried to write the scenes around setting those jokes up. I’m not sure if it’s been done in an attempt to keep the show from being “too dark,” or if the target audience is younger than I initially thought, but to me they really just aren’t working.

The one that immediately comes to mind in these early episodes is Jecki’s attempt at conveying what kind of person Yord is (or what she thinks of him) by her tone, leading into a gratuitous shirtless scene with Yord that… doesn’t really tell us anything about his character. If you’re going to have a shirtless scene it has to mean something, but he’s just. Idk, deodorizing his robe for some reason. Leading right into a scene with him after the padawan’s complaint should convey to the audience something indicative of his character since the padawan’s delivery of “he’s just… Yord,” implies there’s no other explanation needed for whatever annoying thing he does that is supposedly consistent with his personality

I don’t care that it’s a shirtless scene, my complaint is that it’s unfunny, tonally out of sync, and doesn’t tell us anything besides that Jecki finds him annoying for some unspecified reason. Shirtless scenes have to say something about the character and/or the story or they’re just eye candy for the audience, which in this story feels cheap, confusing, and out of place.

Anakin’s shirtless scene while having/waking up after a nightmare in Revenge of the Sith tells us that not only does that character feel vulnerable, but that he’s there in Padme’s bed next to her and there’s a clear reason why he was there in the first place.

Princess Leia being forced into a slave girl outfit tells us a lot about her situation in Jabba’s Palace, and it tells us a lot about Jabba the Hutt and the denizens of the court. While she is also pretty obvious eye candy for the audience, it also highlights that the one person she loves romantically, who also loves her, is blind the entire time and never sees her at all, which is important for Han Solo’s characterization later when he makes his feelings clear to her, showing the audience it was never just a physical thing for them.

Yord’s not not showing off/flirting with anybody in say, a sparring arena where he’s justified in not wearing a shirt, so he’s not showing off either his appearance or skill in an attempt to impress people. He’s not lifting weights or preening in front of a mirror or fixing his hair, something that would tell us he’s concerned about his appearance, which means it’s not a case of vanity either, and nothing up to that point (or past that, seeing Episode 4, therefore half the season) tells us either of those things are part of his character.

That leads me to think the scene was supposed to be a way for the directors to tell the audience the padawan (and possibly by extent other people at the temple?) finds Yord insufferable or vain or shallow in some way, and that that’s supposed to suffice as the source of conflict/disagreement between those characters moving forward. However, that character attribute isn’t consistent with what we’ve seen of Yord so far, and nothing following that scene reinforces those ideas at all. If anything, Yord’s got the most objective eye and all of his suggestions and protests are reasonable. I think his plan in Episode 2 regarding Qimir in the apothecary was better as opposed to just blindly sending Osha in not knowing anything about this guy or the nature of his and Mae’s relationship or even what she’s supposed to say once she’s in there. For all they know these two covert assassins could speak with each other in an entirely different language in order to cover their tracks.

All of that ends up making that scene feel gratuitous and out of sync with the characterizations up to and at the end of the episode. It doesn’t serve any purpose other than to make Yord eye candy for the audience, which feels cheap, distracting, and a little insulting to the actor in my opinion, and if it was an attempt at humor, it falls flat because it wasn’t really anything to begin with. I don’t care if you as the writer/director think it’s a fun moment. If it detracts from or doesn’t add to the story, cut it out or make it better and have it mean something.

—

Environmental Storytelling: Technical Design and Production

Neither Osha or Fillik feel like they’re in the vacuum of space because their tethers float, but they look like they’re moving with regular gravity. If the boots are supposed to give them traction and keep them grounded, it should take more effort to lift them to walk. Their torsos and arms would move differently regardless.

I bring it up because if employed mekneks aren’t supposed to be human because it’s too dangerous of a job, prove to me that the danger is real just by virtue of the fact they ARE outside in space.

This would be a minor thing I’d be willing to overlook if technical and design flaws didn’t keep coming up and taking me out of the story. These environments are supposed to feel lived in and in doing so the action would feel more like it was happening to characters rather than actors. It’s the difference between the practical effects of Jurassic Park still holding up today because there are actual sets and tangible puppets and animatronics to move around and respond to, versus the almost exclusively CGI dinosaurs and parts of the sets used for Jurassic World (or to use a Star Wars example, the difference between the acting in the original trilogy vs the prequels). You can tell when actors don’t have a physical set to work with— Their performances are going to feel more genuine if they’re not just backdropped by blue screens, green screens, or in this case, the computer-generated Volume.

There doesn’t feel like there’s as much of a sense of danger, which keeps the story from building background tension or feeling complicated on an environmental level. Hoth looks and feels and affects the actors as if it’s freezing in Empire Strikes Back because they were shooting on a glacier. They made the Tauntaun feel like a creature because even after the puppet froze, even after the bellows to make it breathe froze, the props master had everyone grab a bunch of cigarettes and blow smoke into a bag specifically so they could get a shot of the Tauntaun’s breath fogging the air.

