#i think they’re planning to show a colored version at a later time so we just got this blurry one right now

[warrior-kitty]

Show us the boi

[wildflowerluver]

clementine

aaron hotchner x fem!reader

the hotchner family adopts a new pet

cw: established relationship, jack calls reader ‘mom’, aaron is a cat person, bau reader

wc: 1.8k

༺♡༻

jack first posed the question about getting a pet at family dinner.

you and aaron could both tell something was on his mind. he was picking at his mac and cheese, typically his favorite meal, and had a certain look on his face that usually meant he had something on his mind. 

the last time jack acted like this was when he wanted to ask if he could start to call you ‘mom.’

aaron was the first to take the bait. “not hungry, buddy?”

jack shrugged. his silence was more than telling.

you glanced towards aaron to see where he was going to go with this though before he could say anything, jack was finally speaking up.

“can we get a pet?” he asked. 

clearly the immediate silence wasn’t the answer jack was looking for.

“please, please!” jack begged.

you stayed quiet. as much as you would love to get a pet to fulfill jack’s wants, you know the ultimate decision is up to aaron.

“jack,” aaron started. “your mom and i are away too much for a pet. we wouldn’t be able to care for it. plus animals are a lot of work and they’re messy.”

“but i could help!” jack protested.

“i’m sorry buddy but it wouldn’t work out. maybe when you’re a little older.”

jack frowned at the rejection and sunk back into his seat. you reached across the table to squeeze his hand. 

the rest of the dinner went by with little disturbance. although jack was still upset, he eventually started to eat and talk about his day.

while aaron cleared the plates and began on the dishes once you were finished eating, you leaned towards the young boy.

“cat or dog?” you whispered to jack.

he thought about it for only a moment, his face mimicking the way he concentrates when doing a math problem.

“cat,” jack decided. 

you beamed. “i think that can be arranged.”

____

you and jack devised a plan to convince aaron behind his back. 

you gathered a few sheets of large paper and some art supplies and let him get started. the entire thing was jack’s work. you simply helped with the spelling when asked. there were a few things he wouldn’t let you see and you turned a blind eye. 

the next time a family pet gets brought up is a few weeks later.

you and aaron had a long case out west. 

a week without sufficient rest or seeing jack were all factors that made aaron easily convinced to give the team a long weekend. 

jack was ecstatic to have both of his parents home for a few days. you spent the first few hours simply resting and sleeping off the jet lag before jack had dragged you both into the living room.

“i need to show you guys something,” jack giggles. “i have to go get it. stay here!”

you curl into aaron’s side before jack is rushing back into the room. his arms are filled with an array of multi-colored paper and sporting the same grin that aaron had on some occasions. 

“i really really want a cat,” jack starts. “so i worked really hard on a few reasons why.”

jack sorts through the paper to find his first point while aaron turns to you.

“did you know about this?” aaron murmurs.

you meet his gaze, biting your lip to hide your smile.

“no idea,” you answer. he doesn’t push it after you kiss his cheek.

jack presents each reason with growing emotion. he’s drawn visuals too. your heart melts when you see the stick figure version of the three of you. even on paper you and aaron are holding hands.

he ends it by handing his dad a letter.

“what’s this?” aaron raises an eyebrow.

“aunty penny said she would watch the cat whenever you are working,” jack explained. “she even signed it!”

aaron skims the note and you resist the urge to laugh at jack’s creativity. no wonder he had a few things you couldn’t be a part of. 

“what do you think?”

the question was turned to you. “i think that an animal would keep jack company while we work. plus cats aren’t as much work as dogs. and if penelope said she would watch it then i’m in.”

aaron’s face shifts into the serious one you only see during work hours. for a moment, you think he’s gonna shoot the whole idea down. he instead squeezes your leg.

“we can go to the shelter tomorrow.”

____

jack was bouncing in his seat the entire drive to the shelter.

you had to admit, you were pretty excited too. moving in with aaron was a massive milestone in your relationship, but adopting an animal together feels like a whole new realm. 

on the way over, the three of you discussed what kind of cat you would want. there wasn’t much bias besides age; the idea of jack growing up with a kitten seemed like the obvious choice. 

you called ahead to the shelter to let them know about your interest in adopting. a vet took you around to the various cages/rooms to show you what animals were available for adoption. 

you stopped in front of one of the rooms that had a few different cats in it. aaron hoisted jack up to rest on his hip so he could see. 

a little orange tabby kitten who was sleeping in one of the beds caught your eye.

she was only a few months old and was just dropped off at the shelter that morning. she hadn’t even been listed on the ‘new animals’ section of the website. 

one look from jack to you and aaron confirmed that you would be leaving the shelter with her. 

“this the one you want, buddy?” aaron asked. you squeezed his hand.

jack nodded his head quickly. he shot forward, doing his best to wrap both of his short arms around you and aaron. “thank you! thank you! thank you!” he repeated.

you and aaron had a long series of papers you needed to fill out though in comparison to work files, it didn’t feel like much. it was standard things: who lived in the house, any other pets, and a few other general things about the adoption itself.

it’s not long before a vet guides you, aaron, and jack to a private room where the kitten is.

aaron keeps a firm hand on jack’s shoulder as you walk in. “remember buddy, she’s a lot smaller than you are. she might be nervous too. be gentle, okay?”

the kitten takes her time to investigate the three of you in the room. to help aid her comfort, you sit down on the floor and pat the spot next to you for jack to sit. she sniffs you and jack first before she hops into your lap.

you pet the kitten in your arms. “look aaron, we’re parents of two now.”

aaron leaned down to kiss the crown of your head.

the tabby, still nameless, pushed herself out of your arms and trotted over to where aaron stood behind you. she sniffed him for only a moment before rubbing against his pant leg.

“i think someone likes you,” you grinned as you peered up to him.

“i’m just glad she likes me on the day i wear jeans.”

his grumble is ignored as the kitten looks up towards his stoic face and lets out one of the quietest meows you’ve ever heard. she raised one paw as if to ask for attention. 

jack shifted to sit in your lap as aaron knelt down.

his hand is enormous in comparison to the small animal. it doesn’t take a profiler to see the smile tugging at aaron’s lips. he pets her gently. the tabby’s purring starts almost immediately.

“i think she needs a name,” aaron suggests.

you turn to jack. it was his idea after all.

“she’s orange,” jack points out. “how about clem-cleme-”

the full word is still a bit of a challenge for him to say.

“clementine,” aaron finishes for his son.

“yeah!” 

aaron finally scoops her up to hold her.

“welcome to the family clementine.”

____

though aaron was initially hesitant to adopt an animal, clementine fits right into the family.

true to his word, jack helps out with caring for her. penelope takes care of clem too when you and aaron are away. she and sergio have become good friends. 

it’s not all easy, there’s definitely struggles. clementine sheds a lot. aaron has had to purchase more lint rollers than ever before, especially after clementine has developed a habit of sleeping on his suit jackets. 

the joy of companionship outweighs the minimal time it takes aaron to lint roll his suit.

clementine is great for jack with you and aaron working. even when you’re home and aaron is stuck at the office, she provides a source of comfort when you’re missing him. like tonight, when aaron was swarmed with extra files from the previous case. you offered to help, of course, but he refused. it was already late and he knew you needed sleep.

aaron unlocks the door and steps in quietly. he knows jack is asleep upstairs and doesn’t want to wake him. he cracks open his son’s door to check on him before entering your shared bedroom.

the lights are off and aaron can infer that you’re asleep. however, you aren’t alone in bed. 

“hi clem,” aaron greets the kitten who was curled up beside you. “taking my spot?”

clementine chirps and rolls her head against his hand. 

“aaron?” your voice is gravely as you peel your eyes open.

even in the dark you can still make out his silhouette. 

“hi honey,” aaron whispers. he leans down to kiss the corner of your mouth, just ghosting your lips. when you whine, he finally kisses you properly. “sorry for waking you up though i see clementine has been keeping you company?”

the kitten chirps from her spot on the blanket.

“oh,” you start, a bit more awake now. “she’s been here all night. i think she’s happy to see you.”

“i don’t doubt that.”

aaron gets ready for bed as quiet as possible. after slipping into pajamas and brushing his teeth, he’s crawling into bed beside you. just as you move to curl into his chest, clementine is padding up the blanket before promptly sitting on aaron’s chest.

your giggle is quiet. aaron huffs, clearly expecting to be cuddling with you and not a kitten.

you kiss him gently and maneuver yourself to still be close to him.

“goodnight aaron.”

“goodnight honey.”

when you wake up the next morning, aaron and clementine are still snuggled together.

[quibbs126]

I’ve been drawing more of my North and South Dragons these past couple days

I tell you, for some reason it’s been really hard for me to make a full sketch page like I used to. I think it’s because my brain now thinks it needs every sketch to be connected with one another in terms of characters and things I’m going for, when before that wasn’t really the case. But whatever, I’ll figure that out

So first up I had some normal Cookie disguises for Choco and Milk Creme, in which they go by their actual names, just omitting the Dragon bit, mostly because most Cookies don’t actually know their real names and it’s just easier. I based Choco off the physicians and Milk the warriors just because I wanted to base them off other NPCs in the kingdom, and doing different roles seemed more interesting. Another design idea was making them look more like some of the villagers we see, like Milk Creme looking like one of the Milk Tribe, but I just went with this instead. Maybe those are other disguises they use when they feel like it

With their colors, I wanted to make them look more like Dark Cacao, giving them purplish eyes (though they’re more of a pink), and I gave them somewhat similar dough colors, with Choco Creme’s being darker and Milk Creme’s being lighter. They’re also supposed to have long hair (though probably not as long as his), they just keep it tied up

So since I based them on Cookies in the Citadel, I decided that these guys actually show up in the Citadel. Every couple decades, they disguise themselves as members of the Citadel, Choco Creme a physician and Milk Creme a soldier, and spend a few days there, just to see how things are going with Dark Cacao and his kingdom. The other people of the Citadel know they’re odd, as they mysteriously show up one day and mysteriously leave shortly after, and no one has seen them outside of those days, not to mention there are those who have been there long enough to see them more than once and know they haven’t aged since last time, but at this point they’ve been showing up for longer than anyone but Dark Cacao knows, and he seems to be fine with them, so they’re just something people accept. Many suspect that they’re the Twin Dragons, but no one knows for sure. During one of these, they’ve met Dark Choco Cookie (though they likely first met him as a freshly baked Cookie), when he was a child. They probably told him who they are, but he’s meant to keep it a secret, which he does. Not sure if they know what happened to him though

Anyways, then I wanted to draw the two and Dark Cacao as smalls, with younger versions of their designs. To be honest, not sure I’m satisfied with these designs; I know I had a lot of trouble with the hair and I ended up just giving up, and it was a similar story with their outfits. I tried to base them off of Dark Cacao’s new flashback outfit, because I’m imagining that he would have gotten it from them. I also wanted to give them identical outfits, since they were a lot more attached to each other when younger. Over time they grew to individualize themselves more rather than just being a pair, but this was before then. For Dark Cacao I redesigned that young look I gave him before, making it have darker colors. I think I like this one better, I feel like it looks more like him? Also I’m aware that the fabric is facing the wrong way on his outfit, that was supposed to be intentional

To be honest, now that I’ve finished Episode 14, I feel like changing my personal headcanon for Dark Cacao’s backstory, but I was already making this before doing that, so I’ll just do that later. But some things I plan on keeping is that as a young child he ended up lost and alone in the mountains, the dragons find him and take him in, he grows up essentially a loner of the wilds, who goes around helping other Cookies, he meets the Ancient Cookies and we know the rest from there. Which I now realize is essentially the backstory I already gave him, but in my head there are more differences, like the dragons’ age when they meet him and stuff like that. And I might just throw it all out and start fresh. I dunno I’ll work on it

And the last one I did mostly just to fill up space, but it’s supposed to be one of them finding him and bringing him back with them. I like to imagine they’re big enough to hold him in one hand. Also it’s supposed to be like that ferret thing, but maybe I’ll draw that more clearly later. But they do pick him up in one hand and throw him around like a rag doll.

Also the dialogue is in parentheses because they’re supposed to be talking in the Dragon language, but I don’t know what that would look like, so just assume it’s in another language but being translated

Anyways yeah, dragons

[youkaigakkou-tl]

The Kyoto Arc Analysis Post (Part 3)

This part covers a look at the magic circles used, more manga geoguessr, and what exactly soul-Haruaki's plan was

Part 1 / Part 2 / Part 3 / Part 4

Magic Circles

A lot of magic circles came up this arc, so this is a good chance as any to look at them.

The one that shows up most frequently is this one Byakko uses.

I believe this is based off a luopan, a chinese compass used in fengshui divination. The words match, as well as the compass degree markings in the outer ring.

If it’s an existing asset online, then I haven’t found it, but it’s probably a custom design.

While it doesn’t often have the yin-yang symbol in the center (that’s where the compass goes) there are some designs that do feature it in the center.

Haruaki has actually had 2 versions of his pentagram, from vol 1 to 8 there was a pentagon inside the circle, and from vol 9 onwards it’s just the star.

However, the star has gotten more detailed this arc! Specifically, you can now see where the lines cross over. (Idk how to explain this just look at it)

(When used by white haired Haruaki. You can also see the principal’s kuji-kiri in his barrier.)

Interestingly, the star doesn’t show up at all when Haruaki was summoning the four gods, instead it’s just the luopan design.

Double interestingly, Seimei has a totally different circle!

(Note the big dipper design in the middle. Or maybe little dipper? The handle is bent the wrong way again! Tanamai sensei do you know the two dippers are different….)

Also, this cloud pattern also shows up on the mark on principal's face.

But when Douman uses it, it’s the star overlaid over the luopan design?? What does this all mean?? Don’t get me started on the rest of that scene. Rest assured that comes later in this essay.

I think this panel in ch 22 is the clearest we get to see Sano’s magic circle. I think the letters are siddham script, used in buddhist scriptures, but I’m not sure what the letters are exactly. This combined with the lotus imagery on the ch 43 cover page means… idk??

There’s also this variant, which is just wacky circles I think.

And then there’s the ones from this arc. (They’re ever so slightly different, I think)

That one in ch 90 actually seems to be the same one as ch 80.5.

What are the words at the top of this color spread?

This is a good time as any to talk about this. The characters over the four gods’ are just the directions they represent, in order, east, west, south and north.

Albeit, they don’t look like typical kanji, because these are in fact the chinese pictograph versions of them, which eventually developed into the chinese characters now as well as kanji. Specifically, they’re the jiaguwen versions.

Geoguessr part 2

You see, there was a 3 day gap between the JP raws for ch 90 releasing and the chinese tl to come out, during which time I was bored as hell but also couldn’t do anything else because I was busy refreshing the chinese tl site every 5 seconds.

Clearly, the sane thing to do in this situation is to look at every street near Kinkaku-ji to find where this panel happens.

(Although, this is after I cleaned all the sfx from the JP chapter, but then I had to do it all over again for the CN pages anyway since it’s higher quality and I can’t just paste in the JP blurry raws)

I was originally going to also try to find the previous panel, where Rintarou and Ebisu are hiding under a fan, beside a vending machine, but I couldn’t find where that is.

Anyway, by god did I find this goddamn street.

But you see, dear reader, there’s a twist. This is not one street. This is two sides of the same estate, in other words, the left and right halves of the image are two different streets.

Here’s the link to google maps street view, if this is hard to visualize.

Look at this. What the hell is this. geoguessr impossible difficulty

(Thank god I don’t live in Japan I would have gone there on foot just to check every street)

What Was Soul-Haruaki’s Plan?

If you think about it for one second, his plan doesn’t make a whole lot of sense. Why is he using his power if it doesn’t work on his body? He’s not stupid so what is it?

But if you think about it for two seconds it actually makes sense. Without powers (and even with powers), Haruaki is Just Some Guy. If 1/5 of him starts trying to kill him, what’s he going to do? Run about it? This guy can run just as fast!

The real goal of this maneuver, besides getting Haruaki here, was also to gather the youkai who could possibly help him in one place and knock all of them out. The only reason that didn’t happen was because the principal was there, and Haruaki didn’t know about him before all this anyway.

Also, a translation note/explanation for the term “anti-youkai power”. This is just what the official translation chose to use since the start, since it worked in the moment (and most of the time really). But the japanese word doesn’t actually specifically say it’s “anti” “youkai”. The word is “退魔の力” (taima no chikara), and a more conventional translation is probably “exorcism power” which you may have noticed I use sometimes. The “力 chikara” part is without a doubt “power”, so this is about what “退魔 taima” means. If you were to take the meanings of the two kanji separately, it would be “dispel magic”. The word “魔 ma” is also often used as a prefix for magical beings, so maybe that’s where “anti-youkai” comes from. Anyway, with the “dispel magic” definition, it should be pretty clear why his power works on both youkai and gods, given they’re both magic-based.

Also, as for why this power works on the four gods both times (when Douman stole it from Seimei, and then when soul-Haruaki used it) when it’s never affected Sano very much may be because the four gods bodies are magical constructs summoned into a piece of paper, whereas Sano’s physical body is just here.

(Or maybe also because both soul-aki and Douman were gunning for the kill, and Haruaki is never gunning for the kill ever. could be multiple factors.)

Where is Mount Ooe?

In case you forgot, Mount Ooe has the youkai town where Miki’s family lives. You’d think this is pretty close by, considering it’s repeatedly mentioned that it’s “in Kyoto”, and also Haruaki went there as a kid somehow.

The thing is, (maybe you knew this already and I’m just stupid) Kyoto PREFECTURE is fuckoff massive and Kyoto city is only a tiny tiny part of it.

So Mount Ooe is on the other side of Kyoto from where the city is. This is in the mountains, nearly 80km from the city! My new question is what the hell was 10 year old Haruaki doing there??? How did he get there?? Who let him do this?? Mamaaki and Papaaki watch your goddamn son!! Is this what kids in Japan do?? Fuck off 80km into the mountains??

Image limit again, part 4 will be the last! (Finally!)

Part 1 / Part 2 / Part 3 / Part 4

[theinsanecrayonbox]

Sabretooth/Exiles #5

Alright time for the big event! Been waiting for the finale of this two part series, and after the teasing on the cover and the tag spoilers, there is hype!

Spoilers: this is not the finale, AoA Sabretooth does not show up, and to be honest…nothing much really happened.

