#it doesn’t do justice for her character arc

[lizbetlovesbyler]

my biggest personal byler proof is just how much they remind me of my first queer relationship before we started dating

queer characters are incredibly easy to fuck over, even without intention. often spelled out or intensely sexualised to prevent misunderstandings for a mostly heterosexual audience, queer storylines are exaggerated and thus become unrealistic.

stranger things doesn’t do that with its queer characters. take robin:

this scene is done beautifully. genuinely beautifully.

robin admits her feelings for tammy and how she locked them away, not just because tammy didn’t like her back, but because she is a queer girl in the 80s. her feelings are unnatural and unwelcome in hawkins.

steve’s acceptance of robin in this scene makes people forget how horrifically this could have ended:

As for Mike and Will

you don’t write a perfect representation of mutual teenage queer pining between childhood friends by accident.

queer pining is quiet and suppressed (especially for young people and ESPECIALLY in the 80s). It is unhealthy to suppress these feelings the way queer people tend to, it’s beyond the typical “secret crushes” straight people experience. queer pining can destroy people when they’re not supported.

through robins character, and wills arc in season four, we can see clearly the duffer brothers understand the nature of queer love, and wish to do it justice.

will ending up with some random last minute jock is unrealistic and does not do his character justice.

mike staying in an insecure relationship, constantly worried his girlfriend will grow out of him and leave him, rather than accepting will’s unconditional love for him, accepting his own love for will and letting himself be who he is, does not do his character justice.

even so, if they tried to set up byler in a way that would come across clear to the GA, it would, by default, become unrealistic and unrepresentative.

neither are yet able to admit to close friends and family they are queer, but they are supposed to convey that part of themselves to an (understandably) dense/heteronormative mainstream audience?

queer teenage love is not the same as straight teenage love, it doesn’t shock me that the majority of the audience isn’t able to pick up on byler beyond wills feelings, and they’re not supposed to.

we all say what we see, they don’t see the queer love brewing because they’ve never experienced it, they’ve never been mike and they’ve never been will. they’ve been max and lucas and nancy, steve, jonathan, etc etc

doesn’t make their heteronormative perspective accurate, they are just straight. they understand will and mike the same they do lucas and dustin. mike says they are friends, they have no reason to think otherwise. they do not know what queer love actually looks like, the duffer brothers do. the actors do. we do.

you are not delusional. you are queer.

if byler was widely agreed upon at this point in the story, it would not be an accurate representation of queer romance. that is the point.

my moneys on the latter and they better get every award for it.

[ecoterrorist-katara]

“Katara deserves a quiet life after the war, so becoming a healer (who made no contributions to the field) is actually a good arc!”

It is already bizarre to me that in ATLA, Katara is this confident & combative & ambitious girl who LOVED to fight and wanted nothing more than to help as many people as possible…then comics!Katara and TLOK!Katara showed neither her previous personality traits nor a career commensurate with those traits…

but it’s even more bizarre to me that ATLA fans would defend her trajectory as if it were some kind of progressive story of recovering from war trauma.

I’ve seen multiple takes like this. “Katara is not a YA heroine, she’s not a bloodthirsty girlboss who loves fighting so it’s actually a good thing that she doesn’t have to fight anymore” “after everything she’s been through she deserves a quiet life and a loving family”

For Katara, fighting in the war was actually empowering. It didn’t burn her out. It didn’t disillusion her. It didn’t take more out of her than she can give. Katara is not Katniss Everdeen, who needed to step back and discover her own agency and a sense of peace after fighting in a war she never chose to start. Katara’s war trauma largely happened before she took an active part in it. After she chose to be a part of the war, she became a waterbending master, made close friends, found her father again, got closure for her mother’s murder, defeated the Fire Lord, and met the love of her life. If Katara were a real person, maybe she’d be traumatized, but nowhere in the text of ATLA does she exhibit the sign that she’s tired of fighting on behalf of the world. If anything, she just got started.

If you take her post-ATLA arc at face value (vs as bad writing), it’s a tragedy of a woman who has learned to minimize her own relevance and her own power. In The Promise, she begins deferring serious decisions to Aang. She doesn’t even express a strong opinion about the fate of the entire colony of Yu Dao, or the fate of her friend Zuko. In North and South, she accepts Northern encroachment of the South in the name of progress. In TLOK we see her not as a politician or a chief, but rather as “the best healer” — albeit one who apparently never established a hospital, or trained acolytes of her own, or done anything to help people at scale, which she has always wanted to do. It’s even more egregious when you remember that in Jang Hui, she was not satisfied to simply heal the sick as the Painted Lady. She wanted to solve the root of the problem, so she cleaned the river and committed full-on ecoterrorism. Just because the war is over doesn’t mean she wants to stop helping people. In fact, the problem she addressed in Jang Hui is exactly the type of problem that would become more prevalent after the war ends, judging by the rapid industrialization between ATLA and LOK.

In the original ATLA, I think Katara is about as close to a power fantasy as you can get for a teenage girl, because she gets to be messy and goofy and powerful, even though she also had to perform a whole lot of emotional and domestic labour. But post-ATLA, she doesn’t get power and she doesn’t get to make a change. She gets love and a family. That’s it. And her grandkids don’t even remember her. Her friends and peers, on the other hand, were shown doing all sorts of super cool things like, you know, running the world they saved.