Conversely, the ice planet in the first episode of The Acolyte doesn’t feel dangerous because we don't see the environment affect the characters. None of the actors act like they’re in sub-zero temperatures, save for the second time we see Osha wake up (though that doesn’t carry through to her going out in the blizzard and being in the cave); even if you argue that the Jedi have some supernatural way of keeping themselves warm without wearing extra layers, that’s still a conscious choice they’d have to make and we need to see it happen or acknowledged, and Osha should still have been affected regardless. There’s never a single moment we see any of the characters’ breath fog the air.

It’s the kind of practical effect you notice because it’s missing. Osha should have had ice stuck to her hair and over her skin, her lips chapped and changing color, we should have been able to see her breath, and she should have been shivering violently at having crash landed on a snow planet and been unconscious long enough for the snow to pile up in drifts. I’d argue there’s even a pretty notable example of what it looks like for a main Star Wars character to wake up after being knocked unconscious and exposed to the ice and snow for hours on end. If you feel that’s an unfair comparison, I direct you to episode 3 of this same show when the coven is out on the mountain and you CAN see their breath in the air. If you have enough money to CGI a starship, you have enough money to add that in post.

Another example of the set not effectively telling the story is the apothecary in the second episode. It looked like a bar, nothing’s labeled or has a sense of organization or specificity the way a lab or pharmacy would have, Qimir is passed out as if he’d been drinking, and the dialogue of “sampling the merchandise” has been used before in a lot of other media to reference drugs or alcohol, so the audience isn’t going to conclude that it’s an apothecary. The scene where Qimir makes the poison feels too convenient and a little odd since they made it look and sound like he’s easily mixing up a cocktail, and he's not even hunting around the shop for specific ingredients, explaining what he’s doing when she asks him to make something on the fly, instead just grabbing a couple unmarked bottles within arm’s length.

(A side note: If Mae grew up using bunta for hunting, how does she not know how to make the poison for master Torbin herself?)

The end scene of episode two is another standout example of both the bad script and ineffective set design. The scrappers trekking through the forest are shot on a well defined path clear of brush with an obvious view of the ship they “stumble upon,” which makes the line “Hey look a ship! I bet we can scrap it for parts!” seem silly since it’s pretty openly and conveniently placed within their path and line of sight. The dialogue is pretty sparse and cliché (“I can’t believe I let you talk me into this!”) before they walk right onto the next set location we need them to get to for plot reasons all “Oh look, I wonder what that could be 🤔.” If these two are lost in the woods, give us a view of them in profile obscured by trees and actively wading through brush at chest height while they bicker, and then make them stumble out into the clearing or notice the ship through the trees and go to investigate. If the showrunners are trying to tell us the Wookiee Jedi is in a hard-to-reach remote location in the middle of nowhere, they failed to do that because it looks pretty easy to just walk right into this guy’s front yard. If he’s in self-exile or hiding on purpose, have him shoot a warning shot from inside or on top of the ship, or have the scrappers fall into some traps or something. Do something more specific to tell us about the world or characters

—

Most of the above complaints stem from a poorly written story, and what results means it’s not interesting to watch even as a layman or passive viewer. They have some really interesting ideas, but without good scripts, you can’t come up with interesting characters or actions for those characters to do because you haven’t written those characters with enough specificity or conflicting goals. Combine that with minimalist sets that don’t create enough of an environment to interact with and you can’t do any interesting camerawork. Having exposition given almost entirely through dialogue leaves no room for visual or environmental storytelling and missed opportunities for places where characters’ past and relationships could be furthered through the expressions they have and the actions we see them take. There’s no building upon the scenes we’ve already seen, there’s no layers or nuance to peel away, and the characters telling each other everything— often including those characters feelings— means the audience doesn’t have to work to piece anything together. At best the story feels like a simple junior high novel with little narrative tension or understanding of how complicated socio-political issues interconnect and the characters have little depth and aren’t strong enough to even compel me to go along for the ride.

The show has some really talented actors who I’ve seen do good work before and I wish they’d gotten the chance to have a better story. I’m not mad, I’m just disappointed 🤷‍♂️

[local-redhead-bookworm]

One of the few solid critiques I’ve seen of Helluva Boss and Hazbin Hotel is that the shows pick and choose which moral failings to depict as bad or as just funny.

Essay-length rant under the cut, also Hellaverse-typical TWs for abuse, SA, and general lack of morals

Disclaimers:

I’m not hating on these shows. I love both of these shows, but I’m an English major so I think it’s important for me to be able to analyze what exactly I think is not working. I’m interested in a discussion, but if all you’re here to do is spew hate with no good-faith criticisms, I will block you.

These shows do not need to teach morals. These pieces of media are both intended for adult audiences, and adults should be able to understand that a depiction does not equal support. My criticism is that this moral inconsistency is sometimes to the overall tone’s detriment.

These two shows are both set in hell. Following the usual rules of hell, you wind up there regardless of what you did, so all sins should be considered equal in that regard. Of course, we as people tend to think of some sins as less forgivable than others—namely abuse, SA, and murder. I’m making broad generalizations here, but please roll with me.

The biggest problem with Hellaverse writing is that the writers aren’t consistent on what is considered morally bad in the show. These shows both center around complex, deeply flawed people, and I find that really enjoyable from a storytelling perspective because I love nuanced, flawed characters.