We start off where #4 left off; Graydon beating down Victor because totally not a surprise, he was the GC working with Orchis

This though was a surprise! They actually acknowledge the second half/ending of the Weapon X-Force book. Like I’ve said before, everyone else seems to try to ignore it, but this one just confirmed that yes it did still happen. Granted the art isn’t 1:1 accurate but hey, that’s forgivable. It’s also wonderful that Graydon remembers this; oh I’m not frowny that he stayed evil, that’s just how Graydon is. No he remembers this, and still refuses to accept Victor. That’s great.

However, father-son beat down time us interrupted by the appearance of these three

Points to note; Earth-12 is the world that Mimic from the original Exiles was from, while the other two worlds are brand new creations. I’d also like to note the parallel to the feral council; a tactician, a carefree wild child, and an animal. Neat! Also why the heck do they all have the stupid eyes??? I could I’ve with “the island changed him in the pit” explanation for why main Vic got the new eyes, but these alternate versions should not; this has NEVER been his default eye coloring. Nitpick I know, but it bugs me.

They explain they were in holding pens, so I guess they can koolaid man their way it, sure. Graydon runs off, the three newbies talk to Victor…

I…hm. I was really hoping that we’d get some Victor who was “good”, because this insistent urge megalomania evil they’re pushing is crap. I suppose that’s why (a) AoA Sabretooth was not part of this, since he did do the good and it didn’t backfire, and he was able to make up with his Graydon. (Unless the first dead one was supposed to be him since it’s make sense Graydon could multiverse snag Sabretooths if he had that one with a Tallus attuned to him. But that would be dumb and terrible). But I’ll give it some leeway since Graydon was a bad seed before this, so his staying evil shouldn’t have been unexpected, but still.

Heh cute reference. Also interesting how he refers to his collection of dead bodies; Graydon refused to call Victor his father before, so maybe being saved from hell did soften him slightly…however the dead are all copies of your dad or technically your mom, not aunts and uncles…

Oh yeah he kept the bodies for a zombie army, thus the Reanimator reference. And hey I recognize Heroes Reborn and the post-Axis costumes…so two version I actually liked are headless zombies…great…

The trio fight the hoard of zombies, main Victor comes back in fighting shape. They throw Graydon into a portal as he swears revenge. Very anti-climactic.

Oh the Pit gang was also spliced in around all of this. Their subplot about underwater babies trying to kill them; Nanny hypnotizes everyone to being kids so the babies relax then dies stuff no one knows about and they all escape swearing vengeance on Victor. Barrington and her gal pal decide to run away to Antarctica I guess, so that’s another plot thread for later.

This memo…is from the future?? It talks about runaway slaves hiding in swamps, so history lesson like the others…but then it shifts to future stuff?? Are we dropping the “Exiles” name and being called “Maroons” now? Or are the Pit gang going to be in a separate book now? And again, why do writers think Victor wants to take over the world these days? Sure he had a plan to do something reality shifting when he ran the Hand (he had magic so sure) but in War of the Realms his goal was his own country? And I’d still argue that Chuck and Beast are doing far more damage to everything but I’ll admit to bias there.

Anyways we leave off with Vic and friends on a space ship and this happy sentiment

I was going to gripe about that, buuuuuuuuuuuut Logan’s birthday is late May, so since the Hellfire Gala 3 hadn’t happened yet, you are technically on the right spot in the timeline. It’s annoying your first thought was “let’s go bother Wolverine” but there we go.

And yes, it promises that there will be more. And this ending was much more…less of an ending than the first half. That end, it st least closed off the story it had going; Victor got out of the pit and went through self introspection in the process. This one though? His son kidnapped him for 5 seconds before being thrown away and leaving him in a pile of alternate hims. The first half felt like it fit the “and the Exiles” title more than this half did. This half wax all just…setup I guess? And I wonder if the ending was shifted to include the alternates or not cause Graydon does feel out of place with the start of this. The gang is in the run, and Barrington nabs them, shenanigans ensue; that makes sense. I just don’t know.

The team did their homework though for this series, and I do indeed applaud that. From the Death Hunt stuff in the first half, to Weapon X-Force finally getting lip service in the second, that’s nice. But everything else…meh?

I’ll be reading a third part if that comes to fruition. I will admit, watching Victor (and his clone army) burn the island would be enjoyable.

[xgoldenlatiasx]

You guys want some random ass OC lore? Well you’re getting it anyway here we go

BASICALLY: Blake and Gold used to be the same character.

Waaay back when Colored Skies was my main project and I still considered Al my trainersona, Blake was a character I was forming in my brain. This was before I changed my name or even realized I’m trans so it was a LONG time ago. They were going to be my B/W protag from the start except the story was based off White so they would’ve ended up getting Zekrom instead of Reshiram. Basically, they were going to be Al’s kid, like Gold is. They had the Ho-Oh feather and everything.

The OG Blake was like Gold is, a rambunctious teen who wanted to live up to their mother’s legacy. Maybe a little less self-absorbed. I think in this old storyline Al didn’t go missing, she was just chilling in Nuvema rooting for her kid after they set out on their gym challenge.

OG Blake’s relationship with N was COMPLETELY DIFFERENT from how current Blake’s is. N was gonna end up like a big brother figure to them who kept trying to keep them out of Team Plasma’s affairs, but they refused to let him carry out his plan and kept butting in to conflicts with Team Plasma.

And man the final battle scene was gonna be extremely different too. N reluctantly agreeing to challenge them to decide the world’s fate yada yada and then after the battle Ghetsis tries to hurt them but then Al storms her way into the castle and kicks the guy’s ass. Then she sees all the shit N went through and was like “NEW SON ALERT” N still ends up leaving but Al assures him he’s welcome to visit her and her family in Nuvema anytime. Then I imagined once BW2 rolls around he’s tired from his two year journey and goes to stay with them.

Basically what happened was I began to start losing interest in Al, she obviously didn’t represent me anymore as I came to terms with my gender identity. Sure I could’ve just revamped her character, but at the time my family was already super familiar with her (I’d been telling them about my Pokémon fan story for YEARS, ever since I was a kid, obviously they’d want to keep reading it) and at the time I was terrified of them finding out I’m trans, so I didn’t want to out myself by completely changing the character they were so invested in.

THEN!!! Sword and Shield were announced, over the months as new mons were introduced I was like “hey, new gen new me, I’m gonna completely revamp my trainersona” and boom that’s how the new and current Blake came to be. Originally, they were just gonna be a silly self-insert, I didn’t plan for their story so get so deep. But years later we’ve come full circle and now they’re my B/W protag once again, except this time around they’re a depressed college dropout who’s tired of Everything.

There’s still aspects of the OG Blake I’ve implemented here and there- Obviously, Gold has the Ho-Oh feather thing, personality-wise he’s very different but like I said he’s still trying to live up to his mom’s legacy just like in the old version. Except instead of cheering him on from back home his mom has gone poof.

August (my BW2 protag) also picked up some of OG Blake’s qualities, personality-wise she is actually quite similar to them. She also sort of got that “younger sibling and older sibling” dynamic with N. (N is a lot more present in the Unova Fates version of BW2, instead of only appearing at the Ghetsis and Kyurem battle he’s kind of like a traveling companion for August most of her adventure.)

And also!!! There is one more character that’ll show up in Unova Fates that ends up with the same team I had in my original copy of White (OG Blake’s team). Remember the Trainersona Challenge I did where I created an AU where Blake joins Team Plasma but secretly helps the player take them down?? Yeah that’s a concept I’m gonna be revisiting to say the least :)))

okay HOLY SHIT if you read this far bless you and I hope my insane ramblings didn’t bore you to death.

[immaturityofthomasastruc]

IOTA Reviews: Rocketear

The Rocketeer is a 1991 Disney movie set in 1930's America where a test pilot gets a jetpack and uses it to fight Nazis and— Wait, what? “Rocketear”? Oh, damn it!

Let's get into the eleventh (chronologically the seventeenth) episode of Miraculous Ladybug's fourth season: Rocketear.

We start off with Carapace and Cat Noir struggling to hold back some T-Rexes brought back to life by a scientist Jurassic Park style. Seriously, they reference the movie in the same scene.

Why wasn't this the plot of the episode again?

After managing to tame the dinosaurs with a whistle of all things, Ladybug notices something's wrong with Nino after he gives the Turtle Miraculous back to her. Apparently, he's wondering why Rena Rouge (who he knows is Alya) wasn't recruited with him today. Ladybug tells him that he was the only help she needed today. In reality, it's because Alya has adjusted to her new role of supporting Ladybug behind the scenes in her new form, Rena Furtive.

And I'm not a fan of the new form. I get the camo, but it doesn't really help her blend in when her suit is bright blue. I think it's based off the arctic fox, but that animal is able to camouflage itself because it's fur matches the snowy environment. I'm sure a bright blue jumpsuit won't stand out when she tries to blend in at all. Also, the fact that Alya can just change her hero form gives even less excuses as to why Ladybug's new form is only when she uses her Lucky Charm.

Alya is struggling to keep this a secret from Nino because they don't have a lot of secrets in their relationship. Marinette says she can kind of get it because she had to keep her identity a secret from her friend and has to keep keeping her identity a secret from everyone else. Basically, she's telling Alya to suck it up because this is what being a superhero is.

So the next time she sees Nino, Alya tells him she's no longer Rena Rouge, but not about Rena Furtive, which troubles her. The very next scene shows Alya showing Marinette pictures she took of her new costume and asking her which version looks better.

You could always try reviewing Akuma fights. I heard there's one blog that does it when they're not criticizing the famous director Thomas Astruc on social media.

Yeah, in case you can't tell, Alya was only able to rent her brain for a few episodes because she really doesn't seem as understanding about being a superhero as she was in earlier episodes. In episodes like “Optigami” and “Sentibubbler”, we saw Alya use more strategy and show discretion as Rena Rouge, seemingly taking her job more seriously, but then this episode just had to go and piss it all away. I also love how the first time the animators made Alya's skin the same when she's transformed is in a single frame for a joke.

Alya thankfully deletes the picture, but Nino overhears her talking about struggling to find more content for the Ladyblog, and decides to go to the movies with her to help take her mind off things. Nino, in turn, proceeds to give the same reaction to the in-universe Ladybug movie that Astruc gives to the PV.

Apparently, that movie's already getting a sequel and it has a teaser. So was the sequel animated at the same time as the original like Back to the Future Part II and Back to the Future Part III?

Nino gets pissed the next movie in the Ladybug Cinematic Universe will feature Rena Rouge and not Carapace... even though Rena Rouge debuted first. The teaser then shows Rena Rouge falling for Cat Noir (yet another creative liberty taken by the writers or something Astruc's self-insert threw in himself), and takes it like it's the real thing. Dude, the first movie said Ladybug was afraid of cats, and the director yelled at the person it was based on for judging it. He clearly has a hard time distinguishing fiction from reality.

Alya leaves Nino early so she can go on patrol, but Nino sees Cat Noir heading out as well. He then watches a video on the Ladyblog where Alya praises Cat Noir which is totally not Astruc projecting or anything.

I don't know what your definition of a prince is, Alya, and I honestly don't want to know.

So Nino takes this as evidence that Alya is in love with Cat Noir and decides to tell Adrien, who naturally laughs him off. And just before you think we have an episode where Adrien plays the straight man, Adrien decides to visit Alya because he's afraid he accidentally charmed Alya.

Yes, because Cat Noir is so charming, girls are just fighting over him, aren't they?

We then cut to a black and white film noir monologue by Nino (dressed like a detective with a fake mustache), who decides to spy on Alya. When Cat Noir asks Alya if she is attracted to him, she naturally laughs him off, though Cat Noir is thankfully a good sport about it, even giving her a hug to apologize. Unfortunately, Nino took this the wrong way.

The next day at school, Nino takes Adrien into his “office” (it's really an excuse to reuse the boiler room setpiece), and shows him the picture of the hug. Adrien says that Alya would never fall for Cat Noir because she's always dedicated to finding out the truth and telling her boyfriend everything. What's Nino's retort?

Okay, several problems with this bit. First of all, why would Nino even tell Adrien any of this? What would it accomplish? Why not say all this to Alya while confronting her about her alleged unfaithfulness? Second, Ladybug didn't give Nino and Alya their Miraculous at the same time until it was an absolute emergency. She outright said in “Hero's Day” that she didn't have time to recruit Nino and Alya separately.

Ladybug: I'm sorry for what I'm about to do. I know I'm revealing your secret identities but I don't have time to find a good excuse to give them to you separately. Rena Rouge and Carapace, I need you both!

Nino and Alya kept their identities secret from each other until then, with Alya even keeping the fact she knew who Carapace was a secret as well. Nino didn't find out because “they don't hide anything from each other” (which I plan to talk about later).

Other than that, I actually liked Adrien in this scene. It was really investing to see him try to justify the whole secret identities rule while Nino blatantly said there was an exception. This is the kind of stuff I wanted to see when it came to Adrien doubting Ladybug, not him destroying things in his anger.

While Nino rants about how Cat Noir “stole” Alya from him, Shadowmoth sends an Akuma his way, turning him into Rocketear.

And the design he has is just boring. It's just a blue jumpsuit with some black spots that look like teardrops, a teardrop-shaped head and a visor. I think the reason this season's been relying more on past Akumas and using more Sentimonsters is because DQ is terrible at character designs. I mean, compare this suit with Aigraon from Zyuden Sentai Kyoryuger (his Power Rangers counterpart is Wrench from Dino Charge).

The design does so much more with the teardrop motif, giving him a perpetually miserable face with tear lines going all over his body. Add that to a more diverse color scheme, and you have a much more visually stunning design. And this was created in real life, not rendered on a computer. I'm not sure if this is a budget thing or a laziness thing, but if it's the former, you really need to do better, animators.

The powers are meh, giving Nino the ability to fling explosive tears at enemies. It's a clever idea, and it makes sense he gets a power that parallels Cat Noir's, but I think maybe it would have been more interesting if he couldn't control the tears at all. Like, imagine if he was constantly crying like Blue Diamond, and with every tear he shed, Rocketeer could send it at whoever he felt was causing him misery, mainly Cat Noir, all while serving as a metaphor for people who blame others for their own personal issues. Better yet, make him look like the detective outfit Nino wore for the second act. It would have made him more unpredictable instead of making his tears generic projectile weapons.

Marinette and Alya see the fight and transform into Ladybug and Rena Furtive respectively, the former summoning her Lucky Charm, a projector. Is it just me, or has this been happening with Ladybug a lot recently?

Back to Rocketear, we get a good moment where Cat Noir intentionally lets the Akuma hit him so he can get a chance to resolve things diplomatically. See, this is a moment where Cat Noir's self-sacrificing nature feels heroic and not selfish like when he does it without Ladybug's permission to spite her. Unfortunately, it doesn't really go anywhere as Ladybug shows up and plays the recording Nino took (Alya found his phone earlier), while Rena Furtive uses her Mirage to give the audio to what actually happened that night.

Rena transforms back into Alya and embraces Rocketear, who apologizes to her for his behavior. And then he just... rejects Shadowmoth's power while looking like it wasn't that much effort.

At least when Chloe and Alya did it, we saw them struggling for a little longer. I guess maybe it's because Nino is motivated by his love for Alya, but I think it should have been fleshed out more. So Ladybug purifies the Akuma, gives Nino a Magical Charm, and Cat Noir is still unsure about his feelings for Ladybug at the moment, though they still pound it.

Back in his room, Adrien ponders why Alya and Nino get to know their identities while he and Ladybug can't, but Plagg points out it's because she's the Guardian. It's brief, but I do like seeing Adrien start to doubt Ladybug's judgment, and it looks like it'll foreshadow future episodes. This is a problem I've had since “Hero's Day”, and I'm glad the writers are finally acknowledging this double standard. I just hope they don't end up blaming Marinette for whatever happens later on.

Marinette, of course, apologizes for what happened between Alya and Nino, and I have to say... yeah, no. It's obviously Nino's fault here.

Nino really pushed personal boundaries in this episode, much like Marinette's friends in “Gang of Secrets”. Yes, honesty is a valuable trait, but sometimes, people have secrets they want to keep to themselves. Nino's idea of “not hiding anything from each other” is somewhat controlling, like he's demanding Alya tell him everything whether she wants to or not. The fact that he immediately assumed Alya was cheating on him without giving her freedom to make her own choices doesn't make him look good. Let's be honest, a more realistic outcome would be Alya choosing to break things off with Nino or at least lecture him about how she can do what she wants and keep the secrets she wants. But instead...

And that's how the episode ends.

Okay, Marinette just said she trusted Alya to make the right decision, but I highly doubt she meant this. Marinette strictly said Alya had to keep Rena Furtive a secret, and now she's telling Nino this despite the risk? The whole reason Marinette and Luka broke up was because Marinette had to keep her secrets from Luka, but now it's okay for Alya to be completely honest? How is this not a double standard?

This episode was just dull, and there’s not even much I can really say about it.. There were a handful of standout moments, and the stuff with Adrien was somewhat compelling, but Nino's behavior was just insufferable and dragged the episode down. The Akuma fight was weak, only lasting about four minutes at most, and while the Lucky Charm was more creative this time, the plot was just frustrating. It's really one of the weaker episodes this season.

Now if you'll excuse me, I'm off to watch the better Rocketeer.

[love-takes-work]

Notes on SU Commentary Tracks

I watched the commentary tracks on the Complete Steven Universe DVD Set and I took some nerd notes.

The episodes with commentary tracks are “Reunited,” “Change Your Mind,” and “The Future.”

I’ll bold stuff that was maybe bigger news or more surprising for easier reading. And yes, some of this was already known from podcasts, other Q&As, or interviews, but I listed it if they said it again here.

Read on after the jump to read these and other highlights:

Steven’s original wedding speech

Older ideas on dialogue for Lapis when she came back to the beach

Scrapped concepts for the scene that ultimately included Steven communicating with the others in a mindscape

Discussions of earlier concepts for White Diamond having a power to “freeze” Gems into statues to make them perfect and having a gallery of them on Homeworld

Pink Pearl’s original fate

The translation of the writing on Obsidian’s sword

The origin of Pink Steven’s design

What Rebecca did to pitch the “SHE’S GONE” scene

Earlier plans to include Shep in “Change Your Mind”

An unused concept of how Steven feels about Biggs

The inspiration for the Heaven and Earth Beetles’ healed design

How Volleyball/Pink Pearl was almost a mini-villain

Discussion of how they did not get to share the origin of the Diamonds

Jasper’s scrapped participation in the movie

“Reunited” - 

Commentary with Rebecca Sugar, Ben Levin, Matt Burnett, Hilary Florido, Joe Johnston, Ian Jones-Quartey, and Kat Morris.