It’s not feminist to say that a female character deserves “rest” when she’s shown zero inclination that she wants a quiet life. Women who want a quiet life deserve to get it — I think Katniss’ arc is perfect — but women who want power deserve to get it too, especially when they’re motivated by compassion and a keen sense of justice. There’s nothing feminist about defending the early 2010s writing decisions of two men. Like just admit that they fucked up! It’s fine! Maybe they’ll do better in the future!

[suosgirl]

How do you think the reader’s relationship with Suo both meeting while she’s out to get food for her and her sister. She’s genuinely kind and caring overall like Tanjiro from kny. How do you think they’ll get together? She’s helpful and won’t hesitate to protect those in need especially her younger siblings. She’s got a strong sense of smell acknowledging how others feel. Ty!

A To-Go Order (& Missing Utensils) | Hayato Suo x Reader

Word Count: 1233

୨ৎ Read me before interacting!

୨ৎ Pairing: Hayato Suo x Reader feat. very brief mentions of Haruka Sakura and Akihiko Nirei (when are they not, let's be so honest)

୨ৎ Song Inspiration: Hypotheticals by Lake Street Drive

୨ৎ Warnings: mdni, fluff, f!reader, ooc (definitely ooc sorry ah), swearing – if I’ve missed one, I apologize + please let me know!

୨ৎ Note: Ahh ty for the request my dearest anon! I am going to be so honest – I have never watched Demon Slayer/Kimetsu no Yaiba (and I’m so embarrassed bc I just saw the latest like animated arc and it looks so good) BUT that doesn’t mean I’m not familiar with the character! I hope I do your request justice ahhhh!!! And I'm so sorry this took so long ahhhh!! Also, if I dip down into my eldest sister trauma well ... it makes it more genuine, right? ♡

Because – and this is a stretch, he knows this – but what if you didn’t have any utensils at home? How would whoever you were on the phone with be able to enjoy this delightful meal without said fork and spoon and chopsticks? And he doesn’t want to imagine what devastation and sadness look like on a lovely face like yours.

Suo hears you first before he sees you.

Maybe it’s the tone of your voice or the irritated tap of your foot on the floor, but somehow, someway you’ve got him intrigued within just a couple minutes of being in your presence.

You’re on the phone with your sister, lightly scolding her for being so reckless. She was a wild card, that girl, and when she’d heard about an easy and trendy way to cut her bangs from her friends, well, she’d only be able to confirm that it’s true if she tried it, right?

Wrong – so fucking wrong.

It was not easy, and it didn’t look trendy – and now it was you paying the price for it.

She’s sobbing so loud into your ear that you have to turn your volume down to the lowest it can go, but even that’s not enough, and at some point, you can’t help it – you blow up.

She’s no stranger to your lectures (she’s on the receiving end more often than not), but you’d told her not to do it. You’d told her that she’d hate having bangs. You’d told her to sit on the idea for a couple of days before committing to it.

But what does she do? What any good sister would do! Absolutely ignore you! Even though deep down she probably knew you were right!

You sigh, fingers massaging your temple as you shut your eyes for a quick fix of relief.

“... I’ll be home in a bit, okay? It’s not the end of the world, I promise. Now – what do you want from that Monjayaki place that you like so much?”

Suo watches the way that you smile into the phone, no doubt at the response of whoever you’re speaking to, but the smile on your lips is so warm and so fond that he gets just a bit distracted.

A small laugh leaves your lips as you repeat your sister’s order, and you end the call with, “Okay, got it. No more crying, ‘kay? I love you, and I’ll see you in a bit. Also … please put the scissors down – I’ll fix it when I get home.”

He watches the way you order, politely and respectfully, before taking a seat at the table right across from him, Sakura, Nirei, Kiryu, and Tsugeura.

He watches the way you cross your legs and take in the surroundings of the restaurant as you wait, before making eye contact with him.

He sends a small, practiced smile your way before turning his attention back to his friends.

Internally, though, Suo is just the slightest ashamed because he hadn’t meant to stare at you for so long. But, as long as you didn’t know – it was fine, right?

From his peripheral, he can see the way that you continue to stare at him in confusion before ultimately looking away, and he lets out the tiniest sigh of relief.

That … that was a close one.

He tries, truly, but he just can’t. 

He just can’t stop glancing over at you. You’d piqued his interest and he couldn’t understand why.

The cashier tells you it’ll just be a couple more minutes, but you’re quickly shaking your head at them with a smile and telling them not to worry and to take their time.

And Suo can't stop wondering – because how can someone like you effortlessly exude such an air of compassion and love?

As an afterthought, Suo wonders what it would be like to be on the receiving end of it.

Your order is completed much too fast for his liking because now you’re standing up and thanking them as you grab the bag and head for the exit, and Suo feels conflicted because he’s never ever been so curious about a stranger like this before and – 

You turn around as you slip out the door, intent on getting one last glance at him before you leave, but you aren’t expecting Suo to also be looking at you.

The last thing he sees is your mouth dropping in surprise and your eyes widening before the door closes – and then it’s over.

Whatever was happening between the two of you is over.

And – Suo shouldn’t feel any sort of loss from this but he does.

He ponders, briefly, if he’s missed out on something wonderful.

But he’s distracted, too distracted, apparently, to hear Sakura ask, “Who’re ya lookin’ at?”

He’s brought back to his surroundings by the soft nudge of Nirei’s shoulder, and he blinks.