There are a few notable instances where this moral ambiguity works in the storytelling’s favor. Stella screaming and throwing things at Stolas (Loo Loo Land) is something the audience is primed to see as a joke, but it is used to set up the later reveal that she is in fact highly abusive (The Circus) and attempted to have him killed (Harvest Moon, Western Energy). Stolas being casually condescending to Moxxie and Millie (Loo Loo Land) and his imp servants (Seeing Stars, Full Moon) is not heavily remarked upon, but it is later used to set up his classism being a point of contention between him and Blitzø.

However, the protagonists often exhibit similar behaviors to the villains and this isn’t treated as morally wrong, or sometimes an incident is treated as minor. This problem is most glaring in cases of sexual harassment or SA. Blitzø’s repeated stalking of Moxxie and Millie, including watching them have sex without their knowledge or consent, is treated as a joke. Moxxie being kissed by the incubi and succubi (Spring Broken) is treated as a joke. Likewise Sir Pentious being dragged into the sex room in Welcome to Heaven is also treated as a joke, in spite of the episode’s b-plot being Angel Dust confronting Valentino, who is primarily shown to be bad through his sexual abuse of Angel Dust. Angel Dust harasses Husk at the bar from episodes 1-4, and while this is connected to Angel’s porn star persona and I do seem to recall it stopping after “Loser, Baby”, it’s still not treated as a problem, just as Angel Dust being Angel Dust. Other incidents of note are the running so-called joke of Loona fat-shaming Moxxie not being a problem, whereas when Mammon fat-shames Fizzarolli it is used to signify Mammon as a bad person.

I would also like to highlight the nature of Blitzø’s and Stolas’ full moon deal. In my opinion it is a running problem of dubious consent and poor kink negotiation. Let’s cover this in chronological order for sake of ease. In The Circus, Stolas starts out describing a sexual fantasy of Blitzø, his former childhood friend and first love, sneaking into his house to “ravish” Stolas. However, when Blitzø reciprocates and feeds into the fantasy, Stolas becomes hesitant. I believe this is intended to read as him being flustered, but he is extremely hesitant until Blitzø bites him. Stolas later forges the Full Moon deal with Blitzø while Blitzø is, to keep things to the point, under duress (Murder Family). Neither of these circumstances show both parties giving full consent. Hence, dub-con. Furthermore, as per The Circus and “we don’t do words, we do sex” (Apology Tour), Stolas and Blitzø have a strong precedent for poorly negotiated BDSM and lack of proper kink safety. However, the show’s inconsistency with how it handles sexual harassment and power imbalances weakens the impact of the Full Moon deal’s transactional nature on the relationship.

I greatly enjoy Helluva Boss and Hazbin Hotel, as I enjoy flawed and complex characters. I do not expect the show to address every issue raised here with the care that should be used in real life, as this is a fictional story set in hell. However, the writers’ inconsistency, particularly when it comes to depicting power imbalances and sexual harassment/SA, leads to a muddled tone which confuses the audience to a point where it is not beneficial to telling the story.

Because I’m a nerd but can’t be bothered to format 100%, here’s my works cited:

Danny Motta. “I Was WRONG About Blitz | Blitz Vs Stolas Debate.” YouTube.

Sarcastic Chorus. “STOLAS DID EVERYTHING WRONG - Stolitz Analysis.” YouTube.

Vivziepop’s Helluva Boss playlist. YouTube.

[astrolovecosmos]

The 9th House: Spirituality, Religion, Rituals

Part 1: Aries - Virgo

Aries in the 9th house can be impulsive and righteous with their beliefs. They won't hesitate to fight for them. At times this may indicate an opinionated or zealous person, but Aries in this House may also easily get impatient or burn through beliefs and causes. Spirituality may be focused on what works for the self or one's desires. They can be adaptable and open-minded in some ideological and academic realms - their passion and fiery nature geared towards learning and teaching. Introspection can be a complex subject for them, tending to either lack it or have an overabundance of it. Aries in the 9th may find empowerment through higher education, traveling, teaching, studying, religion, or through a belief system. They likely aren't creatures of habit or strict ritual, and they may get a thrill out of learning about how other's tick, their culture, their values. Some with this placement may also be competitive with their beliefs or may have a short-fuse in philosophical debates and discussions. This is the warrior in the house of theory, knowledge, and religion and they are ready to play that role.

Taurus in the 9th House may be big on "believe it when I see it." They can be highly realistic and may be stubborn with their ideals and philosophies. Taurus in the 9th may have a strong skeptical side. They may also have a close connection to nature, finding inspiration or value in it, or even spirituality. Despite a practical or rigid approach to ethics, they can be very patient and willing to listen or at least be level-headed when dealing with others' beliefs. This placement can easily fall into materialism or greed, valuing hard work, loyalty, and reliability but also pleasure, reward, and security of the self. They may want the status of certain degrees or schools, or be most interested in the fashion, food, the tangible aspects of a culture or place. Their spiritual world and their hunger for knowledge is strongly connected to the physical world. Taurus is a routine sign that craves comfort, from this they can find it challenging to get into a different mindset or set of rules in terms of beliefs. They may crave belief systems that have a lot of structure. This sign can also be about beauty in life and peaceful ideologies.