In 2015, an episode idea called “If You Love Yourself So Much” was discussed but rejected. It included some early ideas that ended up getting incorporated into “Reunited,” most notably Garnet marrying herself and putting rings on both hands.

The idea of the Cluster arm wrestling was planned for a long time. A scrapped idea of Steven banging his fist on a vending machine to get some Chaaaaps was supposed to visually parallel some of that scene, but it was axed.

When they got pushback on the wedding idea, they kept adding more and more “high entertainment value” items like a big musical number so the episode would be absolutely unmissable and appealing to everyone.

The song at the beginning of the episode was meant to check in with the entire cast and sort of remind you they exist and what their state of mind is going into the wedding.

Ian made a comment joking about “All 15 people in Beach City” being in the audience.

Just about everyone on the Crew touched this episode, despite that there are four main storyboarders credited for “Reunited.”

In 2016 Ian Jones-Quartey proposed marriage to Rebecca Sugar. They felt like the characters based on them (Sapphire and Ruby) HAD to get married in the show now because otherwise it wouldn’t be honest. But then their characters got married before they did.

They really love the idea of having characters get married who have known each other for a really long time, versus the fairy tale trope of movies ending with weddings between people who have met very recently.

Steven’s speech as officiator at the wedding used to be longer in its first draft--it was described as being weird and full of jokes, and there would have been a scene with Pearl getting weepy and pulling tissues out of her pearl.

Ian mentions loving a joke Jeff came up with having Greg play one chord to make Steven fall asleep--it’s sort of a “dream” chord you hear in cartoons a lot before a dream sequence.

The Crew discussed what it might be like if someone had never seen the show before and started with this episode.

Ian really wanted Steven’s psychic powers to figure into the episode.

Blue using a sadness wave to attack the Gems was a very old idea they’d planned for a long time. So was Lapis’s arrival.

There was a discussion of having Lisa Hannigan performing her lines as Blue VERY early in the morning.

Ian was happy the sword got broken because it was so momentous but it was just a sword. And later appeared on a shelf in the house as an artifact.

Miki had drawn a torn dress for Garnet at one point so she could be shown fighting and moving around more accurately, and this led to a long discussion of whether Gem clothing can even actually get torn the way human clothes can. They concluded that no, it shouldn’t be torn, so they backed up and gave Garnet an open-front dress from the beginning so the fighting version would make more sense.

Lapis originally might have had a longer speech upon arriving back on the beach. They eventually decided to just have her say “Hey.”

The barn falling on Blue Diamond was an intentional Wizard of Oz reference.

They point out that Steven even once said “drop the barn on the beach” (in a previous episode, “Can’t Go Back,” which was also a Miki episode).

Destroying the house was a big deal, and they always thought they’d end up doing it but backed away from it until “Reunited.” They almost even did it back in “Coach Steven”! But it just ended up with a little damage to the porch.

The Crew thinks Miki is really good at drawing ensemble shots.

Rebecca was always overwhelmed whenever she got to have Patti LuPone record for Yellow.

Originally the giant figures of everyone’s statue bodies in the mindscape were too dark and had to be revamped so they could be seen.

An earlier idea of Steven’s “psychic-ghost-situation” had him as a ghost actually trying to interact with the other characters during fighting action, but it was pulled back to this mindscape so there wouldn’t be as much confusing action to keep track of and more focus on what Steven was doing to encourage his teammates and contact the Diamonds.

Hilary was glad not to have to block out a fight.

Ian mentions loving having Bismuth back in the group.

They originally wanted the “Diamonds sensing Pink’s energy” plot to happen when Steven was in the palace somehow, but everything got moved to this scene--which the Crew all agrees turned out incredible, like how cool it was to have Steven essentially reminding each character why they fight and summing up their whole arc in a sentence.

“Change Your Mind”

Commentary with Rebecca Sugar, Ben Levin, Matt Burnett, Hilary Florido, Joe Johnston, Ian Jones-Quartey, and Kat Morris.

They like to refer to this episode as “The movie before the movie.”

They loved incorporating “princess tropes” into Steven’s time on Homeworld, which is why there were so many references to “mice” (well, Pebbles) making clothes, being locked in a tower, being reminded of his manners, loving animals and freeing imprisoned pets, etc. 

Deedee did the voice of the rainbow worm pet. She apparently didn’t find it memorable and was surprised when she was reminded she did the voice.

Rebecca was super excited for the confrontation with Blue.

There was some discussion of how Steven would have died of starvation if he didn’t have someone practical like Connie to remember to bring food.

They love working with the huge scale the Diamonds present.

The Crew always wanted to put someone in Blue’s hair loop. Originally they wanted Blue to tuck Greg in there when she kidnapped him, but they didn’t end up being able to do any hair-loop-carrying until this episode.

The Crew bantered back and forth about what the heck those Pebbles’ names were and how hard it was to track them.

They agreed that Paul draws the best Yellow Diamond, which makes sense since he also drew the first episode with Yellow (and her stink face). 

The scene where Yellow asks Blue to stop using her powers on her and then realizing she’s crying on her own was one of Rebecca’s favorite scenes to get to finally.

Steven Sugar thought Gems would spend a lot of time in their own chambers/rooms just not really doing much of anything unless they had to fulfill their purpose.

Some of the Homeworld ideas were based on a Soviet artist’s concepts, Boris Artzybasheff, and also many ideas were inspired by Busby Berkeley regarding how people were objects and furniture.

The mech was an old idea. Once they had the hand ship from “Jailbreak,” they knew there had to be bodies somewhere.

They focused a lot about what could be the coolest and funniest way for something to happen. The concept of the yellow and blue spaceship arms appearing out of the sky to smack the White Diamond mech around was one of those.

Rebecca really wanted things to look more and more cartoony and bizarre as you get deeper into Homeworld.

They spent a very long time trying to decide on characters’ new outfits.

The trash can lid is said to be a reference to “a flying bear cartoon” and they dance around speaking a direct reference because they’re not sure they’re allowed to say its name.

In discussing the powers of the Diamonds, there were debates on what White’s power would be; with Yellow being physicality-based and Blue being emotion-based, they thought White as identity-based made the most sense.

Different ways to express this were played with before settling on the idea that she thinks she’s perfect and others’ colors make them less like her and less perfect. But then she becomes a hostage to her own beliefs about herself because if she does anything that reflects on everyone else, so it’s best to do nothing.

They had some cool earlier ideas of White’s powers making statues out of other Gems and having a gallery full of frozen Gems, frozen by White to make them perfect.

They also weren’t sure what fate befell the original Pink Pearl and discussed whether she might have been destroyed. 

Rebecca discussed how creepy it was to have White Pearl speaking in Christine’s voice and not Deedee’s--that we should find it fundamentally disturbing at this point.

Tom Herpich came up with the crack on White Pearl’s face.

In real life, pink diamonds aren’t understood as well as yellows and blues. It’s more known what makes a diamond yellow or blue, and some of those facts Rebecca researched were originally woven into the speech White gave about their “impurities.” But it turned out to be too dry and most of it got cut.

Rebecca loves having Lapis with pants and sandals for easier cosplay.

Ian had to draw the scene where Steven is falling and fusing with inert characters--he wasn’t able to properly explain it to Rebecca so she had him draw it.

They really wanted Rainbow Quartz 2.0 to have a scarf, but they couldn’t figure out how to get that into Pearl’s design. They miss the scarf.

It was really important to have these Fusions display call-forwards of the Gems’ new outfits which we hadn’t yet seen.

Rebecca points out that Sunstone’s design breaks a design rule and she feels like Sunstone should have Garnet’s pant leg colors on their legs, but at the same time she understands the rule of cool and likes it like this.

It’s discussed how none of Steven’s fusion weapons are exclusively offensive weapons either.

Rebecca still really wants a suction cup Sunstone toy.

Sunstone’s ability to transcend reality and break the fourth wall was a joke that exploded in the discussion room among the Crew. As soon as the idea was pitched everyone kept coming up with ideas. Sardonyx’s fourth-wall-breaking is more snarky, but Sunstone’s is helpful.

Rebecca was disappointed that the rule about Steven’s clothes wasn’t always followed with having his clothes appear on Obsidian’s hand, but she was delighted that you could see them in one scene.

They spent a lot of discussion time on making sure Steven-Obsidian was different somehow from Rose-Obsidian. The hair is different.

Old versions of Obsidian were drawn with wrapped-together Twizzlers legs, which sort of is reflected in the present design.

The sword had been planned forever--and it first appeared in “Bubble Buddies.”

Miki worked on the Ninja Turtles show so Rebecca was really excited to see her depictions of Bismuth and Sunstone.

An early plan to have Obsidian draw the sword from their mouth was complicated because fusion weapons should be combinations, so they finally reached the solution of having them combine to make the hilt, then get the blade out of Obsidian’s mouth.

The blade of the sword is thought to say “We’ll always save the day,” but you’d have to ask Steven Sugar.

Another really old idea was climbing into the White Diamond mech eye.

Rebecca was disappointed that some of the merch made of White Diamond did not feature her cape sparkles.

There were many debates early on about where Rose might “actually” be. There were tons of references to this fundamental question throughout the show--introducing Lapis as a Gem trapped in an object, having Pearl ponder pulling Steven’s Gem out as a baby, straight-up wondering what would happen to him in “Bubbled” when Eyeball was trying to take his Gem, etc. They all decided Rose was definitely gone but that the idea of her possibly being inside him should be on his mind a lot, leading to disturbing images like dreaming about coughing up her hair.

Yellow Diamond and Blue Diamond both challenged Steven about things he was very confident about, but White’s question of his identity got to him because he in fact is not confident about that.

The black and white eeriness of the fuzzy background and the other characters having their colors washed out helped make the scene in White Diamond’s head so disturbing and creepy.

The split screen showing Steven’s two perspectives was exciting to Rebecca, and was a pretty old idea. And she points out it sort of “breaks the show.”

The Gem Steven, Pink Steven, was represented by a slightly modified version of his model sheet. Everyone laughed when they saw what was getting used.

They decided that an earlier idea of Pink Steven looking angry should be replaced by an emotionless version of him. All the emotion should be with Organic Steven.

In the pitch meeting for this episode, Rebecca herself screamed “SHE’S GONE!!” and shocked the hell out of everyone. She pointed out how no one expected this of her because she’s pretty quiet, but she just wanted to shock everyone the way Steven would in the show.

They point out this is the first appearance of the geometric shield that got so much use in Future.

The fact that Steven is Steven is the ultimate reveal of the show. Usually in fantasy shows there’s some other kind of revelation, but Steven just being amazingly human and amazingly Gem and amazingly himself is wonderful here.

They like having the pilot reference with “What’s your excuse?”

If Rose had somehow still been alive in him, all of this would have been cheapened.

Ian loves that you can faintly hear Sadie’s concert from way out in space as the camera approaches Earth.

They got a lot more use out of the Beach-A-Palooza stage than they thought they would when it had to be designed for “Steven and the Stevens.” There was a joke about how at one of the conventions a real Beach-A-Palooza stage was constructed and they had a thought about how oh good, it’s getting reused.

Sadie having green hair in the finale was a late change but they liked showing her progression. 

They had originally kicked around the idea of Sadie already having her new partner Shep at this point, but decided to develop that in Future instead.

They compare White Diamond’s stepping gingerly into the fountain to skeptically getting into a public pool.

Some silliness they didn’t get to use was that Biggs would be “beloved by everyone” except Steven. They never got to cover it, but originally Steven was just going to not really understand why everyone loves her so much and doesn’t personally much care for her.

The Heaven and Earth Beetles are based on the Mothra Ladies.

The healed Gems’ horns are supposed to be side effects of the corruption that they continue to bear in the present.

Larimar and Orange Spodumene ended up different in the ending scene than they became in Future. Many of the designs were retroactively pulled into this scene after being designed for the movie.

Rebecca wrote “Change Your Mind” as a personal song to express her feelings surrounding her fight for the wedding.

“The Future”

Commentary with Rebecca Sugar, Kat Morris, Alonso Ramirez Ramos, Hilary Florido, Joe Johnston, and Ian Jones-Quartey.

The animatic for this episode ran SO long--they’re supposed to be just over 11 minutes but this one was 17 minutes.

Steven’s calisthenics routine, a callback to “Future Vision,” was on the chopping block to make the episode shorter but Rebecca wouldn’t allow it to be cut because she wanted to show that Steven’s been taking care of himself.

They were very excited to get a chance to cover some of the things in Future that they couldn’t squeeze into the original show, like the unbubbled Rose Quartzes, Volleyball, etc.

The new writers on the show also helped bring forward the idea of Steven finally making some of his OWN mistakes to fix.

This also helped construct the idea of Steven essentially being the “final boss” of his own battle.

Usually stories that involve someone being in a fight and winning don’t explore the effect just being in a fight has on a person, regardless of whether you won. 

Rebecca really wanted to play Ocarina of Time after beating it so she could go back to all the places and see how people were doing. She wanted this epilogue series to explore that a little too.

Little Homeschool is sort of a Tiny Toons reference--older cartoons teach younger cartoons how to be cartoons, and this is Gems teaching other Gems how to be Gems on Earth. 

Lamar came up with the silly joke about receiving that art set with all the different media types in it--the one artists are always getting from a well-meaning relative at holiday time.

A scrapped plot idea involved Volleyball/Pink Pearl as a sort of “mini-villain,” with a focus on her activating the un-activated Pearls.

There’s discussion of how victimization turns people into villains sometimes. But since showing that happening with Volleyball wouldn’t have served the interests of Steven’s arc, they couldn’t fit it in.

There was also a “very specific” Gem origin and Diamond origin story that’s quasi-religious in nature--it’s very cool and complicated. But they do not tell us what it is.

Ian and Joe both really wanted to have Jasper living alone in the woods and stacking rocks. They’re glad they got this series to do that with her.

There was originally an idea for a B-plot involving Jasper in the movie. They don’t discuss the specifics.

There were many ideas they didn’t get to work on because they would have started new arcs and Future was not about kicking new plots into gear.

“Mr. Universe” was the last episode they wrote/finished.

Miki really wanted to include a kiss between Connie and Steven to show their relationship was okay. Among the Crew everyone knew their relationship was basically eternal but Miki wanted to make sure WE knew that.

Steven driving conveyed momentum for Future; in the original show, we always came back to the laundry hand, back to home, but in Future that’s changed and home isn’t what it was. 

They were really excited that a gourd family made it to the crowd scene in Future.

Thanks for reading!

Note: The movie had some commentary tracks too, but the one on this DVD set is the same as the one released on the original standalone movie DVD, so I did not outline it here. Here is my post about the DVD commentary from the movie.

[bimswritings]

Savage Opress x Reader

Request: Open

Warnings:Yandere Themes, canon-typical violence

Summary: On their conquest of the universe, Savage finds himself drawn to one of the newest captives in their spread of power.

A/n: The next chapter of ‘This is our way’ is up on my Ao3. It will be posted here after I finish and upload my current Armorer x reader fic.

__________________________________________________

Your planet wasn’t anything special. Located out in the outer rim, it was little more than a moon compared to its neighbors. Its land was barren and cold, an almost ever present frost covering the ground.

Yet you and your people had made it your home, learning how to grow a small amount of crops and mine the rare metals underneath. A job you had yourself, providing enough money for you and your younger brother to live on until he was old enough to work as well. What was produced was enough to give your people an economy, yet remain under the radar and out of the war that ravaged the rest of the planet. The Republic and Separatist had limited interactions this far out at best, and you were able to enjoy a peaceful life, if not a bit exhausting.

Unfortunately, it was this isolation that had been your saving grace for so long that also proved your downfall.

Their ships arrived in numbers you had never seen before, landing on the grey dirt and unloading copious amounts of armored men and women. Your village didn’t even have time to put up a fight, overpower and subdued before you could even think of a weapon to protect yourself.

Soon you were corralled into the town center, separated into groups seemingly at random. Families were torn apart, mother from child and husband from wife. The entire time your brother clung to your leg, hiding as the armed guards shoved you along through the crowds. You tried to stay out of sight the best you could in an attempt to draw the least amount of attention to yourself, hoping, praying, that you could go unnoticed enough to keep him with you.

Above it all, standing out against the dull sky with their vibrant colors, were two Zabraks. Creatures you had only ever heard about in stories from the occasional trader that passed through, and had been just that, stories, until now. Their horns alone were enough to send shivers down your spine, each one protruding from the crown of theirs heads like a twisted version of a crown. Unlike a crown, you knew they weren’t for decoration. The damage they could undoubtedly do if provoked only solidified their threatening presence.

Now they stood above you all, tattoos illuminated in the light of the setting sun. The shorter red one stood in front, chin raised and chest puffed with pride as he looked over your people with another armored man, this one clearly human. He seemed to not even notice the cold, bare chest on full display for anyone to see the unique markings that marred his skin. Just beyond him stood the second Zabrak. His yellow markings stood out even more than his companions, only emphasized by his large size. None of the others even came close to his height, let alone the bulk you could tell he possessed under his armor. Even from here you could tell he could wrap a single hand around your neck and snap it easily with his strong fingers.

His gaze was just as impassionate, if not more so, seeming more bored than anything as he watched the proceedings.

“Come on! Move it!” One of the guards yelled, catching your shoulder as he pushed you forward, reminding you bitterly of Telik being led to slaughter. You kept Jay close, keeping your head down as you passed more guards, pace increasing. Just a few more yards and you would be with the others. Whatever the future had in store for you, at least you would still have each other.

“Hey, you!” A voice called, clearly directed your way, though you pretended not to hear. A cold sweat broke out across your skin as footsteps closed in, hand reaching out and stopping you in your tracks.

“Children don’t go in this area.” He growled, prying Jay from where he hid, ignoring his cries and your screams as he was pulled away. A guard stepped forward to hold you back, another coming to his aide as you fought to get to your brother, who was making it just as difficult for his own captor to drag him away. Even with the muscle gained from the mines you struggled against them, putting up your own desperate fight.

“Stop moving you little- fuck!” He yelped, pulling his arm away and out of Jay’s mouth, which had latched on to the only unarmored part of the hand holding him.

Immediately he turned and was running back towards you, tears streaming down his face and blue eyes wide with fear. In his panic to get back, his childish coordination caught up to him and his feet caught on one another, throwing him to the ground as he was left to scramble. All the while the guard he had bitten approached. 