“Ah, sorry Sakura-kun. Just in my thoughts, that’s all.”

Suo’s tone is friendly but firm, leaving no room for discussion.

He’d never see you again, probably, so he let that strange feeling of regret settle somewhere deep and hidden in his conscience.

He’ll get over it, he’s sure, but then he hears the cashier mutter under their breath, “Oh… I think I forgot to add utensils in there…”

Suo never lets his heart lead. Never. In fact, he can’t remember the last time that he did.

So, he’s not too sure what’s leading him now to politely excuse himself from the table or to offer the cashier his aid in delivering the utensils to you.

He shouldn’t. He knows he shouldn’t – there’s no reason to. He doesn’t work here, he doesn’t know you, but if there’s one thing Suo’s good at, it’s reading people.

And he can’t imagine how disappointed you’ll be when you get home, only to find out that they’ve forgotten to pack your utensils.

Because – and this is a stretch, he knows this – but what if you didn’t have any utensils at home? How would whoever you were on the phone with be able to enjoy this delightful meal without said fork and spoon and chopsticks?

And he doesn’t want to imagine what devastation and sadness look like on a lovely face like yours.

But when he goes to open the door – 

You’re standing right outside, hand outstretched to grab the handle and a startled look on your face.

He glances down at your hand while you glance at his – and you note the neatly wrapped-up utensils in his hand.

It’s as if time stops for just a moment as you both stand there in shock – and when your eyes meet… well, it just feels right.

“Oh I –”

“Sorry, I –”

You accidentally cut him off, and it’s awkward and uncoordinated and cute.

Eyes wide and cheeks flushed, you let out a breathless, airy laugh as you look away.

“Would you like to go first?” Suo teases, and your mouth drops open just a tiny bit at his tone.

Because who was this guy? Who’d been staring holes into your head? And who’d caught your eye once more before you left?

“I… Sorry, um, I just… Do I know you? Because you were looking at me an awful lot earlier and I don’t want to be rude,” you explain, albeit a bit flustered.

Suo blinks.

He wasn’t expecting you to be so blunt.

Being the eldest sister does things to you - like being more capable of confrontation.

“Oh. You’re not here to get your utensils?”

“Hm? Why … oh, did they not put it in here? That’s fine – I’ve got some at home.”

Suo blinks again.

You blink too.

Briefly, you wonder if the utensils in his hand are for you.

“... actually, I lied. I don’t have any at home – like, at all. Would it be possible to get some?”

[nanowrimo]

4 Alternatives to Popular Writing Advice

Some writing advice get passed off as something every writer has to do. The truth is, these tips might not work for everybody! NaNo participant Nicole Wilbur offers some alternatives to popular writing advice that may be a better fit for your writing needs.

While there are no definitive writing “rules”, there’s certainly writing advice so common it feels like it’s become canon. Most popular writing advice is generally good – but what if it doesn’t light up your brain? What if a particular tip doesn’t resonate with you?

 If this popular advice isn’t working - try these alternatives! 

Common advice: Make your character want something.  Alternative: Ask what your character is most afraid of.

Your character usually wants something – the MC’s goal driving the story is a common plot, after all. That something needs to be concrete, meaning the audience will know definitively when they’ve achieved their goal. 

(Is “found independence” concrete? No. Signed the lease on their first apartment? Yes.)

But if you aren’t sure yet, or what they want doesn’t feel motivating enough to support your inciting incident, start with a different question: what is your character afraid of? 

Katniss wants to survive, with her family, yes. But she’s terrified of helplessly watching them die. 

Common advice: Identify your story’s theme and stick it on a post- it above your computer.  Alternative: Use the character’s arc to create a main idea statement, and craft several related questions your story explores. 

English class really made ‘theme’ feel heavy-handed. In my grade nine English class, we listed the themes of To Kill a Mockingbird as: coming of age, racism, justice, and good vs. evil. 

While these are the topics explored in the book, I’ve never found this advice helpful in writing.  Instead, I like to use the controlling idea concept (as in Robert McKee’s Story) and exploratory questions (as in John Truby’s Anatomy of Genres).

A controlling idea is a statement about what the author views as the “proper” way to live, and it’s often cause-and-effect. The exploratory question is – well, a question you want to explore. 

In It’s a Wonderful Life, the controlling idea is something to the effect of “Life is meaningful because of our relationships” or “our lives feel meaningful when we value our family and community over money.” The question: How can a single person influence the future of an entire community?

Common advice: List out your character’s traits, perhaps with a character profile. Alternative: Focus on 2-3 broad brushstrokes that define the character.

When I first started writing, I would list out everything I wanted my character to be: smart, daring, sneaky, kind, greedy, etc. I created a long list of traits. Then I started writing the book. When I went back to look at the traits, I realized the character wasn’t really exhibiting any of these.

Instead of a long list of traits to describe your character, try identifying three. Think of these like three brush strokes on a page, giving the scaffolding of your character. Ideally, the combination of traits should be unexpected: maybe the character is rule-following, people-pleasing, and ambitious. Maybe the character is brash, strategic, and dutiful. 

Then – and this is the fun part – consider how the traits come into conflict, and what their limits are. What happens when our ambitious rule-follower must break the law to get what she wants? Sure, a character might be kind, but what will make her bite someone’s head off?