Gemini in the 9th House can be incredibly curious and open-minded in the areas this house influences. They were likely the kid who always asked a million questions in school or church. But they can also be argumentative or opinionated about their beliefs. They may love a good debate, but that can sometimes go overboard into heated arguments. While Aries may act as a warrior or crusader for their beliefs, Gemini can also put up a fight for their ideals, especially via arguing. Gemini in the 9th can also have a talent for spreading the word, teaching, and persuading others to see their side of things or to follow different ethics. This placement may love to try new practices or rituals for the fun of it or for educational purposes. Someone with this placement who is very devoted to a faith or philosophy may still be open to new ideas or to learning about others spirituality or values, even if they are vocal about theirs being the "right one" or "best one". This placement could also struggle with the depth and focus this house sometimes demands. The 9th House is of long-standing vision and goals, study, theory, bettering the self or expanding horizons, abstract or very tangible beliefs and consequences. Introspection, patience, focus, depth, possibly planning or at least seeing the big picture work well in the 9th House's sphere. Gemini is a scattered, fast-paced, impatient, possibly shallow sign that is focused on the daily gossip, facts, or problems. Gemini in the 9th can swing back and forth from conformity to questioning. They may have a great love/hate relationship with things like higher learning, the media, storytelling, and long-distance traveling or foreign affairs. Overly simple beliefs or beliefs that can encompass a lot of variety and change may make sense to them.

Cancer in the 9th House may take things personally easily. This sign indicates a very deep and emotional connection to beliefs, spirituality, and growth. They may be very private about their beliefs. They can be loyal to their ideals and may have strong rooted beliefs that come from traditions or parents. They may also insist that their family should follow their same ethics. Cancer in the 9th may feel most at home with beliefs that are more understanding or that can stir emotion. Beliefs that promote introspection, looking to the past or at heritage are connected to them. They may be protective over their beliefs or those who share their values. Beliefs that can give them security, reassurance, and structure are likely of interest to them. Religion or a certain philosophy may encourage them to be more kind, compassionate, giving, or forgiving. Their spirituality can be a great source for inspiration. Cancer in the 9th may not long for faraway travels and may not desire the boasting rights of going to an impressive university. Cancer in the 9th finds a lot of growth and fulfillment from their family, community, or through more heart-to-heart relationships.

Leo in the 9th can be passionate about their beliefs. They may also be leaders in some form when it comes to their ideals or spirituality. Maybe this is seen by them inventing new and popular rituals or through preaching and teaching. They can certainly have pastor, priestess, or cult leader vibes. They may also act as a role-model by following their beliefs faithfully and/or hopefully. Leo in this house can be either open-minded or closed-minded with their beliefs, but whichever approach they take they are likely to make this clearly known. Leo in the 9th House may be outgoing and brave about their values or spirituality, or it may be a distinct part of their personality. Even without a personal planet in this house, Leo creates an atmosphere that encourages powerful and strong beliefs, ethics, or meaning. Those with this placement might find a lot of confidence through their philosophies on life, relationships, and humanity in some form. Feeling stable and inspired by their beliefs, through the knowledge they take in, or through their travels and exploration is important to them. Not feeling secure or feeling dull here can be a great source of struggle or pain. This placement might also find empowerment through beliefs or the exploration and learning about beliefs, culture, foreign affairs, and the world. The self-centered and stubborn part of Leo can make them blind at times to certain teachings. They may also be too focused on the big picture of things; they may struggle with details and important steps of a belief system. Getting carried away or easily disillusioned with beliefs may happen. They may need to be careful about becoming too biased, zealous, self-righteous, or power hungry in this area of life. This sign is very generous, and this may be someone who helps and takes impactful action due to their beliefs.

Virgo in the 9th House can be a studious placement that thrives in higher education or an intellectually challenging or stimulating environment. They can have a special devotion and interest or even obsession towards religion, spirituality, or philosophy. Their patience, humility, and need to help or be useful may be compatible with many beliefs and be a virtue in their practices. Virgo's need to always be improving may manifest in self-help verbiage and beliefs or be a source of meaning and inspiration for them. However Virgo's perfectionism and judgment may distance themselves from their spirituality or distract them from what they truly enjoy and/or believe in. Virgo in the 9th house can manifest as being highly critical of their beliefs and others. They may feel like they need to prove themselves through tasks, study, or sacrifice. They can be highly habitual and routine in their beliefs, traditions, or rituals. Virgo's overthinking may cause moments of frustration, misunderstanding, or confusion surrounding their own beliefs. They may easily swing from doubt to dutiful. Their wired mind may lead to unease, nervousness, or existential crises. But through spirituality or following an ethic code this placement may find a lot of depth, reward, and contentment. They need a sense of moral stability and a way to constantly understand and analyze the world. They may be cautious and practical when it comes to travel and worldly themes. But they can also be adaptable and clever in that area. Their curious yet grounded traits can lead the way in the 9th House.