“You little brat!” He snarled. His hand moved to his hip, producing a whip from its depths. The long weapon crackled to life, sparking with energy as it extended to full length.

Your own stomach dropped in fear as you watched. 

Jay, the one light in your life, the only person you had left, was in danger. You were his older sister. You were supposed to protect him, guide him into adulthood in place of your parents. Be there to kiss away every injury, wipe away the tears after every nightmare.

A new burst of energy flooded your system, giving you the strength needed to push past the guards, leaving them stumbling as you flew towards Jay.

The man brought his arm down, whip swinging in a wide arc aimed at the defenseless boy on the ground. 

It didn’t even have the chance to hit him. You slid the last few feet on the rough terrain, body covering his at the last second and jolting as the electric weapon met your clothed back, ripping through the material like a stone through water. A pained scream tore itself from your lips. Not even when you had gotten a burn from a small explosion in the mines had it hurt this much. In fact, you would take a dozen burns before this. This was just pure agony, the pain not even limited to a single area as the electricity coursed through every part of your body, invading every nerve.

The man was far from done though, and he repeated the action again and again, turning your skin into a bloody mess as Jay continued to cry underneath you, struggling in your protective grip. Still you held tightly, biting your lip to muffle your cries with every lash.

No one lifts a finger to help, not even looking in your direction in fear of the same treatment as they continue to shuffle along. You don’t even have it in your heart to blame them, knowing your reaction would be much the same if the situation was reversed.

Unbeknownst to you, your little altercation has caught the eye of the golden Zabrak, a small twinge in his heart at the deja-vu feeling he gets from the scene. From your age, he can only assume that the boy is your brother. You look too young for him to be your son.

He has flashbacks to his own brother, giving himself to the cursed Nightsisters in exchange for his life, only to be forced to kill him in a cruel show of power.

Before he realizes it, his hand has fallen to his lightsaber, already taking a step to where you are. He only gets a step before Maul calls to him, pulling him away to the ships and leaving him to look back over his shoulder at you crumpled form.

“Come. We must set up camp. The prisoners will be dealt with later.” Maul chuckles. “Those that survive anyways.”

And so he follows, leaving your fate to the Mandalorian who has yet to relent in his cruelty. But out of sight doesn’t mean out of mind, and the memory of your form curled on the ground, taking every lash with little more than a jolt and muffled cry, sticks in the front of his mind and prevents him from having a single moment of rest.

It's hours before he’s able to slip away. Between his brother and Death Watch, it’s nearly impossible for him to make his way to where the captives are being held. They’re all gathered in one of the far corners of the camp, held in place by the ropes around the wrist and looking miserable as they huddle for warmth against the lightly falling snow. He feels no guilt for what their eventual fate will be. They’re nothing to him, mere insects in his brothers plans. Animals to the slaughter. All for the greater good.

The fear he can feel radiating off them feeds a twisted sense of pride within him. The Sith side of him. They know who he is. They know he could easily kill them with no consequence should he choose. 

He’s not here for them though.

A dozen yards away, your body is still laying in the same spot as before, more lifeless than when he last saw you. This time there’s no Mandalorian enforcer above you. Instead, he’s replaced with the small boy from earlier. What remains of your shirt is peeled back from the skin and even Savage, who’s used to many grisly sights, grimaces at your wound. The skin that isn’t lacerated is red and swollen, and he now notices that the young boy has shed his own shirt, using ripped strips to clean the blood away and form a crude version of bandages. He’s busy fumbling over himself, fingers clumsy and stiff from the cold as he does his best to care for the wound with no medical supplies.

So focused on your wounds, he doesn’t even hear the large Zabrak approaching, not until it’s far too late. To his credit, and Savage’s amusement, the boy refuses to leave you, placing his body in front of yours. His bare chest is rapidly moving up and down with fear, thin body on full display. Not an ounce of muscle on him, Savage muses, moving closer to your body. If he doesn’t get you proper medical attention soon the wounds will undoubtedly become infected and kill you, if the blood loss hasn’t already damned your fate.

When he goes to pick up your limp body however, he’s stopped by your brother. Well, stopped is being rather generous. It’s more like he’s latched himself onto Savage’s waist, small fist beating at him with the strength one would expect of a child. He might not have even known he was hitting him if he wasn’t watching it happen.

It’s times like this that he’s most grateful for his cursed strength, easily detaching the boy from him and holding him by the back of his neck, tucking him under one arm as the other reaches for you. It's almost concerning how cold your body is against his own skin, and he’s more careful as he lifts you over his shoulder. His brother would surely find it laughable if he saw how gentle he was being with you.

Without hesitance, he turns back to the main camp, ignoring the looks the others cast his way as he carries your unconscious and broken body over his shoulder, your brother still fighting under his other.

Let them gossip. There’s none that will stand against him.

____________________________________

The first thing you’re aware of is warmth. Surrounding and enveloping your form, begging you to stay as it threatens to drag you back into the land of dreams. That in itself is enough to alarm you. The heating was always turned off at night to save energy, replaced in favor of thick blankets made from the local TekTek wool.

That’s your second red flag. TekTek wool is warm, yet coarse and scratchy. The fabric currently piled on top of and under you is significantly softer, having a slight musk to it.

Finally managing to drag your eyes open, the sight that greets you is not one you were expecting. 

Dark fabric makes up the majority of the tent you find yourself in. It’s clearly worn, yet does a surprising job of keeping the wind outside from entering, slight ripples waving across the fabric yet never entering. A fire sits in the very center, smoke curling up and through a hole in the ceiling. It’s glow provides the only source of light in the space, illuminating the few objects scattered around, including the cot you currently find yourself residing on. Buried under layers of blankets, your hands travel to the bandages wrapped around your chest, the only thing covering your upper body and providing little warmth in comparison to the blankets you were previously under.

How did you get here? Where was Jay? The last thing you remember was the invaders arriving, then nothing. So the question was, how had you gotten from there to here? Alone in an unfamiliar tent.

Your questions are soon answered, a shuffling from the front of the tent drawing your attention. From between the flaps emerges a large figure, his horns nearly catching the fabric as he enters.

You both freeze, eyes locking on one another, equally surprised. There’s a moment of pause, each of you trying to determine your next move. It’s only broken when he takes a step forward, cautiously, but still sending you into a panic. Ignoring the nearly debilitating pain coming from your back, you scramble to the edge of the cot, pressing your back against the fabric and you can feel it straining against your weight. Trying your best to look intimidating, you send a glare his way.

“Where’s my brother?”

He says nothing for a moment, and you almost repeat yourself, cut off as he begins approaching. He’s there before you know it, long legs easily eating the space as his arms reach for you, forcably turning you around despite your resistance. He lets out a grumble as he inspects your back, scoffing about how you’ve ‘reopened them’.

The next thing you know, his hands are worming their way under the wrappings, loosening them as he goes to remove them.

The panic you had felt before was nothing compared to now, knowing where this scenario was going all to well. The stories of what you had heard from other village girls filling your mind, darkening your thoughts as you could only imagine what this monster was about to do to you.

“No! Stop!” You sobbed, knowing full well that there was nothing you could actually do against his strength. The bandages become looser, only held up by your hand as you wildly swing out with the other. All the while you try to distance yourself from him. 

“Please!”

To your surprise, he pauses. His first sign of even showing he heard you since entering. His gaze never leaves you, and you can see the debate going on within his eyes. About what, your guess was as good as any. All that you cared was that he had stopped for the moment, allowing you to cover yourself with one of the many blankets in an attempt to preserve any decency you had left.

Growling, her turns and storms out the way he came, a wisp of freezing wind invading the tent as you're given a glance at the dark night sky outside before you’re once again left on your own. Not for long though, and you think he’s returned once again when the flaps open, only to reveal a young woman in similar armor that you had seen earlier. Not the person you trusted the most right now, but you still preferred her over the large Zabrak from earlier.

She approaches slowly, setting a medkit down on the bed as she smiles your way. “I’m here to change your bandages.” She extends a hand your way, which you only look at, neglecting to come out of your little corner. 

“Please. You’ve opened your wounds again. If you don’t come out now, I’ll just wait for you to pass out and change them then.” she sounds a bit exhausted, and it takes a few more minutes of coaxing before you allow her access to your back, keeping your back towards her as she slowly unwraps the bindings. She deposits them into the fire, leaving you to watch them burn to ash as she retrieves a small container from the medkit. 

Inside is a blue gel, surprisingly warm as it touches your skin and leaves a pleasant numbness. You can almost feel her gaze burning into your skin as she applies the gel, eyes skittering across old scars, fingers even tracing them when visible underneath the new wounds. Seeming to sense your unease, she rushes through the rest, quickly wrapping new bindings around your torso, apologizing with every small grunt of pain you let out. 

Far too quick for your liking she’s done, packing up her things as she prepares to head out. If she’s leaving, then that means there’s more of a chance that he’ll come back. In fact, you have no doubt that she’ll go and tell him once she’s out of here.

Snapping the case closed, she turns back to you and hesitates for a moment.

“I don’t know what you did to gain Savage’s attention, but believe me,” her green eyes lock onto yours, holding a sense of severity that chills you to the bone. 

“, he’s your best chance of surviving.”

With that you’re alone once again, left to your own thoughts and the crackling of the fire, which has gone down a significant amount since you first woke.

What did she mean by that? Gained his attention? And he was one of the ones who lead the attack on your home. Why would he be your saving grace? If anything, he would be the most likely to kill you.

Once again the flap opens, and you almost want to groan about the number of people going in and out, letting the heat out of the tent.

It’s the Zabarak. Savage, you remember the woman from before calling him. This time he has some additions. A cloak draped over one arm and a plate in hand. He moves slower than before, almost cautiously approaching you as he sets the items on the far end of the bed.

“Eat.” His voice is a deep baritone, rich yet monotone as he speaks, nodding towards the plate before moving towards the fire. Your eyes never leave his form as he tosses more wood onto the flame, moving them about without a fear of burning himself. Despite the fear still gripping your nerves, the food is tempting and only now do you realize how empty your stomach is, almost turning in on itself as it lets out a low rumble.

You grab the plate cautiously, picking at its contents as the man continues to poke at the fire. When you do finish, you find yourself wishing you had taken more time with it, no longer having the small distraction from your current situation. Despite the desire to throw on the warm looking cloak, you don’t. While he had directed you to eat, he had said nothing about the cloak. The last thing you wanted to do was make him angry, especially after he had shown how easily he could manhandle you earlier.

“You’re going to travel with me from now on.” He spoke, his back still towards you, yet it still carried loudly through the air, leaving no room for you to mistake his words. “If you have any objections, your fate will be the same as the rest of your village.”

You have no idea why he’s saying this, not when he could just direct you without any information. There’s only one thing on your mind though, present from the very beginning and still burning on your tongue.

“Where’s my brother.” You ask once again, praying to the maker you’ll get an answer this time. “What about him?”

His shoulders tense for a moment. The first emotion he’s shown besides anger.

“He will be allowed to come along given that he trains as a Mandalorian warrior. This is the best option for him.”

You let out a sigh of relief. While being forced to train with the ones who captured him wasn’t an ideal situation, you could only be thankful that he wasn’t fated for something more unfortunate. The only thing that worried you was his size. He was never much of a fighter, too kind to want to cause others pain. You would need to be there for him.

“I...I can still see him.”

“Yes.”

You bit your lip, trying to decide if you should ask another question. He already seemed to be wearing thin with his patience, but you had to know. You would never get a moment's rest until you knew.

“Why am I here.”

He doesn’t answer right away, throwing a few more logs onto the fire before turning to face you. His face was nothing but shadows, eyes standing out in startling contrast. His footsteps were slow and heavy as he made his way over to your form, unable to back away any further as you already find yourself in a corner. He grabs the cloak as he passes, the article almost ridiculously small in his hands.

As soon as he’s close enough, he lifts his arms and you flinch, expecting him to strike you out of annoyance and anger. It never comes though. The only feeling was that of heavy fabric settling on your shoulders, only there a moment before it’s clasped and you feel yourself being pulled forward. 

Savage’s hands are wound tightly into the fabric, forcing your face to nearly touch his. This close you can see every detail of the markings splashed across his skin, the black only making his amber eyes burn even brighter, nearly suffocating with the intensity with which they stare. Almost like molten gold themselves.

His breath fans across your skin, lips nearly brushing yours as his forehead grazes your own, making you whimper as his horns roughly scrap the skin.

“You’re mine now. You will never leave my side, there at my every beck and call no matter what I may need. If you even think about trying to leave or betray me,” he pushed further, forcing you to lean back onto the bed. His weight pushed down enough to keep you in place without being crushing, one hand releasing the fabric of the collar to travel up your face. It brushes the hair away, catching the tear you hadn’t even realized had escaped.

“I’ll force you to watch as I kill your brother in the most painful way imaginable.”

Your breath catches in your throat as he leans forward, baritone voice speaking lowly in your ear as his lips tickle the skin.

“You’ll wish, beg, that I had killed you as well instead of what will happen to you after.”

[incorrectlumityquotes]

Why Amity fell for Luz: A Theory

Watching all the episodes of The Owl House and reviewing them brought back a lot of thoughts and feelings that I maybe forgot about. We all ship things and sometimes we do it for fun; sometimes for deeper reasons. I just started lumity because it reminded me of Diana & Akko from Little Witch Academia. I loved that show so much that I wanted more, and I thought it would be cool if Luz & Amity did something similar. I had no idea that it was going to go beyond that, so DAMN. To quote a talking science wolf, “For years we ask how, but we should ask why.” I mean, we saw how. But why? Well I can take a guess.

If we’re are going to start anywhere it’s going to be with the girl in question, Amity Blight.

As far as I know as of this typing, Amity Blight is a witchling from The Boiling Isles. She lives in Bonesboro at The Blight Manor estate with her parents and her siblings. She attends Hexside School of Magic and Demonics. Good for her.

Amity has an ambitious and competitive personality. She’s always striving to be better and be at the top of whatever she is doing. When she’s introduced in I Was a Teenage Abomination, she’s showing having great pride in being the top student in her abomination class. In Adventures in the Elements, she goes to The Knee in hopes of training to beat her siblings’ high score on the placement exam.

Amity also has a bit of a temper and gets annoyed easily. In I Was a Teenage Abomination, she sics her abominations on Willow and Luz just because she wasn’t named top student that day. In Enchanting Grom Fright, Amity snapped at the person she bumped into before realizing it was Luz. And later in the same episode, Amity beat up Hooty when he decided to get too close.

But she does have a soft sensitive side. She keeps a diary in her secret room in the library and even reads to kids in her free time. Amity also has a strong sense of integrity. She despises cheating (and cheaters) and feels guilt when she’s forced to break ties with Willow.

So why did someone like this fall for Luz of all people? (see above image)

Enter what I call my Shipping Theory of Compliments

The Shipping Theory of Compliments is that two characters would be shipped and sometimes canonically enter a romantic relationship based on their personalities complimenting each other and fulfilling elements they don’t have alone necessary to developing the character.

People like to use the image of a missing puzzle piece, but I don’t like that comparison because I think it’s a little inaccurate and I don’t like puzzles. Think of it more like the two pieces of the yin and yang coming together and then growing the circles of the opposite colors in them.

Something like that.

And it’s compliments, not opposites. When you think compliments, think more Star and Marco from Star vs the Forces of Evil. Star wants to go on a magical adventure. Marco also wants to go on a magic adventure. The difference is that Star goes in recklessly while Marco wants to plan it out a bit. They still have their adventure as oppose to Star’s opposite who wouldn’t want to go on a magical adventure. That sort of thing.

So how do Luz and Amity compliment each other?

Let’s start with that they have in common. Obvious stuff aside, they’re both training to become the best witches they can be. The difference comes that Luz is a human who has to learn magic via glyphs that she finds and Amity learns magic the “proper” way on The Boiling Isles. 

Luz and Amity are also both fans of The Good Witch Azura book series. Difference is that Luz is more open about her fandom while Amity tries to keep it a secret. Also petty thing but they’re both fan artists too, but I think Luz might be a better than Amity. But hey, her crosshatching is improving.

Luz and Amity are also (at the start of the series) both lonely people. Luz’s mom says that she doesn’t have any friends, and Amity doesn’t like her “friends.” The difference is that Luz reaches outward to ease her loneliness (being social and friendly, trying new things, etc.) while Amity reaches inward (keeping a diary, staying busy, having a secret spot, etc.). They both also use escapist fiction to ease their loneliness.

That’s all well and good, but now we get into the real speculative parts. 

...complimenting each other and fulfilling elements they don’t have alone necessary to developing the character.

When I was taking acting classes I was taught that the way you see people act is a persona based on their experiences on what it takes to survive and avoid physical, emotional and social death. So now we have to speculate based on what we were given on what emotional/social needs and wants has Amity not been getting before that she has with Luz.

First let me point you to another show called F is for Family. F is for Family is an adult animated sitcom on Netflix that follows a very dysfunctional family in the 1970s. These are legitimately bad characters, not in terms of being poorly written. What I’m saying is that these guys are assholes. But here’s where it gets interesting.

One of the characters is Kevin Murphy, the teenage son of the family. He’s a dim-witted wannabe rockstar who is always yelled at and put down by his parents throughout the entire series. However in season four Kevin meets Alice. Alice teaches Kevin that his favorite band is a big reference to Tolkien and gives him a copy of The Hobbit. They bond over their love of Lord of the Rings and get along really well. Alice calls him smart for being able to read all of Lord of the Rings over a few days and never puts him down. Even in the one time they did fight she never yelled at him or raised her voice which he found weird because he’s so used to being yelled at. Alice gave Kevin the emotional support he always wanted but never got from his family.

Using that as a backdrop, let’s go back to Amity.

Amity grew up with her parents making her do things she didn’t want to do, making choices for her. Amity wanted to be one way. Her parents wanted something else. Amity’s mother even dyes Amity’s hair green so it matches her siblings. Amity wanted to be friends with Willow. Amity’s parents wanted her to be friends with the mean kids. While Amity does work hard to be the best at what she’s doing, her parents also put pressure on her to make sure that she is at that level. 

Her siblings are another bag of awful. They constantly refer to her by an annoying nickname that I’m guessing has an embarrassing moment attached to it. They seem to live by a double standard that Amity despises. She has to work hard and follow the rules just to be accepted while they are naturally talented and break the rules with everyone still thinking that they’re perfect. 