Common advice: Create a killer plot twist. Alternative: Create an information plot. 

Readers love an unexpected plot twist: whether a main character is killed or an ally turns out to be the bad guy, they’re thrilling. But plotting towards one singular twist can be difficult. 

Instead of using the term plot twist, I like thinking in terms of Brandon Sanderson’s “information” plot archetype. 

An information plot is basically a question the reader is actively trying to work out. It could be like Sarah Dessen's Just Listen where we wonder "what happened between Annabel and her ex-best friend?", "why is Annabel's sister acting strangely?" and "who is Owen, really?" Those all have to do with backstory, but information plots can be about pretty much any hidden information. Another popular question is "who is the bad guy?" - or in other words, "who is after the characters?" The Charlie's Angel franchise, for example, tends to keep viewers guessing at who the true antagonist is until the last few scenes.

Nicole Wilbur is an aspiring YA author, writing sapphic action-adventure stories that cure wanderlust. As a digital nomad, she has no house and no car, but has racked up a ridiculous number of frequent flier miles. She chronicles her writing and travelling journey on her YouTube channel and Chasing Chapters substack.

Photo by George Milton

[zahri-melitor]

What can you infer about the editorial meddling Young Justice went through?

Oh god. It’s like the old quote about pornography: you know it when you see it. Spend enough time reading comics and you can just tell.

Notable problems with the Young Justice 2019 run that smack of interference:

You can really tell there was external pressure to include Steph in the run and that she was not originally intended to join the team or appear any further than occasional cameos such as the flashbacks at the Hall of Justice as a link to Tim’s final scene in Tynion’s Tec run. Structurally her story makes no sense whatsoever for how to put a plot together. Steph’s not an original Young Justice character, the run already was supporting two new female characters plus a reboot of Amethyst introducing Amy to a new generation, even before we look at the crossovers from other titles in the imprint. The fact they ended up throwing in a single issue entirely about 'what Steph has been up to and her fight against Cluemaster' in the last section of the run makes it even worse, as that was valuable page time wasted pandering that could and should have been used to give Jinny Hex or Keli Quintela more development.

The entire ‘Drake’ situation, which for a costume change had very little build up, was under-designed, and then disappeared with Tim back in the Robin costume between two panels. It was a test balloon from someone that was comprehensively shot down by some mix of the fandom and editorial, and I remain convinced that DC is gunshy about a new costume and identity for Tim all the way up to the present day because of how badly it was handled.

It was being used as the anchor for Wonder Comics, leading to the required mega crossover (that also spilled over into Bendis’ Action Comics to give it some more space), putting even more pressure on the title to be telling a big crossover story when it was still trying to re-establish “your favourites are back” and suggesting potentially expanding the Young Justice lineup out to around thirteen characters, a massively oversized team that the title was not set up to handle.

Lost in the Multiverse was where the story started to get bogged down by being pulled in too many directions by expectations.

It’s also super telling that the last third of the book got turned over to essentially doing one-shot character pieces about the Core Four, the last defence of a run that can see cancellation coming and doesn’t feel confident launching a new story arc they don’t expect to get to finish. Some of this stuff was clearly background character work they would have preferred to have dripped out over a longer run.

Also I know I’m repeating myself, but having the Tim piece focus on Steph mostly, in the frame of Tim and Steph’s relationship? That’s not where I’d be spending my time when looking at Tim Drake in the focus of Young Justice. How he’s coping with his returned memories of having two or three different lives now? Thinking about what ‘Tell Conner you’re sorry’ means? Discussion about his feelings in terms of moving on from being Robin or not? Nah let’s talk about Steph's problems with her dad instead. That’s not a natural fit compared to what everyone else got and does not follow from any of the preceding story.

Still ropeable that the whole set of storylines about regained memories and alternate timelines doesn’t get to intersect with Lois Lane (which spoilers but also is committed to storytelling about ‘people have memories of other places bleeding through’ prior to the full Infinite Frontier retcon) or explore how those memories change things for Tim, Bart or Cassie (Kon at least does get a story about reconnecting in Action).

And that’s just off the top of my head, ignoring any of the more subtle signs.

I love Young Justice 2019. It is a run that adores Bart, Kon, Cassie and Tim (and particularly Bart. I cannot explain to you how much this story adores Bart if you’ve never read it) and the opening 6 issues make me feel warm and fuzzy every time I read them in terms of how cleverly it works to explain how we get everything back. There are clever subtle moments in the text that give a lot more depth to the story that are implied rather than spelled out: how Cassie suddenly remembers Bart when Bart comes near her, suggesting that her returned memories are a Speed Force side effect from being a lightning rod to Bart; Cassie and Tim sense Kon using TTK and recognise it as familiar, something the new characters cannot; the fakeout in the art where when Tim’s memories are restored, he sees Cissie in his memories, but unless you know the exact YJ98 page being referenced you’d think it was Steph; etc.

But gosh it would have been so much better if it had not been required to devote so much page time to crossovers and to pandering to fans, among other elements.