[leolingo]

(long post about purgatory and meta and rp)

sigh one thing ive been thinking is that it feels a bit unfair to see so many people complaining or doomposting over how purgatory affects the overarching qsmp rp story or how it ~interrupted arcs~ or is ~disturbing current storylines~ or ~narratively unsatisfying~ like. Sure. its a bit abrupt and most players were caught off guard because lore-wise it stems from the federation which means none of them were told about anything beforehand

but... its only been three days. maybe we could have a little faith? like idk ill be soooooo out there rn and say that maybe the admins did this now for a reason. maybe itll make sense later on. we already see lore repercussions with elquackity and his motives and all the nods to the eggs.

theres fair criticism to be made (when done respectfully) if youre mainly here for the roleplay but i feel like we sometimes need to remind ourselves that the qsmp storytelling is a VERY ambitious project. lmao. imagine being the writing team and trying to wrangle 20+ characters with distinct points of view and journeys on an ever-changing story because of the very nature of live rp. its practically IMPOSSIBLE to tie up every loose end neatly and at this point i dont think we should expect that. keeping up momentum with all plotlines must also be pretty hard, cc's schedules and outside factors like server programming and building and mod tweaking and all those meta elements considered and so on and so on

i DO also want the story to move forward and be cohesive and make sense in a satisfactory way. like i really do!!!!!!! but i try to understand that thats not ALL the qsmp is about. from the start quackity said the server wouldn't be exclusive to the rp aspect. it sure is that way right now, but thats because most of the active members are VERY passionate about roleplaying. thats a good thing! they have fun and its fun to watch and the experience is mostly good for everyone because it corresponds to their expectations to an extent

the thing about purgatory is that i feel like its a lot more meta than most people doomposting realize. it ties into the story, sure, but to me it feels like the sudden switch in environment and vibes and stakes isnt actually catered to the rp and thats FINE. like thats not what it exists for and thats fineeeeeee

pac for one has said he appreciates the event for the change of pace, though its very hard (lol), because regular qsmp was starting to feel a bit stale to him and he was kind of running out of things to do. THATS A GREAT THING! managing player engagement like that is awesome and sometimes necessary. YES, purgatory caters to a very different playstyle than what we're used to -- and thats one of its strenghts.

a lot of hispanic creators have also felt this!!!! roier, rivers and carre most prominently have been VERY excited about this event because its similar in format to a lot of spanish speaking events like mc extremo and such. a lot of these players are also not particularly interested in rp-ing and had not been logging on very often prior to purgatory.

even roleplay regulars like tubbo, fit and bbh have shown interest in purgatory for the competitive nature of the setting!!! thats cool too!!!! something different, new possibilities to play around with. thats what the events should be about. kudos to the admins and dev teams for attempting it in such a big scale. their effort shows and all the mechanics weve seen are really fucking cool

i love the roleplay!!!!!! its one of my favorite parts of the qsmp!!!!!! but its not ALL there is and it shouldnt be! non rp-oriented creators are also part of the project and deserve to have a little fun too -- not to mention a big chunk of the hispanic fan community that has blown up twitter with support bc what we have rn is similar to events they already love!!!!!!! im glad to see so many of them get excited again!!!!!!

at the end of the day, qsmp is a LONG long term project, and purgatory ends in two weeks. by the time its over, we can all choose to engage with it as we wish. it can be a big filler episode in your mind, if you want. it can be just for fun..... otherwise, if its not fun, your regularly scheduled qsmp will be back soon anyway :3 its fine to not like it, its fine to have something negative to say about it if properly tagged and not like. crazy entitled or blown out of proportion for what this situation is.

i just hope we can all manage our online experiences accordingly and avoid making things less enjoyable for each other. this is supposed to be fun

[danvolodar]

Pathologic and the Town's Russianness: Intro

I've noticed, it's common enough to see talk about, say, Russian colonization of the Steppe among the Pathologic community; or the language everyone speaks in the game being in-character Russian, or any similar ideas that equate the Capital-centered civilization that founded the Town-on-Gorkhon with the historical Russian Empire.

But the funniest bit - as for me, - that for a Russian, most of Pathologic is purposefully coded by Ice Pick Lodge to feel generic Eastern European, if not even European in general. Let me go with a brief rundown.

So brief, in fact, that this post will only serve as an introduction, and not to make it overly long, I'll write up more in separate ones.

So, the elephant in the room: Pathologic is not meant to be perfectly realistic.

The first thing that needs to be said here is: of course the Town on Gorkhon is not meant to be 100% lifelike. If you will, it is a realist painting, rather than a photography. Very visibly theatrical scenery rather than a faithful depiction of the town. It is obviously done on purpose, too: partly for gameplay reasons, party as artistic choice.

Some things had to be sacrificed for the overarching plot to make sense, so, let's call them logical limitations.

The Town is relatively large (10k+ citizens at the very least), and it's economically important, so realistically, of course it would have a hospital and multiple medical professionals. Checkhov, for instance, managed such a clinic in Zvenigorod in his youth, and that town barely had three thousand souls then. But of course nothing like that can be present in the Town as it would entirely undermine the game's premise of a handful healers fighting against the Plague and their own prejudice against each other.