Family is supposed to provide unconditional love except it looks like the love of the Blights is based on conditions. Nobody just likes Amity for who she is. She doesn’t have a friend.

Enter: the friendliest person she’s ever met

Amity has to struggle and work for the simplest things, even affection. Except when it comes to Luz. Luz is naturally friendly and positive. Amity doesn’t have to earn her kindness. Even when she’s bullied Luz before, Luz is always coming back with a smile. I suppose when you live life surrounded by jerks, you’ll want to hang out with the one person who’s always nice to you. Sort of.

Yes, Amity did think Luz was a bully for constantly getting her into trouble. But even at Covention and Lost in Language, Luz kept reaching out to her. This combined with Amity’s awareness of her own behavior is what convinced her to try to reach out in kind to Luz by the end of Lost in Language. “She’s trying to be nice to me, so I should try too,” I’m guessing is the mindset especially in Adventures in the Elements. And then...Luz continued to be nice to her which is kind of a big deal for Amity.

Let’s tally up what we have so far:

Luz and Amity have similar interests (The Good Witch Azura series, art, fiction, learning magic)

Luz and Amity have similar values (work ethic, disdain for cheating, protecting those closest to you, etc.)

Luz gives Amity the positivity and affection that Amity doesn’t normally get anywhere else

They still have differing personalities with Amity being more competitive and Luz having more of a live-and-let-live attitude.

Even with all these things in mind, why was Amity so scared to ask Luz to Grom?

Speculating again but my theory is that Amity wasn’t sure if Luz actually liked her or if Luz is just friendly because that’s how Luz is. Amity was scared of being rejected because she felt that maybe she was just reading the situation wrong. Luz is this ray of sunshine in her gray skies (if you’ll forgive the cliché). People like Amity always think of all the worst possibilities (I know because I do this too). Amity was probably thinking a bunch of what ifs. “What if Luz doesn’t actually like me? What if she’s just being friendly because she feels sorry for me? What if she has feelings for someone else? What if she never actually liked me? What if she’s straight?”

Luz is Amity’s first crush and it is scary as all hell to put yourself out there like that for the first time. She wasn’t expecting to get married at Grom night. She just wanted to dance with the girl she liked.

The dance at Grom was like confirmation for her that it could happen. Amity didn’t have to ask out Luz because Luz asked her. Being with Luz isn’t a pipedream. It’s a definite possibility. And we all know how she reacted to that idea.

Uh...she’ll be in her bunk.

While Luz and Amity aren’t together as of this typing, I believe it’s bound to happen. Until then, after The Lumity Trilogy, Amity knows that Luz is the girl she likes. 

tl;dr version

Amity fell for Luz because they have similar interests and values, their personalities differ in a compatible way and Luz provides Amity emotional needs and wants that she doesn’t get anywhere else.

Also, round eared girl pretty.

.

Thanks everyone for reading.

[ct-multifandom]

More s4 predictions? More s4 predictions.

Luka closure, duh. He will start moving on from his breakup and start existing outside the scope of Marinette’s love life

I really hope we see Adrien hanging out with him to parallel Mari hanging with Kagami but I’m afraid the parallel might just be Mari hanging with Luka as friends

Marinette will try to give Adrien a miraculous again. Near the end of the season, she’ll realize that there are only a couple if not one miraculous left without a holder, and she’ll get overtaken by the desire to work Adrien into her team. If I had to guess which one, I’d say the dog because it juxtaposes the cat and I think Sabrina, as an outsider to the group and former mean girl lackey, might be the last to go.

We’ll meet someone’s mom for the first time and she’ll get akumatized along with a mode of transportation. Maybe a motorcycle or airplane this time? Edit: I guess Gina/Befana was motorcycle mom already so we’re just missing airplane mom

Alec Cataldi will be Psychomedian. Since they rewrote Gagotor for this I’m guessing the new character was probably replaced with one we know, and Alec is a recurring, humorous TV personality who hasn’t been akumatized yet. I came across his English VA’s insta by chance on explore and he made a post about recording more Alec lines after Optigami’s release

Rocketear will be/have to do with Max who misses his mom after she leaves for a space mission. It’d be nice to see the continuation of this subplot, which was shown for a moment in Miracle Queen after Startrain. Plus, Ladybug needs to give Max a charm sooner rather than later and Gamer, a very specific akuma, already had a 2.0. Edit: I’m Stan and I was wrong.

When Megaleech was first announced I thought it might be Bob Roth(’s sentimonster?) based solely off the name, but assuming that’s the thing in the Polymouse episode, it’s hard to tell. It’s so non-human. I wasn’t expecting Mylene to get her miraculous here based off the name either. My new theory, which I’m admittedly not super confident in, is that Megaleech is the fusion of the entire Kitty Section who got screwed over by Bob and/or XY again. That would explain the French pun and also Mylene’s personal connection to the case at hand. It might also explain why this group of heroes was hanging out outside of school. I wonder how Ladybug’s new charm animation would work with more than one charm at a time. Would they skip it altogether and just show her passing them out? Would they all match with Megaleech’s colors or would they be different for the individuals?

Edit: I am editing this post because I just saw a theory that the villain of this episode will be Andre Bourgeois again. Megaleech’s color scheme and medallions match Malediktator perfectly, and the tiny thing Chat kicks in the trailer looks like a shrunken version of him if you look closely. This is a lot more believable, but it makes me wonder what leads to Mylene being the hero of the day.

I hope Polymouse doesn’t get overshadowed by the large team, but I also hope she doesn’t get overshadowed by Multimouse. Unfortunately, there are a lot of immature kids who hate Mylene for no reason, so I hope Polymouse will be the one to come up with the winning plan, use her powers cleverly, and be heroic in general so that she can prove how well the mouse fits her instead of unknowingly competing with Marinette.

Teenage Alix will make her entrance as Bunnix when her dad gets akumatized. Both Timebreaker and The Pharaoh had time-y powers, and Alim is a historian, so if he were to get akumatized, he’d probably turn into a villain who controls time as well, leaving his daughter as the only one who can take him.

Sandboy 2.0 will happen as everyone predicted based on the voice director’s story post with Sandboy’s VA. Ladybug will probably see Chat Blanc in place of zombie Adrien, raising a lot of questions and tension. Maybe Chat will see Ladybug abandon him, or something else related to solitude rather than being trapped? We will also finally find out who the akumatized kid is.

Speaking of, I think Sandboy 2.0 might be Caprikid’s entry episode. (What?) Let me explain. I think the Sandboy kid and Marc look pretty similar, and correct me if I’m wrong but I’m pretty sure they’re the only male characters with defined eyelashes in the whole show. Both of them also have celestial thematics which would fit with Marc’s last name, Anciel (en ciel, in the sky). Sandboy looks like the night sky while Marc has a rainbow theme. It’s possible that they’re related, so Ladybug will enlist Marc to help defeat Sandboy. Here are pictures:

I’ve also seen other people theorize that Caprikid’s power is related to dreams, I guess because of something like “counting sheep”. This isn’t my theory for his powers, but I see where it’s coming from. His kwami has the most interesting name. While most of the kwamis are related directly to their animal, Ziggy, the goat kwami, is named after David Bowie’s stage persona, Ziggy Stardust, who is an alien from space. David Bowie had other famous personas like the astronaut, Major Tom, and Aladdin Sane who had the iconic lightning bolt, all themes associated with the sky. I wouldn’t be surprised if these themes show up in Caprikid’s design, like if he has face paint instead of a mask or a similar hairstyle to Bowie.

We can already kind of tell that Caprikid and Coq Courage are matching just like their civilian selves do from their opening silhouettes with the chest fur and feathers. I predict it goes further than that with daytime/nighttime thematics. Roosters are associated with the sun, and my theory for Orikko’s power is illumination. Evillustrator’s biggest weakness, which ended up defeating him, was darkness, and I read a post today that pointed out that he can draw without even looking at his tablet so it’s more likely that he’s just scared of the dark. If he has day themes I think Caprikid will compliment that with night sky themes based on the stuff above.

I expect Evillustrator will have a 2.0 episode or any sort of comeback at some point. He’s probably one of the most iconic akumas, yet he’s only been truly akumatized once, at least on-screen. Plus, ladybug needs to get protective charms to all her hero pals asap.

We will probably meet the family of a couple more major characters who don’t have canon family members yet.

I hope we see more more-than-one-person and/or fusion akumas among the major cast. The protective charms are helpful but it sucks that they limit our possibilities for this type of stuff.

Sabrina will leave Chloe once and for all, which will trigger a big change in both of their characters. Sabrina will become more independent and leader-like, but Chloe will hit her lowest point. If not for... a certain person’s writing... I’d say this will be the true catalyst for her development as she faces cold hard reality for the first time... but I’m not so sure. Maybe she’ll just mellow down and become less bad and less relevant. Maybe she’ll snap and join evil Lila. Only time can tell.

I want to see my boy King Monkey again this season before the big finale, which will probably have everyone, and I’m pretty sure I will. I feel like they’ll all show up before that. I want him to move across the city by swinging across stuff like a monkey on vines.

We will finally see Ryuko’s full transformation and lightning dragon. I saw that the Roblox server thing featured the (oversimplified and blocky) coreo for her full transformation before the actual show did? A bit embarrassing.

I want to predict something for my boy Ivan, but he gets so little screen time that I just can’t think of anything :( I’m very excited for Minotaurox, though, and it’s possible that he’ll be involved with his family rather than Mylene or his friends.

The whole gang takes down Shadowmoth. Booyah, 17 teenage furries, bet he didn’t see that coming. And everyone has a big “pointing and laughing” moment until the obligatory Adrien angst commences

[writtentodeath]

Could you write a story about a villain who falls in love with a hero that they’ve been temporarily teaming up with? But they’ve already planned to betray them and kidnap them? And once they do, the hero is terrified that they’ll be tortured but the villain can’t bring themselves to hurt them?

The mirror stared back at Villain, a perfectly suave and attractive version of themself. Not that they weren’t normally attractive and suave, but the suit definitely added something. 

“I’m ready, let’s go,” a voice said behind Villain, and Hero walked into view. They were… they were stunning. It was one thing to feel a flutter when they laughed, or to get a heady rush of something when Hero made an especially smart point, but this- seeing them with their hair up, full makeup, a lovely blue suit- this was something different. 

“I can see you’re still enamored with yourself,” Hero said, not noticing Villain’s eyes on them, “but we should really get going if we’re going to make it to the party on time. Do you have your tools?”

Villain turned, showing Hero their lockpicking kit. “I have everything, lovely. Are you ready? We could change the plan, if you wanted.”

Hero frowned. “Why would we do that? Did something change?”

“No, but you could probably seduce Burnett and get her to just give you the weapon. Blue is definitely your color.” 

“I-” Hero’s mouth twitched, trying not to smile. “I bet I could do it better than you.”

“Is that a challenge?” Villain asked, stepping forward. This wasn’t a good idea, they knew, but the tug in their stomach wanted them to walk straight to Hero, grab their face, and kiss them until they fainted. The rest of the plan could proceed from there, damn Burnett. 

Hero winked, and their stomach flipped. “Maybe another time. Now come on, we need to go. And make sure your comlink is on, we don’t want any mix ups.”

And then they left.

The party was filled with important people from all around the city, enough that Villain was tempted to take them all hostage, get a pretty penny for them- but that would be too dangerous, especially without a prior plan. Villain always had a plan, it would be suicidal to do anything without one.

“Don’t get any ideas,” Hero murmured to them, leaning on their shoulder. “We have a job to do.”

Villain looked down at them. “I wouldn’t dream of doing anything else,” they said. “We should dance.” 

Couples spun across the floor, lost in their own lives. 

“We should get into the safe room,” Hero said. “Stick to the plan.” They gave Villain an odd look, disentangled themself from Villain’s arms, and walked off towards the appetizers.

Villain shrugged, and walked towards the staircase to go to the next floor. “Stick to the plan,” they muttered. If Hero wanted it, they would stick to the plan. 

Their job was just about done. 

“Get them to the party, send them upstairs,” Burnett said. “Then they’re all yours.”

“Pleasure doing business with you.”

Villain walked the perimeter of the main room, seeing who was and wasn’t there. It was a party, after all, and with so many people, there would likely be more than a few deals made up. Villain wasn’t here for that, though.

“Villain? Where are you?” Hero asked in their ear, more annoyed than panicked. “I’m at the door, you’re not here.”

“I already picked it,” Villain said, covering their mouth by pretending to drink something.

There was a pause at the other end of the line. “That wasn’t part of the plan.”

“There were complications. Just keep going.”

Hero didn’t reply.

Villain took the little comlink out of their ear, dropping it onto the floor. It splintered under their boot. They took a sip of wine, savoring the taste, and set their cup down. It was almost time, just a few minutes after Hero went into the room.

They walked down the familiar hallway, footsteps echoing. They knew the door was unlocked, but they knocked anyway. 

“Come in,” a voice said. It wasn’t Hero.

They walked in, and Sandra Burnett looked up from her desk. “Villain,” she said, smiling. “So glad you could make it. Have a seat!” 

Hero was tied to the other chair, face bloody. They stared at Villain, eyes wide. “You- you betrayed me,” Hero said. “How could you do that? We had a deal-”

Villain leaned over and placed a finger on their lips. 

Hero froze.

They brushed a strand of hair out of Hero’s face. “All part of the plan, sweetheart. Just maybe not the plan you knew.” They turned to Burnett. “Do you have a room I can use? I’d really rather not transport them right now.”

Burnett tilted her head. “Of course. There’s a room in the back, I’ll have them moved immediately, they’ll be ready in, oh, twenty minutes.”

Villain looked back at Hero, their wide eyes frantic, alternating between furious and betrayed and terrified. It was almost intoxicating to have that amount of emotion all for Villain, but at the same time, they never wanted to see Hero that distressed again.

“Make sure you check their pockets,” Villain said, still looking at Hero, “they have knives and a lockpicking set.” 

Hero tried to say something, but Villain turned and walked away. 

Twenty minutes later, they walked into the back room.

Hero looked up, startled, and stopped trying to free themself. “Oh, it’s you,” they snarled, glaring daggers. “I should have known not to trust you.”

“It’s true,” Villain said, walking to the back of the room. 

Hero twisted their head, trying to look at Villain. “What… what are you going to do to me?” they asked, and Villain could hear the tremor in their voice. 

“Well, the plan is to have you tell me every little thing about yourself,” Villain said, grabbing a knife from the back table and walking towards Hero again.

“I’m- I’m not telling you anything.” Their fists were clenched, and Villain reached down, gently uncurling their fingers, one by one. 

“There we go,” they said. “You will, you know. You’ll tell me everything I need to know, whether or not you want to. Everyone breaks eventually.”

Hero blinked hard. “You’re going to-” their voice caught.

Villain looked at them, hair messy, a few cuts here and there. Torturing them was the plan, yes, but… 

They looked so scared.

“I’m going to ask you a few questions,” Villain said, mentally cursing themselves. “And then… and then I think I might take you home.”

“You’re going to kidnap me?” Hero asked, frowning in confusion. The worry lines on their forehead started to fade. 

“It’s that, or kill you,” Villain said. “And neither of us want that.”

This was not according to plan. 

[gritsandbrits]

You have your own version of TFA Season 4? Would you be so kind as to infodump about it to us?

It's very similar to the planned (and sadly cancelled) season four only with changes here and there and adding OCs - Cybertronian and human alike.

The trial of Megatron still happens but for the most part he's not the main villain this time. I don't know if the new baddies should be Team Chaar or Blackarachnia's Predacon Army 🤔

We get more development for the Dinobots; and the predacon army inevitably betrays Blackarachnia after some positive influences and become the Maximals. Waspinator's Predacons are a bit more successful...

I like to think the Dinobots and Maximals eventually use that island as their own base of operations.

Team Chaar is pretty big deal as they now have their sight on Earth; through them we get more detail on Decepticon history and why they rebelled. Some of the older Decepticons don't actually buy Megatron's rhetoric but are too afraid to really stand up to him and his goons.

Team Detroit is still mourning Prowl but they gain three new teammates: Jazz, Arcee and Ironhide. Jazz because he wants to honor Prowl's memory as well as finding a way to carry on Yoketron's legacy now that he's the only known Cyber Ninja still living. Arcee because she's recovering under Ratchet's watchful optic; she's really frustrated with everything that happened to her and needed a new change of pace. And Ironhide because most of his teammates are still recovering from being ambushed by Team Chaar and honestly him having to adapt to Earth serves him a healthy dose of humble pie

Bumblebee of course is not happy with having to work with one of his bullies but also starts to feel guilty because Wasp(inator) is still out there and sooner or later, Ironhide will start asking questions about his former friend. He can't deny Ironhide the truth, so most this season is spent with them trying to make amends for past mistakes.

The team actually get the new paint job based on their Bayverse designs, to show how far they've come from being a mismatched crew. Optimus don't like the flames but it's used to symbolize his newfound confidence & spirit!

Bulkhead leaves to help his family protect their energon farms and Sari goes with him to try to learn about her origins. One of my OCs Malina (Sari's surrogate sibling) goes with her and at first it's hard for them since it seems that every cybertronian except Bulkhead's family looks down on organics.

A part of me wants to bring back Prowl mainly because I fond the idea of him being reincarnated but as his original G1 color palette to be hilarious but at the same time I don't want to lessen the impact of his sacrifice...oooooh it's so HAAARD! 😫😫😫

We find out Slipstream represents Starscream's competency 🤓

I want to gradually bring in the Autobot lineup present in the G1 movie/s3. So Perceptor pays a visit FOR SCIENCE; Springer pops up as a rouge pirate/future ally; Rodimus and the remaining Athenia visit because they're seriously concerned that Sentinel temporary Magnus is gonna frag Cybertron up something AWFUL. Maybe a new human companion from the working class; possible new human superheroes who has been inspired by the Autobots and who take on the human villains.

I think it be SO FREAKING FUNNY if Ultra Magnus survived his attempt and afterwards slap that stupid crown off Sentibitch's face

Speaking of Sentinel, he finally FINALLY has achieved the power and status he always desired...only for it to fester negative effects. He becomes slightly aware that his foolhardy trip to Archa 7 resulted in Elita's mutation. He gets hounded by news-bots wanting to learn more about his plans, he's confident now but soon can't even talk to the cameras without getting flustered and frustrated. Even his private time gets disrupted by nosy fans. All the while he can't contact Optimus for help because he's too busy dealing with problems on Earth and the the loss of time on Sentinel's own end. He suffers a MASSIVE case of "Be Careful What You Wish For" and OF COURSE he doesn't find a healthy way to cope with the stress. So this leads to him making even more dangerous reckless selfish decisions. That's really how he becomes more antagonistic: his unhealthy ways of handling grief and pain is wearing down on his sanity.