[immaturityofthomasastruc]

I once had a idea of a couple of villains which are everything ladybug and cat noir aren’t

The boy is the well mannered and destructive person who’s always honest, The girl is the chaotic and overwhelming person who always has a plan

Yet both hate Ladybug and cat noir for their own reasons

The boy doesn’t hate cat noir but hates liars and abusive people, and when he discovers monarch was Gabriel (threw my kid through Paris) agreste and how the heroes never defeated him, he goes off and accidentally ruins Adrien’s life (also Felix’s life for stealing the miraculous, lying to kagami about it and trying to ruin Adrien’s life, he would break the bird boy’s spine), and even his hero life by using cat noir has a example of a bad hero (abandoning Paris a couple of times, letting his emotions get in the way, never taking things seriously, always flirting and always getting brainwashed for he’s incompetence). None of it is personal for the boy but he admits he doesn’t care if Adrien gets hurt since the boy believes himself to be a bad person and being a villain is his punishment so he acts accordingly despite his intentions of revealing a lie and making a true change to destroy the status quo being quite heroic, Adrien gets a burning rage towards the boy

The girl hates ladybug for how she has everything (friends, family, fame and power) yet when she sees how she treats Adrien (lying to him under the excuse of not hurting him when it’s actually just hurting Adrien more by praising he’s abuser, being superficial since she’ll fall in love with anyone who acts like Adrien/cat walker, and the constant stalker behavior) she’ll make sure to hurt Marinette thinking she doesn’t deserve her perfect life when she was all alone before being turned into a villain and meeting the boy, she’ll at first seem like a pure evil character but she’s just someone trying to survive, she’s actually someone pretty sweet and friendly (at difference of the boy which is quite shy and closed despite it seeming otherwise, she helped him go through his traumas and he’s doing the same for her) and when she sees someone like Marinette having a perfect life and treating her partner like that would be enough to make her into a venom like for who’ll do anything to bring justice while knowing justice is the wrong word since she’s breaking several laws while making a teenager suffer

And the best part is how the two constantly emotionally support each other properly and are better working together than the bug and the cat, they talk about their problems, always talk and go out together, help each other train their powers and everything, a genuine healthy relationship built on trust, care and partnership

The point of the arc against them could be A-fixing Ladybug’s and Cat noir’s flaws and problems and make them a genuinely healthy couple, B-break them up because after everything, is there any chemistry at this point? They are the water and bread of relationships and the only good about their relationship has civilians is the “Will they Won’t they” the writers have exploited for 5 seasons and may keep going for another 5, and after everything they’ve done to each other in and out of the suit I can’t ship this two in the show anymore

But we all know Adrien will never know the truth, they’ll probably never question what happen to Gabriel, ladybug won’t ever be on the wrong and cat won’t ever suffer the consequences of his immaturity while being a hero for fun who doesn’t care about the consequences

That's a pretty interesting idea. We really need more villains with their own non-Butterfly Miraculous in this show.

[zluty-spendlik]

WAKFU REDESIGN AND REWRITE SERIES – PART 1

Evangelyne

Evangelyne used to be my favorite character growing up, which kind of sucks since she’s one of the flattest characters considering how much screentime she has.

Even when I was a little kid and watched this show I found it annoying how she was constantly drooled over by the guys and these days its pretty obvious she’s a very stereotypical not-like-the-other-girls girl, created solely to be Percedal’s (the literal incarnation of the expected target audience) love interest.

SHE EVEN HAS THE WHOLE „I let my hair down and now am so much prettier“ ARC HAPPEN FRICKING TWICE IN THE SPAN OF. WHAT- 5 EPISODES???

Evangelyne is a misogynistic character on so many levels, the only Eva-centric episodes we get are either ones she needs saving in (like Vampyro or the pirate one), or when she has a love arc with Percedal (the whole Rubilaxia shtick, or the tree of Life episode).

Honestly the only bearable scenes where she shows up are those where she interacts with Amalia and even those get twisted into weird sexist tropes: Evangelyne critisizing Amalia for buying too much clothes, or overall cringing at Amalia’s „too girly“ behaviour.

Even when they have a touching conversation after freeing Amalia’s father from the Tree of Life, Amalia immediatelly brings up Percedal and fails the Bechdel test.

I won’t even touch the Cleophée (or Cleome in english) trainwreck  the writers pulled in season 2 or the whole pregnant-damsel-in-distress thing she had going on in season 3- I didn’t watch season 3 and 4 mostly because I got so mad after the misogyny happening in the first episode and I didnt want to ruin my already fragile excitement over the series.

But don’t get me wrong – Even tho Wakfu has a lot of potential for growth, I still love the series dearly, and would love to give the characters justice. It is important to note that I am not a professional writer and Im mostly doing this for my own indulgence, so please feel free to throw constructive critisism towards me.

Character rewrite

We don’t know much about Evangelyne’s backstory, or rather her story before she meets Amalia – And in my head as a kid, I always assumed she was an orphaned kid basically living on the street with Cleophée, until someone (presumably Armand, since he has a long-term crush on her and Amalia hated her at first) took pity on her and took her to the palace (once I figure out Cleophées design Ill explain what happens with her).

Fast forward a couple years, Eva is officially Amalia’s bodyguard, yadayadayada.

Important thing is, that this shapes Evangelyne’s personality and self-perception –

I have divided my potential Eva Arc into 3.5 Categories:

Self-protection and perservation

Eva knows how dangerous the world can be (streets) and how serious her job is, but she’s only seventeen. She takes her job way too seriously, in the sense that she doesnt trust anybody they meet (which is especially shown when they meet the Tofu gang). She doesn’t want anyone but Amalia close and deep down, she’s scared of other people.