Similarly, there can't be telephones (while by the rough time period of the game, somewhere in the 1910s to 1920s, there were already first automated exchanges introduced), nor electrical or even optical telegraph to connect the Town to the larger world (a technology about a century old by then), for obvious reasons.

Thematic limitations are necessary for the game's themes to work better.

For instance, Saburov is a commandant, not just a governor (and I believe he's refered to as such in the English translation of P1). But where's his command? He doesn't seem to have a single soldier under his leadership, just the ragtag town militia. Why's that? Because the game has to make the uniformed Army, when it arrives, feel utterly alien to the Town, and incompatible with it.

As another example, the only lifestock the Kin seem to be herding appears to be cattle. That's an economical absurdity for nomadic pastoralists. With no sheep, no goats, no camels, not even horses, they can't establish a sustaintable subsistence economy. But of course with the game so focused on cows, both in its visual language, the Kin mythology, and other aspects of storytelling, presenting cattle to be just one of the many species the Kin herd would reduce the impact of the game's message.

To continue in that vein, the Town interacting with the Steppe is one the game's major themes: so overgrazing by those huge herds the Bull Enterprise with its thousands of employees should be slaughtering can not be shown; and the cultivated fields (which a steppe near a major water source readily allows) that should surround the Town cannot be, either.

Then, there are the tech limitations: with seven thousand workers (as Aglaya estimates the losses in the Termitary), the Bull Enterprise must be slaughtering insane numbers of cattle every day; of course all these herds cannot be shown, just like the thousands of ordinary citizens doing the ordinary jobs that keep the Town running cannot be visible.

Finally, some of the Town's unfinished, sketch-like nature is pure artistic choice. I think the perfect example is the table lamp in Isidor Burakh's room - unplugged, yet shining brightly. I don't think it's Ice Pick simply being careless: it is more like they're blinking at us, saying "remember all of this is not real".

If anything, I must say I have an issue with some of the choices made, and particularly with the Kin dress. Some of the Town characters are fine to wear rags (such as Clara or Murky), but why do the Kin, universally (other than, perhaps, Taya, their supreme leader)? Compare their crude dress with its huge stitches to what was worn in Middle Asia at the time in reality. Even beggars wore much better than a highly respected figure like Aspity. Sure, those are to be taken as essentially theater costumes, but as far as culture-specific costumes go, they are wildly unflattening.

But the important thing to take from this part: some of the simplifications and the generalizations are necessary for the game to work, on many levels. They're not about representing a particular culture well, just about making a good game.

[melbatron5000]

The confines of a story

Any time you play a game, you need to know the rules. A puzzle has a border, you can't smash the pieces into a spot they don't fit with a hammer (I mean, you can, but it won't look right when you're done), etc.

My mental assumptions are that we are following the rules of stories as told in both novel form and video form. I'm not going to list ALL the rules associated with storytelling in both forms, because whole books and classes have been written about them and the parameters are way too big.

How do I know these rules? Well, I write novels, too. I'm not Neil Gaiman, (and I'm not going to go so far as to say I'm anywhere near his level, looking at you, Magic Trick OP), but the people who've read my books say they like them, so I think I do okay? I never went to school for any of it, but the library was and is my best friend, and I've read as many books and taken as many workshops as I can on this topic. Am I an expert? Nah. I know some stuff. There's always more to know.

So anyhow, some rules:

Rule one: the story has to be generally satisfying and not make people feel betrayed or angry. Hurt is fine, angry at the characters is fine, tricked is fine, but the reader can't feel betrayed or totally let down by the author at the end of the story. It's impossible to avoid this entirely, but most people in general have to agree that the story isn't a betrayal of the reader. The author needs to keep faith with their reader as best they can.

Rule two: in mysteries, all the cards need to be on the table at some point. Misdirection or downplaying of important information or use of double-meaning words are totally fair tactics, but the answer has to be there to be sussed out by a clever observer. (I got really mad when I tried to read murder mysteries for a little while. I figured this rule out very quickly on my own, and I could always spot the killer by the end of the second chapter. I gave up on murder mysteries. HOWEVER, another author I admire wrote a classic murder mystery-style book, and when I spotted the killer in chapter two like always, she had arranged matters so that the killer's motive was shrouded in deep mystery. I burned through that book to find out WHY he dunnit, and when the main character helped the killer escape at the end, I was troubled but satisfied.) But mah point is, all the pieces to the puzzle need to come in the box.

Rule three: (which isn't really a rule so much as an observation and something I myself struggle with), writing fiction can be very hard because people are naturally not good at knowing that other people do not know what they know. You know? Psychological studies have shown that when a person knows something, like where an object is, they develop this sort of assumption that the object's location is OBVIOUS, or that other people also know where the object is or can easily guess it, no matter how hard a time they had guessing it themselves before they were told. So not only do newer writers sometimes struggle to maintain what various characters do and don't know at different times in a story, readers can also struggle with the same thing. Gotta keep your eyes peeled for what information each character actually has, and also keep in mind how easy it is to be fooled when you think you have all the facts. I notice Neil and John taking advantage of this in Good Omens a lot -- the lies that Crowley and Aziraphale tell to the other angels and demons seem really obvious -- but that's because we know they are lying and what they're lying about. When we are lied to, we fall for it as easily as those angels and demons, because we assume we know what's going on. Watch out!