Fanzone has a friendlier relationship with the Bots. Still hates machines tho.

That's all I really have for my S4- a lot is subject to change since I have no sense of direction!

[night-unfurls-its-splendour]

The Critique of Manners Part VI

~Or~

An Attempt at an Objective Review of Emma (2009)... VOLUME TWO

Haha, bitches you didn't think I could wait a whole week did you? Nah, not me. and guys, I added to it--all total, it's 9,023 words now. this half of the review is 5,214. HOW DO I HAVE SO MANY WORDS FOR THIS THING? I'm not gonna split it into a third part, because I don't need to for picture limit purposes, but buckle in.

If you didn't catch it, read part 1 here

Here it is, the stunning conclusion to my Emma Adaptation Review series (but this isn't really the end because I plan on doing some rankings later). In this half of my review of BBC'S Emma (2009) we'll discuss Costumes and all the very specific things that I love about this version, and some things I don't like, and some things I'm here to defend.

Let's dive in!

Costumes

Generally I liked these costumes pretty well. They were designed and facilitated by Rosalind Ebbutt, also known for her work on PBS’s Victoria and Vanity Fair (1998). And her work is, as her filmography would suggest, by turns, great and so-so.

These costumes are definitely in line with the adaptation’s general aesthetic: warm pinks and golds, with mints emeralds and blues to cool it off a little, are the order of the day. I really appreciate that every character has a definite color palette. The tradeoff is that this adaptation is the WORST EVER offender for the Jane Fairfax Blue™ trope.

Daywear

Emma’s daywear is full of warm and muted colors. Salmon and magenta are commonly seen. I love that most of Emma’s daywear consists of sleeveless or short-sleeved gowns with wide-sleeved linen blouses underneath. It’s not a commonly seen aesthetic so it feels light and fresh. My favorite of Emma’s daywear dresses is the pale yellow with purple floral print.

There’s one other in particular that I love.

Emma’s blue, sleeveless dress. I love this because of HOW OBVIOUSLY it’s a reference to this portrait of Charlotte, Princess of Wales. I mean...

I’M NOT IMAGINING THIS, RIGHT? WHY DOES NO ONE TALK ABOUT THIS? This is a REAL dress. They still have this exact gown of Princess Charlotte’s. It’s on display. It’s faded, but it’s the same dress.

Harriet has a fresh and innocent green, white and purple color scheme with healthy doses of peach and pink showing. I particularly like her white and purple floral print dress.

Mrs. Weston’s color palette varies, but leans heavily on tans and purples, which is very flattering, I must say, to Johdi May’s coloring and is really refreshing for Mrs. Weston who seems to get stuck in pinks and yellows a lot. No idea what’s going on with the laced-front dress though? This doesn’t quite read as authentic to me, but I do like that her first dress seems to be an apron-front.

I know I already said that this is the worst Jane Fairfax Blue™ offender, but guys I can’t stress it enough. WE ARE 5/5 ON DAYWEAR HERE. LOOK AT THAT. (Also of note, Jane 5 is one of Gwyneth Paltrow’s dresses from the '96 Emma.)

Mrs. Elton seems, at all times, to be wearing some form of pink, but I think I’m right in saying that the white day dress with the rose patterned bodice under the yellow and pink spencer is one of Jane’s dresses from P&P ’80. Can anyone confirm that? They did sneak in some Mrs. Elton Orange™ though, for Box Hill, and it’s worth noting that Mrs. Elton is the only lady who’s appropriately dressed on that occasion.

Isabella gets some understated day gowns that are very nice and also VERY “Jane Austen” in the sense that I feel like Jane Austen herself might have worn them.

Miss Bates, unfortunately is slapped with brown at just about every turn, but at least her “Nice” day outfit has some subtle leaf patterns, which is refreshing. Also Mrs. Goddard has a slappin’ cap. Love that.

Also, Harriet’s Grecian costume for the painting (upper right hand corner). What can I say, but that I love it. I love that it hints at the neoclassical influences on Regency fashion too. This is my favorite interpretation of the painting too.

Evening Wear

You know what I love about this version? It’s the first version of Emma where her gown for the Crown in Ball isn’t WHITE. I know, I know white was fashionable, but it’s just… it’s nice for not EVERY gown in a ball scene to be plain white friggin muslin and also, it’s not one she’s ever worn before, which is great.

Harriet does have only white evening gowns but that’s okay. My only complaint is that, specifically on her Crown Inn dress and in a lot of her costumes in general, the waistline seems just a little low. Hmm. I really like the pale blue pattern on her first evening dress though.

Mrs. Weston though. Woo. Look at those. She has a dark chartreuse gown with black lace trim that any other version would have put on Mrs. Elton, so you know from the dark tones that she’s a bitch. Not so with Emma '09, and that’s good. And her teal dinner number is a favorite of mine. I never paid much attention to her green and gold ball gown but it has some really beautiful, subtle leaf or maybe peacock feather patterns on it and I love that. My only problem is that there seem to be some fit issues. She’s got muffin top way too often. Her orange evening dress is a bit of a dud though, firstly, because it has long sleeves (which is an evening gown no-no) and the fabric slaps a bit too much of sari fabric for my tastes.

Jane, not only is put in blue with both of her evening gowns (although one is so pale it borders on white), ONE of them is another Emma ’96 repeat and not only that, it’s one of Jane Fairfax’s dresses in that film! Perhaps that’s enough to make it an homage, and I have to say, I think Laura Pyper wore it better.

Miss Bates only has one evening wear ensemble, but at least it’s cream and not brown.

Mrs. Elton’s gowns are surprisingly understated, and yet still seem to be annoyingly fussy and, what’s better? They’re not sickly green. One of them is actually a very pleasant mint.

Outerwear

Outerwear is roundly pretty great here. Emma’s primary choice of color for spencers is emerald/evergreen and one of them is Elizabeth’s Bennet’s from the 1995 P&P (though to be honest, I think Jennifer Ehle filled it out better.) I do love Mrs. Elton’s pink and yellow number with the slashed sleeves. Jane Fairfax’s only spencer is, you guessed it, blue, but her friend Miss Campbell has a rather fun mauve one.

There’s no shortage of pelisses and redingotes either. Harriet can be seen in one borrowed from Elinor Dashwood in the '08 S&S, Mrs. Weston has a rather fabulous purple one which she wears with the most delicious looking hat I’ve ever seen.

Emma has two. The first one is a great magenta number with military braiding (and I think she wears with it one of the brown slouch hats that Kate Beckinsale wore in the same role) and while the other pelisse is brown, they had the sense not to make her wear a hat with it that was also brown. Instead, they gave her a contrasting color. Good on ya, Rosalind!

Speaking of hats, I don't often single them out for commentary, but I want to here because… the hat authenticity is… kinda spotty. Let me show you.

Okay first of all, Emma may be a teenager in this pic on the upper left, but she is not dressed formally enough for her sister’s wedding (which is what’s going on in this scene) but at least her hat is pretty good. You can see the ribbons are on the inside of the hat here, which is as it should be… but she never wears this hat again. At any point in the series. Instead, we next see her in the one on the upper right and ye gads this is atrocious. WHY IS HER HAT NOT PINNED ON? IT’S SLIDING DOWN THE BACK OF HER HEAD. SOMONE FIX IT. PLEASE. But wait, there’s more. This kills me because these bottom two are so similar to the one she wore earlier (the correct one) but crappier looking. Jeez.

This is not a hat. It’s a peanut. You know who doesn’t have this problem? Harriet. She only has one sun hat but at least it’s correct.

I also wanna touch briefly on this ^ costume continuity issue.

WTF is this? She’s in the hall, her ribbon is contoured to the line of her dress; she goes into the drawing room and… it isn’t anymore? Wha happun?

I took more menswear screencaps for this version than any other version. And that’s because the men just have more outfits that are, y’know, different from each other.

Mr. Knightley is as understated as ever, but I wanna highlight the first pic there and why I love it. This is Knightley’s first appearance in the series and it’s the perfect establishing shot that shows the viewer everything they need to know about Emma and Knightley’s relationship and how it has always been. He sort of materializes, out of focus in the background, but Emma immediately knows he’s there. And to accentuate how much Knightley is part of her home and scenery, his clothes (similar shades of pale tan, white and minty green to the wall behind him) almost camouflage him and make him seem at one with the moulding.

He also has a rather lovely blue evening waistcoat that I WISH I could have gotten better shot of (although I do believe it’s also worn by Henry Crawford in the '07 Mansfield Park, so for further reading…)

Mr. Weston finally gets to wear clothes that aren’t all brown! He only has ONE brown outfit. He gets PATTERNED waistcoats, one of them a rather spiffing blue and brown striped number. And he wears TROUSERS! Because he’s a gentleman, and he’s not that old and trousers are worn by fashionable gentlemen in this period!

You know who else gets to wear trousers and at least one fun waistcoat? Mr. Woodhouse. Check out that lovely Sunday Best™ waistcoat. The red striped one. That’s delightful.

John Knightley’s evening wear intrigues me. That’s a double-breasted jacket, and you know I’m not totally sure that’s very authentic for evening-wear of this period, but it is different. Unfortunately he also has a flared top hat and that is definitely not on for this period.

One of my favorite things about this version is that they don’t dress Mr. Elton as a clergyman all the time. Yes, he may be the vicar, but he’s also allowed to dress like a fashionable, handsome young man. So I’m really happy that he gets to flex his fashion muscles here.

And speaking of fashionable young men, FINALLY frank gets to be COLORFUL and his trousers are even tight enough. Both he AND Elton are often seen wearing TWO waistcoats, as I would expect them to, and even though Frank’s a dandy, he knows that flashiness is gauche so his pops of color are bright, but not in your face. His green and red waistcoats are always worn under more muted colors, and I just love it.

The only problems are… what’s with the turned-down waistcoat collars? There’s no precedent for this, in fact I think it’s directly contradictory to the style at the time, and also it makes the cravats look a bit unruly.

A Critique of Manners

A lot has been said about the manners in this adaption. Like, the actual manners, body language and facial expressions, specifically vis-à-vis Romola Garai.

And, oh yeah, there’s a lot to pick at here, but first I’d like to talk about the facial expressions.

I'm mostly gonna be talking out of my ass here, but this is my take, so if anyone can make a better argument against my points, I am listening, because I don't really like talking out of my ass and I like to be informed. That said...

I tend to be lenient on the… exaggerated facial expressions because, something I’ve noticed reading Austen’s works through the last several months is that Austen is very descriptive when it comes to facial expressions and I just find it hard to believe that people in the Regency Era never made exaggerated expressions like this.

I’ve heard a lot about how Garai’s Emma is not dignified or lady-like. But let’s think about the context of Emma Woodhouse – she’s never been in society. She’s only had a governess to teach her, and we know Emma’s always been sort of averse to being told what she can and can’t do. Emma is the highest ranking woman in her social circle (barring Isabella’s occasional presence). Emma doesn’t have to be ladylike. At 21, she’s already her local Lady Catherine. She puts a lot of stock in her position in society but, as Mrs. Elton will be the first to hypocritically point out, she’s very poorly behaved. I'd be very curious to see what would happen if Emma went to London for the season. Probably, she'd be seen, comparatively, as a country bumpkin. Can you imagine how she might get on in a sea of accomplished young ladies? She can barely handle having ONE rival with any kind of grace.

Austen never describes bodily movements of the kind we’re looking at when we watch adaptations, so why not have Emma’s body-language be un-ladylike in the conventional sense of the time? I’m not saying this to excuse the absolutely inexcusable (Frank’s head in her lap, kneeling on the sofa backwards etc.), but while Emma’s mannerisms aren’t exactly ladylike for her time, they’re not overtly masculine either (which was one of my biggest problem with Death Comes to Pemberly for example.)

Yes, there’s an ideal for manners. But we know real people didn’t always follow those ideals. In dancing for example, many dancing guidebooks of the day were full of repeated instructions not to be too loud or rambunctious when dancing. What this tells us is that people were doing just that, and probably quite a bit, too. I think that, while taking societal strictures into account, we shouldn’t totally discount the idea that people in the Regency weren’t really that different from us, and young people especially.

Now I’ve already mentioned some of the inexcusable aspects of interaction in this adaptation and they’re so notorious at this point, I don’t think that I really need to go over them much here. Although I will say: is it ridiculous to have Frank Churchill put his head in Emma’s lap? Yes. Did it make me more viscerally uncomfortable with the situation on Box Hill than any other version? Yes.

I was like, 14 when I watched this the first time. This was an effective way to telegraph to young people like me that Emma is being extremely inappropriate here in a way that no other version really managed to, even when I watched them when I was older and understood the period more. I’m far more acquainted with Regency manners than I was then, but to be honest – if they had been accurate with the manners here, when I was 14 I would not have understood what the big deal was. Is there merit in circumventing historical accuracy in favor of reaching a less-informed but still-interested audience? Yes, I think so. There were three other versions of this, at that point, that did this scene with more or less pristine manners. Not every version has to follow the manners of the time to-the-letter to be good. That’s my feeling on the matter.

There are things that do really bother me though. Like the idea that Harriet Smith doesn’t know how to spoon soup, for instance. As I said in my review for the Miramax version, table manners are pretty basic, there’s no reason Mrs. Goddard wouldn’t have taught Harriet this. It does provide a good moment to show Emma tacitly coaching Harriet and showing the trajectory in which this relationship will go, but personally I don’t think it was necessary—there are plenty of other ways that could be done.

Also: kids at the dinner table? I know this is part of building the familial atmosphere but it really does annoy me, because apart from building the familial atmosphere (which they do very well and frequently in other ways) it really didn’t need to happen, and it doesn’t add anything.

The Heart of Highbury

So, as I’ve hinted at throughout this review, the bread and butter of this adaptation of Emma is emotion. This version goes hard and heavy on showingthe relationships – Emma’s relationships with Mrs. Weston, Mr. Knightley, her father, her sister, her brother-in-law, Miss Bates; Jane’s relationship with Frank; Frank’s relationship with his father; The John Knightleys’ home life – and it illustrates things that can be surmised from just reading the story, but really draws your attention to them in ways that other adaptations just don’t.

It does this from the very beginning with the prologue which explains in detail (not just in quick exposition between characters) how Jane and Frank were separated from their families at young ages. We know now, from psychological study, that being taken away from their primary caretakers during their formative years is one of the most psychologically traumatizing things for a child. This is deeply important context which is explained in detail by the narrator in 2-3 large pages (in my Barnes & Noble anthology) in the book.

In the featurette on the houses, they talk particularly about Hartfield and the Woodhouses being the heart of Highbury and how they particularly wanted it to feel homey because Hartfield is Emma’s house and they wanted the audience to feel why everyone is so drawn to it, and to Emma; to me that is what they did with the whole adaptation in microcosm.

I usually talk a bit about the dancing and I'm going to here as well because this is maybe the most special dance scene in any Austen for me. Of course I'm going to link to Tea with Cassiane as usual because she knows what she's talking about and I don't. But I wanna add some comments. She gives this a pretty low rating in spite of a generally favorable commentary because of two big oopsies, the circle dance formation is one, and the other is I believe, an issue with the style of dance not matching the tune in Emma's dance with Knightley. Throwing out any objective technical analysis though, this is my favorite Ball in any Austen and it all comes down to the cornerstone of this adaptation--emotion.

All of the songs and dances were original compositions and choreography made for this adaptation. So they're not period per se, but the tunes at least are representative of how Regency dance music should sound. These dances are upbeat, and lively and, damn they look like fun. Everyone is excited here and it makes me understand why dancing was such a big thing. Best of all that excitement adds to the emotional charge of the scene. "The Ship's Cook" is the most fast paced dance and I'm glad they made this the dance where Elton snubs Harriet because it really hits for me just what Harriet would be missing out on if Knightley wasn't so fucking aptly named. In all other versions you get the insult, but the dance that's taking place is usually a Baroque walker so it doesn't seem terribly like she's missing out on much. Here, this is like not getting picked for kickball-- not only is it a slight that no one wants you on their team, but you miss out on even playing the game. Harriet looks so lonely, and her feeling of being out of place rolls off of Louise Dylan so forcefully it chokes me up just thinking about it because I've been there, man. I feel this shit. *dabs eyes*. Ahem. So, yes, when Knightley engages her for the dance the excitement the viewer feels is that much more forceful and Harriet's exuberantly starting to jump in when the timing is off and Knightley gently pulling her back, it just hits me in the feels center, guys. (I wanna take a moment to give a shout out to every camp counselor who ever partnered with me for any game at summer camp.) Emma's reaction too, is gold. Her genuine relief at Knightley swooping in is one of those great reminders that Emma is Harriet's friend, and she does care about her.

Finally on the dancing front, I wanna talk about Emma's dance with Knightley and why I prefer it to the one in the 2020 version. I already talked about this a bit in the 2020 review, so I'm gonna try and keep it brief. That shouldn't be too hard, because I'm probably mostly going to repeat a lot of what I've already said about Emma and Knightley in this version as a whole.

The big thing everyone loves about the Crown Inn dance in the 2020 is the yearning, the sexual tension, the quivering touches etc. Don't get me wrong, I LOVE all of those things but... not all the time. Not in everything, and definitely not in Emma. Because Emma, to me, isn't about repressed sexuality or heated tension or seething passion. Emma and Knightley are the opposite of that, to me, really. One of my mutuals put it best, I think: "Emma and Knightley are more suited to stolen glances than hot touches."

In Part 1 I talked about how Knightley is Emma's comfort object. When Emma is out of sorts, Knightley re-centers her. It helps set up, and puts emphasis on, the crisis of the story in the last act--Emma not knowing what she has until [she thinks] she's lost it. Emma and Knightley are Friends to Lovers done as it should be. She is already so comfortable with him she doesn't even realize her own feelings. She just feels right with Knightley and that's what this dance is here to show you--a foreshadowing of matrimonial harmony.

The dance itself, of course, is always up to interpretation, because Austen never describes how it goes, just that Knightley asks Emma to dance and Knightley doesn't dance (barring charitable causes). If you prefer the sexual tension take, if that, to you is an improvement on Austen's story and gives you what you've always felt was missing, I'm glad that there is a version now that gives you what you've been looking for, but for me, I think the 09 approach hits closer their dynamic in the book.