She is horrible at teamwork, which only frustrates her and everyone around her. She fails to see the affection Amalia has for her, because her entire self is just a bodyguard.

She doesn’t know who she is without that.

Depression

Dally’s sacrifce absolutely traumatizes Eva, both in the canon and my version. It doesnt need to be seen as romantic tho (we’ll get to that). On top of that AMALIA BRIEFLY DIES AND COMES BACK. Can you HEAR Evangelyne’s entire purpose crumbling down?

In her head, two people just died because of her.

Besides, Percedal sacrifices himself because he cares for her. Not as a „coworker“ or a teammate, but as a friend and Evangelyne cannot fathom that sort of service and relationship.

And even though she failed, her friends are there to support her.  Eva learns compassion.

Self-destruction

However, she now feels she has to „make up“ for her lack of compassion and her failings as a bodyguard. Long story short, she completely flips to the other extreme, basically throwing herself in any sort of danger to protect her friends  (hence when she hears Dally, she immediatelly goes to Rubilaxia). In the show this is less extreme but portrayed as her real and true personality: more reckless and adventureous – but i think the writers just wanted Eva to finally have something in common with Dally (which, btw, uncool), but I’d like this to be portrayed as a bad thing.

Eva fails to see that she’s hurting herself and fails to recognize herself as a person rather than basically a human shield. This arc climaxes in the Cleophée episode and Eva learns that compassion is not transactional, or something to be earned.

Her true self

Evangelyne's final form! We dont know much about Eva's hobbies other than her job and fighting skills, HOWEVER Dally mentions Eva taught him tracking at one point and tbh Evangelyne being a ranger or just studying nature fits her pretty well imo! She is also canonically artistic (as confirmed by the journal she keeps).

I take issue with Evangelyne always being seen as the “mom of the group”. Yes, she's smart and responsible and caring, but that's her job, she's an older sister, less of a mother figure and more of an equal to the others in the gang.

Design

In s1, Id like her to wear a lot of armour with chainmail directly on her skin (haha get it because trust issues), and with a mostly green colour palette, cause, Sadida kingdom yk.

In her s2 look, she throws away most of her armour and self perservation instincts and since her personality completely flips, so does her colour palette - red! The first aid kit is gone and she wears an ascot now (a torn bit from Dally's cape lol).

And finally, i made her a furry I gave her some gadget shoes from Cleophée, helping her move faster, I put some of the armour back and made her hair longer. Her colour palette now consists not only green, but also the "Yugo blue", which i plan on incorporating in everyone's final design :D

AND FINALLY, AN ART DUMP

[nightswatchdisbandmentera]

This isn’t really a fully formed thought or anything. But it’s interesting how Sansa, Jon, and Lyanna specifically factor into one of GRRM’s greater explorations on the merits of fantasy. More specifically, there is a common trope that connects these three characters: a princess locked in a tower transforming into a valiant knight/hero. Lyanna and Jon, for starters, are pretty obvious explorations of this. Lyanna is the reconstructed version of this classic trope especially as presented through Arthurian tradition; but the twist here is that the dragon/knight who “locks” her in the tower isn’t actually evil and she isn’t so much kidnapped but rather willingly chooses to go there with him. This princess in a tower directly results in the birth of the hidden prince trope, which is even older than Arthur. So one fantasy classic, Rhaegar and Lyanna, leads to another with Jon being Arthur (a hidden prince and destined king), Percival (a hero who grows up in obscurity but has a great destiny to save the land), and Galahad (a noble hero destined to be even greater than his father, Rhaegar/Lancelot, ever was) all at once.

This princess dies in the tower…but her spirit/ghost lives on through her son, who grows up to look and act just like her, eventually becoming the valiant hero you read in the stories (but again, a de/reconstructed version). Part of how Jon does this is by repeating Lyanna’s actions as the valiant “knight” protecting an innocent from bullies. So by making it out of that tower even though his mother didn’t, Jon becomes the survival and rebirth of the fantasy ideal. You could even make the argument that just because Lyanna died doesn’t mean fantasy died as well because it lives on through Jon, her son. And this is actually is aided by Lyanna’s pleading for her son’s life, so she has some agency in how fantasy is preserved in the same way she had agency in how it’s perpetuated when she protected Howland Reed and when she ran off with Rhaegar. The princess living on and becoming the hero/knight in the stories is thus taken on by two characters here: Lyanna and Jon, mother and son. Jon goes even further into the Arthurian-knight playbook by encountering and eventually killing another vicious bully, Janos Slynt, who was coincidentally had a hand in his father’s demise. Then enter princess in the tower 2.0, Sansa Stark.