Rule four: you can't break the rules. If you're going to make a wild, avant garde, ground-breaking story, that's pretty much the whole point of the entire story. Twists are fine, emphasizing or de-emphasizing expected tropes or ideas is fine, subverting a trope is fine. Otherwise, you have to stick to ideas, formats, plots, structures, etc., that have come before. For example, just as I started seeing metas about the POV characters in Good Omens 2 jumping around, I had remembered an episode of the X-Files from way back where an "alien landing" is told from three characters' perspectives. When told from the POV of the alien conspiracy-believing kid, the story gets really weird with all kinds of wild things happening. When told from doubting Scully's perspective, it gets very boring and mundane. POV jumping is nothing ground-breakingly new. There won't be anything ground-breakingly new.

Rule five: it has to make sense. Mark Twain once said, "Of course truth is stranger than fiction. Fiction has to make sense." Once upon a time, a friend of mine who liked to embellish stories told me all about his new fiancee, who he'd met and proposed to all in a few months, who was head over heels for him, a gorgeous red-head, one of triplets. I never met this mystery woman, and then one day he called me to tell me she had died very suddenly and dramatically. I had my suspicions that she wasn't even real in the first place, so I made consoling noises and asked him when and where the funeral was so I could be there for him. I expected to be put off, told some crazy reason why there wouldn't be a funeral or it hadn't been planned yet and I would somehow mysteriously not hear about it until it was over. Instead, he gave me a date and location immediately. I was taken aback. I was even more taken aback when I arrived at the funeral to meet this woman's family, including the remaining red-headed pair from her triplet set, and hear all about what a whirlwind romance she'd had with my friend. If that had been a novel, I would have shut the book and told the author to give me a break. Books and TV and movies and plays can't push the consumers' credulity too much. Readers have to maintain their willingness to suspend their disbelief. It can't get too crazy. What's too crazy? Hard to say, it's kind a of a "I'll know it if I see it" sort of thing. And some people are certainly more willing to go along with something wild than others. The author can only try their best to maintain faith. To tell a story that can be believed.

Anyhow, I dunno if that's helpful at all, but it's sort of the litmus test I'm using to gage all my questions and theories. And what I'm using to shuffle in the metas and theories I like from others.

[wesleysniperking]

Usopp and Conqueror’s Haki | part 2 (TL;DR)

previously;continuing on...

Sad backstory

Usopp’s mother died when he was very young. His dad left him and his mother prior, leaving Usopp alone to fend for himself. That’s how he developed his knack for lying.

The ability and gift to lead others

Despite how small, Usopp did create his own pirate crew and lead three little boys who wholeheartedly admired and respected Usopp. But let’s not forget to mention Enies Lobby and Dressrosa. Kashii and Oimo followed Usopp after he told them their former superiors were free, alive, and still kicking. The Tontatta kingdom were more than willing to follow him when planning their attack on Trebol and Sugar. Which lead to his ‘God Usopp’ moment.

Out of everyone in the crew besides one or two (Luffy and maybe Zoro), people have at many points in the story wanted to follow Usopp and be led by him. No matter the situation and pretense.

Take that as you will and must.

People gravitate to them naturally and want to follow them (Charisma)

Same as above. But to be more precise in this instance, Usopp is a great storyteller and through this skill alone, he really does attract others. Heck, he got the Romance Dawn trio involved in saving Syrup Village when they necessarily didn’t have a reason to.

And there are the giants. They always gravitate towards Usopp, and converse with him. He always keeps them going.

Had a moment where they hit rock bottom

Water 7, baby. That was probably one of the worst moments in his life. Like, he deserved a hug during that period. Usopp was isolated, reeling, and filled with so much grief. He was walking around in bandages (from being jumped and punched right in the gut), he and his best friend weren’t talking, and he was under the impression that he was inadequate. It was a true “Young, Dumb, and Broke” moment for him.

Kingly ambition

This is probably one of the most disputed things when it comes to Usopp and Conqueror’s Haki speculation. But it’s easy to squash the doubt when you realize that Usopp does indeed have that “kingly ambition” baby.

First of all, when Usopp read about Ace’s death in the newspaper and started crying over the fact that he couldn’t be there for Luffy, bro promised himself (and Luffy, in spirit) that he’d become the king of shooters for his captain. That’s what he said. Heck some argue that the Sniper King alter ego supports this bit as well.

Secondly, Usopp does have something he needs to “conquer”. And what that is, is his fear. His natural cowardice continuously puts him at odds with his dream to become a brave warrior of the sea, yet his low confidence and anxiety work against it.

Knock people out to the point where form is coming out their mouth (seen in the manga)

Perona and Sugar. He left both women passed out with foam coming out of their mouths.

He knocked both girls out.

Courage

Despite Usopp’s ongoing bouts with cowardice and pushing for bravery. He’s shown it in spurts, bravery that is. But you know what? I sound like a hypocrite. I truly do. Because what is courage? Courage is not the absence of fear, but the triumph over it. And he continues to do this, gag or not (in terms of the corwardice).

It took courage to want to defend Syrup Village and declare to do so despite having to do it alone.