Now do I do think the Emphasis on emotion maybe went a little too earnest in some places in this adaptation? Maybe. Just a little.

In my last review (1972) I went on a rather lengthy tirade about the scene where they turn Emma’s appeals to Harriet to exert herself and move on following Mr. Elton’s marriage into Emma guilting Harriet into thinking she’s a bad friend for being heartbroken and then throwing her into the situation most likely to rub salt in that particular wound.

In this version, while I love the emphasis they put on the stress Emma puts on her own guilt for being the reason for Harriet’s situation in the first place, I think it’s maybe a little too… much.

That’s the only way I can put it. I know I’ve just said that I think there should be a bit more expressiveness in period drama, but this doesn’t quite match the way I read it (Emma’s a bit less desperate in Austen’s prose. Very dedicated to helping Harriet feel better, but just a skosh more composed). I think she’s even crying in this scene.

While we’re here let’s go over to Box Hill ONE. MORE. TIME.

First of all, this is where this screenplay shines, in my opinion. This is the big turning point in the story and as such, should be a touchstone for the judgment of any adaptation. This sequence in the 2009 version is a perfect crystallization of everything I love about this version—namely that this is the version that, to me, most feels like someone read the book thoroughly, paid attention to what Austen was describing and then actually tried to convey it on screen. A lot of other versions sort of feel (to me), like the director glanced at the page and said “here’s what I want to convey in my version”. Insofar as making a piece of art goes, that’s good. Directors are artists as much as painters are and movies are their canvass, but it’s seldom that you find a director who honestly wants to hit as close to the author intent as possible and this Box Hill sequence makes me feel like that’s what Jim O’Hanlon was going for. I have the book open next to me as I write this and it’s shocking to me how minutely the atmosphere described in the book is conveyed here. Most of all, the fact that Emma’s insulting Miss Bates is not the only thing faux pas she makes here. Box Hill as a whole is a disaster, and it’s largely because of Frank.

“When they all sat down it was better; to [Emma’s] taste, a great deal better, for Frank Churchill grew talkative and gay, making her his first object. To amuse her, and to be agreeable in her eyes, seemed to be all that he cared for—and Emma, glad to be enlivened, and not sorry to be flattered, was gay and easy too, and gave him all the friendly encouragement, the admission to be gallant, which she had ever given in the first and most animating period of their acquaintance; but which now, in her own estimation, meant nothing, though in the judgment of most people looking on it must have had such an appearance as no English word but flirtation could very well describe. “Mr. Frank Churchill and Miss Woodhouse flirted excessively.” They were laying themselves open to that very phrase—and to having it sent off in a letter to Maple Grove by one lady, to Ireland by another. Not that Emma was gay and thoughtless from any real felicity; it was rather because she felt less happy than she expected. She laughed because she was disappointed…” --Emma, Chapter 43

Most other versions rush through Frank’s “excessive” flirting with Emma (Right in front of Jane) to get to “Three Things Very Dull Indeed” as fast as possible, and yes that’s the crowning horror of Box Hill, but there’s a very intricate setting here, too, and this version has the time to lay back and let it all unfold in the oppressive discomfort of an English summer day.

Even better than all of that though is Knightley confronting Emma after it all goes down. This treatment is neither plaintive, nor aggressive as it was in ‘96 and ‘97 respectively. I’ve already extolled the virtues of Johnny Flynn’s Box Hill rebuke, but for a change I’m not going to zero in on Miller’s performance which is, at least as good as Flynn’s, but on Romola Garai’s, which I find superior to Anya Taylor Joy’s. Specifically, her reaction once she’s alone.

ATJ in the 2020 version immediately breaks down sobbing and it’s hard for me to feel that she’s sobbing for “anger against herself, mortification, and deep concern” or that there’s much self-reflection going on there. To me it rather just feels like she’s crying because she got shouted at. The theatrics of it, to me, feel childish and self-centered.

I don’t feel that with Garai’s performance.

“She was vexed beyond what could have been expressed—almost beyond what she could conceal. Never had she felt so agitated, mortified, grieved, at any circumstance in her life. She was most forcibly struck . . . How could she have exposed herself to such ill opinion in anyone she valued! And how to suffer him to leave her without saying one word of gratitude, of concurrence, of common kindness!

Time did not compose her…” --Emma, Chapter 43

Of course one can make the case that Emma's reaction should be a bit childish because Emma is an immature character, but that's the thing--I can agree with you anywhere else in this story but this is Emma's maturing moment. This is her turning point as a character. It's where we should see her reactions shift from the same childish denial we're used to seeing when Knightley scolds her, because this is different. It's not the usual brushing off of big brother Knightley, this is a young woman reacting to an esteemed friend pointing out how abhorrently inappropriate she's been and her having to admit that to herself.

I didn't really want to drag comparisons to the 2020 film into this, not on this scale at least, but this just jumped out at me the last time I watched the new film and I have to express it somewhere.

What I see in Garai’s performance is desolation and mortification. That shocked tearfulness of knowing you’ve been justly reproached for wrongdoing, but being too frozen in a pretense of composure to actually cry about it until you’re quite sure that no one will see you. And especially when it’s someone you esteem rebuking you, the horror of them leaving before you can admit that they’re right. There’s so much more depth here, I think, and I can’t even quite express what it makes me feel.

The aspect of time not composing her is another thing that they decided to put stress on in this version. Emma looks fucked up in the following scenes. When she goes to see Miss Bates, she clearly either hasn’t slept or has slept very badly. I feel like this is maybe an anticlimactic conclusion to this section but I’m afraid I’m very close to reaching incoherence, so I’m just gonna leave it here.

My absolute favoritest thing about this version though—something that sets it apart from ALL other versions and even adaptations of other Austen stories—is the inclusion of the post-confession conversation.

This is something of a trope in Austen books but it very rarely finds its way into adaptations: confessions of love are out of the way, the hero and heroine settle into an easy an comfortable conversation, glowing with happiness as they explain and laugh over their actions and misinterpretations of each other’s choices. It happens in Pride and Prejudice, in Persuasion, and yes, in Emma. This is the only Austen adaptation, that I've seen, to include this kind of conversation in any kind of detail. The 1995 Pride and Prejudice alludes to the corresponding scene in it its source material, but the lines pulled from it get tossed into the confession scene itself and then it flies through to get to the obligatory wedding—a side effect of rushing through endings, a convention I’m rather tired of.

Emma (2009) takes its time with this, as with all other aspects of this adaptation. For a version that’s so full of energy, its pacing is extremely laid back and comfortable, without dragging. When you hear the gentle musical swell and Emma and Knightley have their kiss (this whole confession sequence is so sweet and wonderful in its own right), you expect that to be it. But no, we cut to them, the picture of contented happiness, sitting together on a bench overlooking Hartfield’s garden, just talking and enjoying being together, with no teasing, no pretense. If Jane Austen stories emphasize anything, it’s the importance of communication in relationships, and I think that’s maybe why she made it a point in almost every story to show her characters communicating their feelings in words, even after all the conflict has been resolved. This is my favorite scene in the whole series (In case it being my header image didn’t make that obvious.)

This is followed rather promptly by a cut to the next day, with Emma bursting in to Donwell in hysterics about how they can’t be married because she won’t leave her father alone.

This is one of those maybe over-the-top choices that a lot of people don’t like, but guys, it was so funny to me when I was fourteen and it still makes me laugh. It might seem outlandish, but to me it’s just the emphasis on personal relationships and emotion coming through again and it always makes me smile.

Final Thoughts

It’s hard for me to give a proper round up of my feelings for this section because I think I’ve poured just about all of my feelings on each aspect into its dedicated sections.

At the end of the day, the only thing that really disappoints me about this version is the number of missed opportunities there are here. One of my favorite parts of reading Austen is when I run across a line in dialogue or narrative that just… slaps. But they never make it into the adaptations. Emma is full of them and I just wish that Sandy Welch could have taken an opportunity to slip a few of them in.

In summary, I think this is a wonderful, heartfelt adaptation aimed at getting to the emotional heart of a story that often gets caught up in the Mean Girl-ness of its main character than the coming of age story that it is. It's one of my favorite period dramas because it's one of the few that really captures the spirit of the source material as it's always felt to me. There's really only two other period dramas that I esteem on the same level as this, and they're North & South (2004) and Jane Eyre (2011) and it's for the same reasons; because they impact me deeply on an emotional level--which is what art is supposed to do--because of how well it captures the essence of the story that I know and love.

So did I succeed in a more objective review of Emma 2009? I' feel like probably not. But I tried my best. It’s so hard to be objective about something that makes you as happy as this adaptation makes me.

Ribbon Rating: Most Agreeable (83 Ribbons)

Tone: 10

Casting: 9

Acting: 9

Scripting: 7

Pacing: 10

Cinematography: 7

Setting: 9

Costumes: 6

Music: 8

Book Accuracy: 8

[holycatsandrabbits]

Tollense, an original serial romance by Dannye Chase, Chapter 5

A history professor falls in love with his best friend, a 3000-year-old vampire.

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Chapter 5

CW: blood

This chapter has 2 versions: a T-rated one here on Tumblr and an E-rated one on Ao3. The plot is the same, but there’s smut on the Ao3 version.

1999 (Two years later)

The second inhuman creature Liam met was named Bennett, and Liam liked him about as much as he liked sand in his socks. Bennett was tall and thin, with a pretty face and a predatory look in his eyes that completely spoiled it.

Liam was walking across campus on an unseasonably cold night (for Florida) and now that he’d come upon a vampire, he was glad for the light scarf he’d wound around his neck. Bennett fell into step with Liam as if they were old friends. “Looking for Kurt,” he said. “Heard around town that you know him.”

“Sorry, I can’t help you.”

Bennett peered at him more intensely, and when Liam recoiled a little, Bennett grinned. “Guess you’ve spent enough time with him to know what I am. So, uh— how good of friends are you? Cause I should tell you I really picked you out by the fact that I can smell him on you.”

Liam decided he was not going to think too hard about that one. “Was there something you needed?”

“Just want to catch up with him. Been a while.”

“Well, I’m sure he knows you’re here.”

Bennett looked confused. “How would he know that?”

“I have no idea how he does it. In any case, if he wants to see you—”

Kurt’s voice cut in, startling Bennett. “I don’t, particularly. But neither do I wish Liam to have to deal with this.”

Kurt was ahead of them on the sidewalk, a shadowed shape sitting on a half-wall by the library. Liam recognized him easily by the fact that it was difficult to decide exactly how large of a person was sitting there in the dark, as the outline of him seemed to shift restlessly. Kurt’s voice fell low, and almost seemed to ripple the air around them. “Get away from him.”

Bennett took several steps back, and Liam wasn’t sure whether Kurt had used his mental powers to compel him into moving, or if he’d just scared the man badly enough. Kurt stood up off of the wall and stepped in between Liam and Bennett. “What do you want?” he asked.

Bennett was cringing. “Look, man— if you can just give me a drop. I’m in trouble, pissed off some guys. I’ll pay you. Anything. I can get you whatever you—” Bennett’s voice trailed off and his eyes grew wide, terror growing on his face. Abruptly he turned and ran, disappearing into the dark.

When Kurt turned back to Liam, he looked completely normal. For Kurt, anyway. So only a tiny bit terrifying, if you looked closely enough around the eyes.

“A drop of what?” Liam asked. He started heading for home again, and Kurt joined him, watching Liam intently, assessing him. Liam didn’t comment on it. He’d learned that protests of his well-being were useless when Kurt was worried about him, that Kurt would perform his own examination and be satisfied only with that.

“My blood,” Kurt said finally, when his analysis had apparently ended. “A drop of it can heal humans’ wounds, and although I’ve never tried it on a vampire, I imagine it would make them stronger. They sometimes come asking for it. I’ve just never found one who wanted it for a good reason.”

Liam was not in the habit of asking Kurt a lot of questions, largely because it was more comfortable sometimes not to know an answer, and Kurt seemed to make a practice of telling Liam the truth. Liam decided to ask anyway. “So, how did you know I’d met your, ah, friend there?”

“I know what happens to you,” Kurt said.

Liam watched him for a second, doing his own assessment. “You know I’m going to accuse you of mind reading.”

Kurt turned and met his eyes, an odd expression on his face that looked a little like bewilderment and a little like a reluctant confession. “I don’t need to. I just know. Listen, Liam, are you busy tonight?”

“You don’t have plans with Jonah?”

“No, he’s out with friends.”

“Ah. Did you get a chance to—”

“I’ll eat when he gets home, if he’s up for it.” Kurt was looking at him curiously, probably because Liam didn’t usually call attention to the fact that Kurt’s lovers provided him with blood. “Do you want to head to Tollense?” Kurt asked. “It’s midnight in Germany. Site should be deserted.”

“Are you remembering something about your origins?” Liam asked.

“I’m not sure.”

Liam nodded and Kurt slipped a hand under his elbow. Their next step brought them down into a darkened river valley. The grass would be green in the sunlight, but under the stars it ran gray and then faded to black in the distance. The Tollense River was more of a sound than a sight right now, the pleasant noises of gently moving water emerging from a dark void.

It was actually warmer in Germany that night than Florida, and Liam unwound his scarf. He sat on the grass and looked up at the clear night sky.

“I think there was a bridge,” Kurt said.

“Makes sense,” Liam told him. “A bridge is a natural place for a battle. People would want to be in control of movement through a strategic point.” Liam tried to imagine the valley as it had looked three thousand years earlier, during a large-scale Bronze Age battle that historians had once thought impossible in this sparsely populated area. Kurt had been here then, young and vulnerable and a great many other things that he would never again be.

“I’m pretty sure I was on a boat under the bridge,” Kurt said. “I remember people falling, and some of them landed in it.” Kurt dropped onto the grass beside Liam. “And I was still looking for that same person that I can’t remember.”

“That’s not bad for three thousand years ago,” Liam said.

“I don’t remember dying,” Kurt said. “You’d think that would be a memorable event.”

“Are you sure you did?” Liam asked.

Kurt looked pensive, and Liam wanted to tell him that he could let go of all of it, the human mask that he tried so hard to keep on, that it wouldn’t frighten Liam to see him as he really was. But Liam wasn’t entirely sure that was true, and he was certain that it would break Kurt’s heart to think Liam was afraid of him.

“You still think I’m not a vampire,” Kurt said.

“Maybe. I mean, yes, you drink blood, but your powers are different, your blood is different, and if you never died—”

“I have the scars from the arrows in my chest. At some point, I must have been vulnerable to weapons.”

“Well, you were human. And now you’ve— changed.”

“There’s something else,” Kurt said. “It’s happened on our last three trips here.” He pointed, and Liam looked, but all he could see was the occasional glint of starlight reflected in the river. “There’s a dog,” Kurt said.

That was not what Liam had been expecting. “A dog.”

“Yeah. A large white dog. I thought he was real until I realized you don’t see him. And also, he’s got six eyes. I couldn’t see him well enough at first to notice that, but he comes closer now.”

Liam fought a little shiver. Surely with Kurt by his side he was in no danger from a spectral dog. And anyway, if Kurt thought there was danger, he’d have Liam nowhere near it.

“Six eyes,” Liam mused. “You know, in Proto-Indo-European mythology, there was sometimes said to be a three-headed dog guarding the underworld.”

“He’s just got the one head.”

“Yes, but he’s got enough eyes for three.”

“I suppose so.” Kurt sounded amused. “But why would a dog from the Underworld be appearing to me?”

“I’ll do some research.” Liam lay back on the grass, alone in a field at night with the first inhuman creature he’d met, and this one was not pathetic and frightened but incredibly dangerous and also quite sweet. Liam decided he’d like to ask another question. “Does it hurt? When you drink blood from someone?”

“No. Well, yes, but I convince them it doesn’t.” Kurt lay down too, but on his side, looking at Liam. “Actually— I usually make it feel nice.”

“Nice.”

“Very nice.”

Liam turned to look at him. Kurt’s eyes were glowing faintly in the dark. “Oh. You mean— nice.”

“Listen, Liam— you and I—” Kurt frowned, almost seeming nervous, which was not a common look for him. “When I drink blood from someone, we form a connection. Something that ties them to me, lets me know if they’re all right or in trouble. I’ve wanted that with you, for a long time. Because we’re— we’re close. But the thing is, it’s been happening anyway.”

Kurt was losing his human disguise a bit. His shape in the darkness was shifting about again. “I know where you are, and what’s happening to you. I know if you’re sick, if you’re hungry. I know when you get those damned threatening letters because they scare you.”

“Why?” Liam whispered.

“I don’t know.” Kurt looked honestly confused. “But you and I already share a greater intimacy than I’ve shared with anyone in a very long time. If I drank from you— we’d be even closer. Is that something that you would want?”

“Yes.”

Kurt was assessing him again. “You’re scared.”

“Not of you.”

“If we do this— whatever you’re scared of might not remain your secret.”

Liam felt a little wetness in his eyes. “I don’t think it’s a secret now.”

Kurt lay there looking at him for another moment, and then he sat up. Liam started to sit up as well, but Kurt put a gentle hand on his shoulder and Liam lay back down. Kurt’s hand trailed down his arm to grasp his wrist, holding him loosely, as if Kurt wanted him to have a last chance to pull away.

Liam did not pull away, and Kurt raised Liam’s wrist to his mouth. The bite was painless. To Liam it felt like a kiss, the soft, warm press of Kurt’s lips against his skin, and there was only a sort of odd lightheadedness that made him realize he was losing blood.

After a moment, Kurt raised his head, and there was a touch of color to his lips, a sort of stain in the darkness. “Do you want the full show?” he asked.

“Seems a shame to miss out,” Liam answered.

*********

Read the E-rated ending on Ao3 or continue for the T-rated ending. The plot is the same, but there’s smut on the Ao3 version.

**********

Kurt lowered his head again, but this time instead of biting, he licked at what blood had welled up on Liam’s wrist. Liam found himself floating in a daze, where every movement of Kurt’s lips or tongue brought him further into bliss. He felt the bite this time, and it was the perfect sting of pain to make the pleasure seem even sweeter. Liam moaned, and he heard Kurt make some sort of light growling noise in return.

The night and the stars seemed to fade away and there was only Kurt. Liam felt dizzy and entranced, his body and mind not his own, as Kurt drank his blood and gave him this pleasure as reward.

While Kurt sat unaffected above him.