Sansa is an interesting case because she’s not martial in the way Lyanna and Jon are. But she too encounters her fair share of knights and villains. Janos Slynt is one of them, and Littlefinger will be another. I’ve talked about this before but Jon becoming the valiant hero Sansa wished for is important because it directly plays into GRRM’s reconstruction and (imo) defense of the ideals of fantasy. It’s not so much that heroes don’t exist - they actually do. They just might be far away, or might be the ones you’d never expect. This is the opposite of the “fantasy is dead, stop believing because everything sucks” reading you might see in some sections of the fandom. This moment may not end up meaning much for Jon and Sansa and their relationship, but it means a lot to us readers who are audiences of GRRM’s conversations with the genre and his arguments for its appeal. But that’s not the only interesting thing because Sansa, unlike Lyanna, does eventually make it out of the tower. But she’s currently in the hands of Littlefinger who, like Janos Slynt, was a villain responsible for her father’s demise. In this scenario, will she have to wait for a valiant hero to come take care of him again? Or will she instead don the knight’s armor (figuratively) by enacting justice in her own right? Based on the GoHH’s prophecy, it looks like it will be the latter; and it’s important to note how often “armor” as a motif is repeated in Sansa’s chapters. Thus, the princess evolving into the hero is told through the arc of a singular character here. Sansa is the princess who makes it out of the tower to become a hero of her own making; important disclaimer though, Littlefinger doesn’t really play into the elements of knighthood but he does count as an evil lord holding a princess hostage so Sansa can still be a subversion of the knight rescuing the maiden - the lesson being that she is her own knight, her own salvation!

It’s a very powerful meta-textual thread that exists between these three characters. They all fit into a wider narrative about fantasy and how it can live on, whether played straight or twisted a little crooked. So Sansa doesn’t have to be an overt in-universe parallel to Lyanna because that’s just not her role in the story. And I personally don’t think any “similarities” they have are actually important to Sansa as a person or to Jon because let’s face it, Lyanna’s primary (and most important) role is to be Jon’s mother and everything else informs on that. But both these women (and Jon) can be meta twinsies based on how they fit into GRRM’s wider narrative goals.

[leportraitducadavre]

Alright, since I’ve received multiple asks about who I ship Sasuke with (or if I have a problem with specific ships), I’ll reiterate my posture regarding shipping culture:

I think it’s very poor, borderline shortsighted, to focus so incredibly much on the possibility of a character –that never specified being sexually interested in anyone, having a romantic partner. Besides the fact that Sasuke is a very traumatized man, a survivor of state-sanctioned genocide which affects his libido to the point of it being non-existent, the entirety of his characterization revolves around him seeking justice for his family. No. It’s not about his bond with Naruto, it’s not about his apparent sexual tension with Karin, nor is it about his crush (the fuck?) on Sakura. 

It’s Naruto the one whose characterization revolves around his bond with Sasuke, it’s Karin the one whose characterization revolves around her sexual desire for Sasuke, and it’s Sakura the one whose characterization revolves around her crush on Sasuke –Sasuke’s entire arc differs completely from theirs, as his entire goal, through the entire series, is about seeking justice for his family. 

What happens once Sasuke realizes he won’t be able to kill Itachi if he stays in Konoha? He leaves because he chooses his goal as an Avenger before his connection with Team 7 (yes, Itachi’s presence also reminded him of the imminent threat of having bonds that Itachi could easily destroy, but he doesn’t leave to protect T7, but to seek power to kill his brother). What happens once Sasuke kills Itachi? He learns about the truth behind the UCM, and decides to barge into the Kage Summit to kill Danzo and not return to Konoha. What happens once he kills Danzö? He still decides not to return and plans to bring the entire system down. I mean, where is his “bond with Naruto” in all this? Where is his “sexual tension” with Karin in all of this? Where is Sakura’s relevance in all of this? At no single moment does he focus on these bonds, often questioning the reason why these people are so adamant about pursuing him. Am I saying that they don’t matter at all to him? No, and you know that’s not the point of the post unless you’re looking for a reason to get upset in which case, I cannot help you. What I’m saying is that they’re not relevant to his main goal or characterization, as that power rests upon Itachi’s shoulders. Each character here mentioned has either more or less importance throughout his journey, but none of them are detrimental to his objective and none of them are important enough for him throughout the manga to deviate from his ambition (he even tried to kill each one of them when he deemed them a liability or they threatened the continuation of his mission).

Who do I ship Sasuke with? Nobody, I don’t enjoy a single pairing that is attributed to him, and I wish the fandom would realize that the entire plot revolves around the actions and consequences of a fascist regime, and not about who wanted to secretly or not so secretly fuck who, or who deserve his dick and who doesn’t. Yes, I’m being blunt, and some of you will think I’m exaggerating, but if you don’t see me talking about ships as often as you see me speaking about feminism or politics inside the Naruto manga, well, what a shocker, there’s a reason for it.

And to prevent people from putting words in my mouth, let me say this: I’m not saying you can’t enjoy a ship –go crazy if that’s what you want, do art, fanfics, and whatever rocks your boat, I won’t go after you trust me, but oh my god how come some of you would give a “potential romantic couple” so much more relevance than the actual plot?! Sasuke plainly and continuously reminds the characters and the readers what his true goal is and what he wants, and still, some of you will force a deep reading of a bubble of speech detached from his overall characterization to prove that he was smitten with x,y,z all along!

[havemercyonmercury]

FMA and Restorative Justice

One thing I’ve been obessed with thinking about is how the concept of “equivalent exchange” pertains to Roy and Riza’s character arcs.

Riza mentions how her and Roy are working towards dismanteling the power structure of the Amestrian government and reconfiguring it into a democracy, part of which includes her and Roy facing punishment for the war crimes that comittted in Ishval. This new government, because it is a “just” government, will see them as murders. And what’s not included but implied is that Riza believes she and Roy deserve the death sentence for their crimes. We even see this implication mulitple times in Riza’s arc- when Lust shows up and Riza cries to Alphonse to leave her because she believes in a world without Roy, she deserves death. In “Beyond the Inferno” she echos this sentiment. 