It took courage staying to fight when facing off Chew in the Arlong Park arc, and Miss Merry Christmas and Mr 4 in Alabasta.

It took courage to fight Luffy and be willing to go at it alone when leaving the crew (not expecting anyone to follow him), it took courage to put on a mask and fight alongside friends you left after a nasty dispute, it took courage apologizing to the crew (when there was also some reasons not to) and asking to re-join, it took courage to fight ghosts, it took courage having to rely on faith and determination alone when making a snipe shot with very little to go on.

Empathy

Usopp showcases this well given where he’s come from and how he helps others. If there’s one thing people really don’t highlight about Usopp, and do actively look over, is the fact that he lies to make people feel better and find hope. He never does it to cause bodily harm to anyone. Usopp is a very misunderstood individual but naturally possesses the ability to encourage people in his own way. Like when Luffy was down and out when Lucci had him in the first half and he encouraged Luffy to get up and fight, or making Nami the climatact because she felt inadequate when fighting alongside the crew, or when he gave the giants (Oimo and Kashii) the push and courage to stop working for the World Government, or when he took care of the Going Merry, or when he told Robin to trust in Luffy, or when he helped the little girl perfect (or was it make?) that firecracker that her late parents failed to finish, or when he indirectly gave Chopper the courage to keep going when fighting Miss Merry Christmas and Mr. 4, or when he always ran around the village and woke the villagers up by running around early in the morning shouting the PIRATES ARE COMING! to make their lives worthwhile…you see where I’m going with all of this?

Note: Usopp tells his stories to make people feel better.

As a sniper he offers that backup, that backing and support during battle to make sure the crew is safe (like with Robin on the Tower of Justice, or in Stampede when Luffy is fighting the Big Bad)…and how he fought Perona? How could he have fought her without being in tune with his emotions and self-perception?

Then how devastated he was when he found out Ace died and could understand how affected Luffy was by that, declaring he’d become The King of Shooters for him.

continue here

[spacefarer]

Been thinking about Chise and Elias a lot lately. Like I wrote over on Twitter:

I love their complicated, messy relationship. About how much they've both grown as individuals and a couple since he bought her, and how humans view them versus how the fae do.

Straightforward couples are great, but the mix of parent/child, master/servant and lover that they carefully navigate is so much more compelling, and gives insight into their characters I don't think you'd necessarily see if they were "normal."

They each have the chance to lead and to follow, to learn where their boundaries are but also how to safely expand them (don't kill her friends, Elias >[ ). They learn to trust and to have faith and to live when neither of them did much of any of that before meeting the other.

What drew me to AMB in the first place was the really messed up nature of their relationship, and it’s the thing that keeps me firmly planted here. Watching them grow and change as people is some of the best storytelling I’ve read in a long time, and I like that it isn’t straightforward or easy or simple. I like that they have missteps, I like that they stumble and lose ground while they navigate a world neither of them know. It makes every step forward that much sweeter.

[edwardshundredyearoldspunk]

I'm tired of the "this series is awful" aftg readers feel the need to preface with before they admit they love it. I admit I used to do this, mostly because I felt i would be deemed cringe for very sincerely enjoying the more "out there" aspects of the series (fake sport, japanese mafia, andrew's meds).

I think the series, by virtue of being self published, is naturally going to be very unconventional. I've seen people complain that there isn't really a beginning, middle & end and that is true. the structure is odd and for three-act-structure enjoyers it might actually even be unsettling. but I think it's disingenuous to say there isn't a story because the story is the emotional journey of it's characters. the author pays little regard to respecting conventional story structure because the plot is just a vehicle through which the characters self-actualize. like, yeah, in most books, the climax would be in the last third of the book. yeah, in the king's men it's at the midpoint. yeah, some readers are going to call this "bad writing".

but I don't think that just because some people are going to think it's bad (particularly bad faith readers) it's enough for you to preface your love of the series with "I know it's bad! I'm obsessed with it tho." it isn't! I genuinely don't think these books are bad. I think there are fair criticisms to be made, but why is the line in regards to what a reader should be willing to accept drawn at a fictional sport? I think if you approach aftg the way you would approach a fantasy novel (i.e. willing to move past crazy concepts because that's the structure of this world and this world isn't our world) rather than nitpicking things that are functionality fantastical, you'll be able to look past all the unorthodox storytelling to realize that you like these books for a reason. and the reason is that they're good.

the writing is polished (not just for a self published novel imo), the characters are otherworldly yet have complex emotional arcs that are consistent with their characterization, the plot is absolutely fucking bonkers but within the framework of the world it functions as a driving force for the characters to make choices and grow. that's a good book from where I'm standing. aftg asks a lot of the reader but I don't think that is necessarily a bad thing.

I think people need to learn to stand for their opinions regardless of what "critics" will say. maybe this preemptive need to assert that you know aftg is bad but you love it anyways is a result of not wanting to seem cringe, wanting to seem in on the joke, idk? but really, I think it does more harm to constantly deride something you love, just because you want to make sure people know you know it's bad before they get the chance to tell you it's bad. you should respect yourself as a reader. anyways I love aftg and genuinely think they're good books!