It ended before Liam could really understand what a bleak thought that was, that he was alone in this ecstasy, not wrapped in his lover’s arms. He felt Kurt’s mouth move away from his wrist. The bliss gently ebbed away, letting Liam settle back into himself as he lay there on the grass. And yet Kurt was not gone. Liam could feel him inside, close and warm. Not in a sexual way, not anymore. But there was the realization that Kurt had felt Liam’s moment of reluctance and responded to it, maybe not understanding why it was there, but accepting it nonetheless.

Kurt lay down again, so that he could look into Liam’s eyes. He still had hold of Liam’s hand, and he’d laced their fingers together.

“Wow,” Liam said.

Kurt smiled, looking both pleased and sad. Or maybe Liam could tell that Kurt was feeling both pleased and sad. Liam, for his part, felt dizzy and a little cold, and Kurt pulled him close, resting Liam’s head against his shoulder. Liam fell asleep that way, on a battlefield three thousand years old, in the arms of a man who might have died there or perhaps could never die at all.

*******************

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Updates Fridays on Ao3 and DannyeChase.com (rated E), and Tumblr (rated T)

Want to create fic, art, or other works based on this series? Please do! Just dm or tag me.

My previous serials are for Good Omens: Mr. Fell's Bookshop and Love's Endless Light

My Carrd

[fandomdancer]

The Dance

In the year 2169, you are a senior in high school. You've been best friends with the same two young men since grade school. One of them is your date to the senior dance. The other is the class loner: Eobard Thawne. When your date make a suddenly unexpected move, you find yourself feeling like the perfect night is ruined. But then Eobard shows up...

Word Count: 3,754 words

Rating: T, but may be M

Pairings: OC/Reader, Eobard/Reader

A/N: First attempt at a reader-insert fic. Special thanks to @darlingpetao3 @yetanotherwells @wellsaddict and @hawk-lee for listening to me freak out about this, inspiring me, and giving me the courage to actually post it. I hope it's interesting and fun for you to read.

This is Mattobard's version of Thawne, since it takes place during his teenage years.

This fic was inspired by this song (which is the featured waltz in the story). 'Pride and Penance', from World of Warcraft: Shadowlands.

https://www.youtube.com/watch?v=cZtBflZHIcQ

_________________________________________________________

The moment you step into the darkened dance hall, you feel as though you have been transported back in time. In fact, you can’t help but wonder if the organizers of this year’s spring formal are utilizing some of Rip Hunter’s famous Time Couriers to literally open a door to the past. Everything around is, at minimum, dated back a hundred years ago, from the DJ setting up digital playlists to the black-light-illuminated chairs seated around tables littered with drinks, plates of food, and what looks like games. The music right now is from the early 2000s, but you expect the songs to range through decades, possibly even centuries over the course of the night. Multicolored lights hang from the ceiling, giving the place an overall ‘club’ look, accentuated by the powerful underlighting at the bar.

The temperature increases as you enter on your date’s arm, the exertion from the dancing and milling bodies heating up the air in the room. The dance started only thirty minutes ago, but the excitement in the room is palpable, and kids are wasting no time yelling ‘hellos’ and ‘how are yous’ as they toss back nonalcoholic drinks. One table is already full of kids engaged in what looks like an intense card game with multicolored discs sprayed across the table in front of them.

Catching the fever of the room, you cast a huge grin up at your date, a handsome young man you’ve known since grade school. The two of you are dressed perhaps a little fancy for the event, with him in a fine, high-collared suit befitting a 20th century aristocrat and you in a deep red 1940s princess ballgown. Overdressing is okay: the two of you were expecting a slightly more ‘ballroom’ shindig, not this ‘21st century club’ event, and upon looking around you can see that other members of your class had similar ideas, wearing everything from 1800s Victorian gowns to military uniforms.

“They did a good job,” your date says. “Though one would think they could have come up with a more original theme name than ‘Blast to the Past’.”

“Don’t cheesy titles comprise part of the charm of last century?” you ask as the two of you move towards the obligatory picture arena. “Wasn’t stating the obvious considered not only funny, but…what was the word…a meemee?”

“Meme. One word, one syllable. And yes. Memes were a rather popular form of communication in the early 21st century, though I guess they started well before that.” Your date eyes the line and the picture-taking arena before them. “Is that….a phone booth?”

You are both intrigued as you watch a couple go into the booth, pulling a curtain shut and separating them from the outside world. Their feet are obvious as they scrabble into various positions, each one punctuated by a bright flash ands lots of giggling. The couple emerges, looking flushed and full of smiles, and watch as two thin strips of plastic emerged from the wall of the booth. The two grab the plastic strips and look at them, giggling as they walk away.

“It’s a photo booth.”

The voice right beside you and your date startles you, and you quickly look over to see one of the chaperones for the event, Ms. Steinway, a few feet away. The young teacher looks stunning in a green floor-length gown, her blonde hair floating ethereally around her shoulders. She gestures. “You go in, and you have five pictures taken of you in quick succession. There’s usually only three to four seconds between each photo so people often planned ahead what they would do ahead of time. You can make faces, or be serious…whatever you would like!”

“Thank you, Ms. Steinway,” you say before looking back to your date. “Well. I guess we have about a minute to come up with five different poses.”

“Why don’t we improvise? We’re both good thinkers on our feet.”

The tension and pressure of racing to beat a timed photo session is appealing to you, probably a side effect of all the time you've been spending lately with your other friend, Eobard Thawne. He has a strong taste for competition and it’s been rubbing off on you in the years you’ve known him.

The sudden thought of Thawne makes you skim the room, wondering if the class loner has actually shown up to tonight’s dance. You’re pretty sure he’s not here; this isn’t his type of thing at all. It’s certainly why you didn’t ask him to be your date. It’s also the only reason why you didn’t ask him to be your date. Eobard Thawne’s proud, handsome figure and strikingly keen intellect has drawn many a girl’s attention over the years, including yours, and you’ve made a concentrated effort to ignore it. But lately, you’ve noticed that he seems to be hovering near you much more often. And he got into a fistfight with your date a few weeks ago…you never did quite figure out what had caused that argument…

Seeing him here tonight would definitely open a lot of doors, however. Perhaps you would be brave enough to ask him for a single dance. He can be a truly arrogant ass but he has always been at least civil to you…probably because the two of you have also known each other since grade school.

Your date pushes you forward and you realize that, as usual, thoughts of Eobard have distracted you for several seconds. It is your turn in the photo booth.

The booth is small and simple, with a little touch screen that simply says ‘go’. A quick glance over the screen shows that presets are in place, with no way to change them. It is a little aggravating to not be able to customize the photos but you suppose that’s to get the line of kids moving quickly. With a quick glance at your date, the two of you reach out and tap the ‘go’ button together.

The very first thing he does is kiss you. It’s so fast and so intense that you don’t even have time to react. Suddenly his mouth is open and wet and moving on yours and his hand is in your carefully-crafted hairstyle and you are shocked beyond words because of all the poses you had considered in this run of pictures, your longtime friend kissing you was not one of them. You’ve suspected he felt this way about you and there was no doubt in your mind that he would be an excellent romantic partner, but you hadn’t really…thought about him like that. In fact, the only person you really thought about like that was…Eobard.

He finally pulls back and looks quickly at the camera, grinning widely. Your brain is fuzzed and rolling with several unfinished sentences and questions, but some little part of you keeps control and turns to smile bright and beautiful at the screen. The two of you make silly faces next, and as you are setting up for what you think is the next picture, the screen goes dark. You realize in shock that he used three of the five pictures to kiss you. Feeling frustrated and cheated, you get out of the booth, pasting a smile on your face so as not to appear angry to the line of kids waiting outside. You’ll have plenty of time to discuss his choices later.

The pictures print out and they’re definitely difficult to look at. The first one shows your obvious surprise, but the second two are worse, showcasing your desperate attempt to keep control of what is happening by grabbing at his face and responding to his kiss. It was not your best decision, but you feel like it was your only choice at the moment – and that realization makes you furious.

The two of you head to an unoccupied table, and the moment you set down the photos you whirl on your date, your insides twisted in knots and your throat almost sealed shut from the force of your anger. “What the hell?”

“What?”

It’s even hotter in this room with your anger charging you up. You are pretty sure your face is the color of your dress. “You kissed me.”

He smiles. “Of course I did. What did you think we were going to do in there?”

Your mouth drops open. “Make faces and smile! When did kissing appear on the list of things to do tonight?”

His brow furrows. “When you agreed to be my date. Come now, you can’t possibly miss all the signs I’ve given you. You know me better than that.”

His self-entitled arrogance sets your teeth on edge and you clutch the table so hard you’re amazed it doesn’t bend. “I’ve known you for almost all of my life and you have never been so rude as to just kiss someone without making sure it’s all right with them! You wait for that kind of invitation! You don’t blindside her during a timed picture taking session!”

“Spontaneity has never been your thing, and I respect that,” he begins to say.

You cut him off. “Clearly not or these wouldn’t exist!” You wave the pictures at him before slamming them down onto the table. You don’t know what you’re angrier about now; being forced into this situation before you felt ready, his seeming blindness to how the whole situation played out, or the fact that you feel like what should have been a beautiful moment is ruined and you are never going to get it back.

A waltz begins to play, the very song the two of you were hoping would be the focus of the evening, and he reaches a hand out to you. “You’re right. I made a terrible mistake. I thought it would be fun and I assumed you would be all right with it. I am sorry. I truly am. We will go have the pictures retaken. But will you dance with me? This sounds like a beautiful waltz and I don’t want to have ruined the night by making a terrible decision right at the beginning.”

He sounds sincere but you don’t answer him at first. Your mind is still awash with anger and betrayal and a sudden desire to be anywhere but in this room right now. You don’t want to just forgive him for doing this to you. But you also don’t want the night to be ruined, and right now the song playing sounds like it could be a wonderful dance and you aren’t sure how many more will be played with the selection of music likely being offered. Reluctantly, you slip your hand into his.

“We aren’t done with this conversation,” you state firmly.

“Of course not.” He twirls you gently. “But this song fits you and I want to see you dancing to it.”

You don’t know the name of the song, but it has a haunting melody to it, almost ghostlike with sliding violins. Waltzes always have a kind of built-in grace to them, a slippery seduction meant to make it easy to move to. But this piece has an additionally dramatic vocalist that elevates the rhythm to something royal and aristocratic. You can almost imagine the two of you (and the couples that are joining you on the floor) dancing in the hall of an ancient, grand mansion while a dark storm swirls outside the floor-to-ceiling windows and the dry fingers of tree branches curl menacingly in shadows on the floor, trapping the dancers’ feet in their grip.

“Pardon me.”

The familiar voice snaps you out of the daydream you are drifting into, and you rock slowly back and forth in your date’s arms as you realize Eobard is standing in front of you two. Your breath catches and your heart rate picks up instantly as you look at him. He looks as though he has stepped straight out of your daydream: a young lord trapped in a dying manor, cloaked in high-collared black and red with the light shimmering blindingly on his short blond hair. Even more shocking is the dramatic flair he has added to the outfit: a full-length black cape fastened at his neck with a ruby. He is too beautiful to touch and yet your hands…and other, sweeter, deeper parts of you…ache as you stare at him.

His eyes sweep over you and you think you see his jaw clench slightly before he speaks again. “May I cut in?”

“You’re in our way, Bardo,” your date growls, all softness and politeness gone from his voice.

“I wasn’t addressing you,” Eobard responds to him but doesn’t take his eyes off of you. Your throat is growing dry from the simple intensity of his gaze. “I was addressing your partner." He nods to you. "May I cut in?”

You finally register what he is asking, and the thrill that races through you makes you shiver. You had thought you might have the courage to ask him to dance if you had seen him here, but him asking you is completely unexpected. Saying no to him might prevent him from asking again, but saying yes would probably send the wrong message to your date.

Then again, your date certainly sent you the wrong message when he forced you to kiss him in the photo booth.

It’s a very simple question with a very simple answer.

“I would be honored,” you reply, trying to sound as cool and proper as possible. As you pull away from your date, you feel his hands clench briefly on you. You quickly look up at him, seeing the betrayal in his eyes. At first you feel smug, but then you remind yourself that he did apologize. You give him your best comforting smile. “We’ll continue this later,” you say to him, making his expression soften just a little. But the look he gives Eobard is poisonous.

Eobard’s expression doesn’t change. Instead, he unfastens the cape from around his neck and whips it dramatically off, draping it unceremoniously on your date’s still-outstretched arms. “Would you be so kind as to place this on a nearby chair?”

Redness floods your date’s face, and you start to open your mouth to scold Eobard for his rudeness, but his hands grip you firmly and he spins you away into the dancing crowd before you can say a word. Your feet scrabble as you try to keep up, and you have a feeling he’s trying to get you as far away from your date as fast as possible. Focusing on your movements, you catch his rhythm and begin to move in time with him, gaining control over yourself while still permitting him to lead. You’re angry enough now that you’re tempted to just walk out the door after this dance. When did your two best friends turn into such boys? They’re acting like you’re a prize in a competition and while that might be flattering, it’s making you feel a bit like an object and not like the lady you want to be tonight.

“You dance well,” Eobard compliments.

You roll your eyes. “You dragged me out here and I just got my balance back. Don’t patronize me.”

“I wouldn’t dare,” he answers. “I mean what I say. I saw you trying to dance with your date over there. He was trying. You were succeeding.”

You snort and sigh. “I wish the two of you would tell me why you both seem to have lost your minds lately.”

Eobard tilts his head. “Isn’t it obvious?”

Your heart pounds and you know what you hope the answer is, but coming right out and saying it feels like a such a terrible risk. Eobard’s emotional difficulties make him dangerous sometimes, the wrong word or look pushing him away for days at a time. You are not going to ruin this night, this dance, this moment that has been playing in your dreams.

“Obviously not, or I wouldn’t have brought it up,” you say, trying to put an innocent look on your face. You aren’t sure if it works or not, but the hard look in Eobard’s eyes softens somewhat, and he guides you around the floor. Looking up at him, you surrender your mind to the daydream, milking this moment for all it is worth. The seductive waltz paints the image of a great hall, decadent in its decay, the memory of opulence just as romantic as the opulence itself. And Eobard, cold and proud and throat-achingly beautiful, spins you around it, commanding your body with his touch, and commanding your mind with his eyes.

“Your friend and I,” he says in a low voice, “are both seeking your approval.”

Dear God, he actually said it. You’re almost dizzy with excitement as you frantically think of how to navigate the next few sentences. Honesty is going to be key. “You have a funny way of showing it. First that fistfight a few weeks ago and now tonight he just kisses me out of the blue and then you drag me off like I belong to you or something…”

“He did what?” Eobard stops the two of you cold, and you blink, looking up at his grey eyes, watching in surprise as they turn stormy and dark. His pale face begins to flush as he gazes down at you. You can’t tell if what you’re seeing is anger or not, but as his eyebrows draw together you feel your insides flutter. It’s more than just anger. It’s jealousy.

Eobard is jealous.

The realization makes your throat close and you swallow several times as adrenaline floods your veins. The possibilities open up in your mind, and you suddenly realize that while both men are, in fact, treating you like a prize, you are still the one in control.

“He kissed me for our photo,” you say carefully, letting the frustration and hurt show on your face. “I didn’t know he was going to.”

Eobard looks at you, his jaw clenching and unclenching, and his face continuing to grow red. His hands tighten on your waist and hand, and a strange excitement blooms in your chest. Eobard Thawne, so aloof and elitist, suffering from the simple emotion of jealousy. And jealousy related to you, because he’s seeking your approval. Despite the heat of the moment, you find yourself fighting a smile.

“Did you enjoy it?” he asks tightly.

You know the truth and you know what saying it will mean. But right now, you are unable to lie to him, captivated by the thrill of his reaction and the intoxicating crescendo building around you.

“No.”

Eobard’s chin lifts and a smug satisfaction fills his eyes as the music crescendos loudly. With a climactic crash of drums, he decisively pushes you out into a firm spin, and then brings you back in, his hand slipping to the small of your back and holding you flush against his body. And for one fiery, fierce moment, you realize that you can feel him, dear God, all of him, pressed possessively against you, and a weakness makes your knees wobble and your mouth go dry as you stare into his eyes, only inches away, and realize what he is silently saying to you.

Then the two of you are moving again as he takes everything up another notch, whirling you both within the crowd as though you have all the space in the world. The music pounds with your steps, pulsing inside of you, the melody a full-throated cry from the whole orchestra, igniting adrenaline and fire within you. Your mouth falls open to gasp for air as your eyes drift closed. You don’t need to see, only to feel the clutch of his hands and the heat of his body and the light pressure on your waist as he leads you.

And then, in one powerful beat, the music stops. Eobard pushes you backwards into a dramatic dip, holding you up while your hands claw at him. You can’t see the ecstasy on your face but a few gasps from the people around you suggest that the two of you may be in a very compromising position. You don’t care. Your body is shaking and tingling. You feel sweat dampening your skin, and the heat…you’re drowning in it. But you don’t want to move. You don’t want it to be over. Most of all, you don’t want his hands leaving you. Ever.

Your breath comes in heavy gasps as he draws you up to your feet. He steadies you, and your eyes finally drift open. The sight before you makes you shiver again. Eobard is breathing just as hard as you are, and has the same slightly dazed expression on his face that you are feeling. You vaguely realize that while you were trying to keep your balance you gripped his hair and shirt because both of them are bunched and mussed. But neither of you can look away from the other for several seconds.

Finally, he is the first one to move. He gently straightens his shirt and runs a hand through his hair. He brings his heels together and reaches for your hand. He bows, lifting your hand to his lips and placing a chaste kiss on the back of it.

“Thank you,” he says, “for the lovely dance. If you’ll excuse me, I believe I need some air.”

You nod slowly. “I…think I do too.”

Something sparks in his eyes, and he offers you his arm. You consider taking it, but the sensation that sweeps through you as you realize what the implications are stop you. You are awash in powerful emotions now, enough to know that if you go with him, you’re going to do something you want…

….oh do you want….

….but on impulse, caught up in the moment.

You know you need to gather yourself. The night has only just begun.

“I will see you back in here,” you reply, offering a polite curtsey. It isn’t a blatant rejection, just more of a ‘not now’. Eobard seems to understand and his withdraws his hand before turning and striding for the door.

You head for a different exit, catching a glimpse of your date just as you leave the room. His face is a thunderstorm, and you feel a slight chill that cuts through the hazy fog of your mind.

The night has only just begun, and you have a feeling it’s going to be a long one.