Part of me believes that this is not just simply because of their bond. Yes, Riza doesn’t want to live without Roy. But she also doesn’t see her life as one that is worth living (at least for the most part), and her main objective, the main reason she hasn’t ended things, is because she justice to be sereved to her and Roy.

I’ve seen and heard people argue that Roy and Riza do deserve the death penatly for their crimes. But is that really what Hiromu Arakawa is trying to tell us? The story starts with equivalent exchange, but does it end with equivalent exchange?

No, it doesn’t. Alphonse mentions the new concept that him and Ed are trying to impliment- the “equivalent plus one” type of exchange. And really, what value would Roy and Riza’s deaths add? It would be equivalent exhange, but it wouldn’t be the “equivalent plus one” type of exchange.

The truth is that Roy and Riza have expressed the desire to recostruct Ishval, which is what the series ends with them doing. While they have comitted atrocities, while they have killed, if they die, there is nothing they can put back into the world. There is no more good they can do, and their world is in desperate need of the good that each of them provide. 

Even when Roy is injured after his fight with Lust, even when Riza says she’ll end her life without him, Roy never wants to see that happen to Riza. He chides her and enforces the belief that Riza can’t ever give into that sort of despair. The sort of despair that maintains the philosphy of “dying for someone”. Because what narrative does Arakawa really push? She pushes the narrative that living for someone is more powerful of the two.

And that’s exactly I think she tries to push with Roy and Riza. Dying for their crimes is less powerful than living for the people they killed. Restorative justice enforces this concept. It provides emphasis on accountability- punishment can only go so far when it comes to healing. True healing comes from empathy, community building efforts, supporting the victims, and cultural competence. And I really believe that’s what Roy and Riza ultimately end up doing.

[rynnthefangirl]

The ending of Game of Thrones really does… nothing, for the smallfolk.

The one character whose arc is centered around the plight of the lower classes is turned into a psycho tyrant who mass murders peasants for no reason. And there is nobody else to take up this mantle. The two surviving characters who come next closest to having arcs that center around empathizing with the lower classes are not given positions of power at the end— they are sent away, Arya on a far away voyage and Jon back to the Nights Watch. The two people who rule at the end— Bran and Sansa— have arcs that have absolutely nothing to do with caring for the plight of the lower classes.

The new system of government put into place doesn’t give any sort of power to the Smallfolk— it is the lords of westeros who get to vote on the new king. Now instead of the game being “who can grab power by marrying into the throne” the game will be “who can grab power by getting lords to vote for them”. And who is going to have the advantage here? Rich and cutthroat lords who can bribe and threaten their way to power. The Tywin Lannisters of the world.

Rights for the Smallfolk comes at the expense of the power of the lords, so do we think this new system will put in power anyone who gives a shit about the smallfolk? Westerosi history TELLS us that is not the case. When Aegon V was chosen as king, his only competition was a literal baby with a deranged psychopath as a father. And still there were lords who voiced objection to his appointment, believing he was “half a peasant” and therefore unfit for the throne. Had there been another option besides baby Maegor, do you think Egg would have ever been chosen? No, the answer is no.

Now I’m not saying that the series had to end with feudal monarchy being destroyed, and all this wouldn’t be such a problem, if they hadn’t drawn so much focus to Daenerys’ concern for the lower classes. This was the motivation of the most prominent character of the final seasons— breaking the wheel, liberating people, ending oppression. She wasn’t just another character seeking power, her character was defined by her social justice ideology. Even if you think that this was all justifications for her tyranny, you cannot deny that these were still core themes of her story.

So GOT explores how the smallfolk suffer when lords play the game of thrones. And the conclusion of all this is that the one character who wanted to help the lower classes is actually the villain, the characters that should rule are the ones who never showed any care about class inequality, and the new and improved system of government is the one that keeps all of the power in the hands of the oppressive ruling class.

[olis-inkwell-symposium]

How to Write Multidimensional LGBTQ+ Characters with Authentic Emotional Journeys & Moral Complexities

As a fellow proud member of the alphabet gang, when building LGBTQ+ characters in fantasy, it’s essential to push beyond surface-level representation and craft characters that are fully realized—characters with rich emotional arcs, intricate moral dilemmas, and personal journeys that go beyond their sexuality or gender identity. To do this, the character's identity should be one part of who they are, not the only thing that defines them. Below are some strategies for creating multidimensional LGBTQ+ characters in your fantasy stories.

1. Give Them Full Emotional Arcs

LGBTQ+ characters should have complex emotional lives that don’t just revolve around their sexuality or gender identity. It’s important to explore their hopes, fears, ambitions, and personal struggles just as you would with any other character.

Ask yourself:

What do they desire most in life?

What internal conflicts are they grappling with?

How does their identity shape their view of the world, but also, how do their experiences in this fantasy world impact their identity?

A lesbian warrior who’s conflicted about war may wrestle with the toll it takes on her spirit, her duty to protect her community, and her desire for peace—not just her love for another woman. These internal tensions create depth, making her more than a “token” character.

2. Place Their Identity in Context with the Fantasy World

How does your fantasy world view LGBTQ+ identities? Are they accepted, ignored, or misunderstood? Is there a specific cultural, political, or even magical significance to being queer in your world?

For example, in a world where shape-shifting is common, could gender be seen as fluid, or would rigid gender norms still exist? These questions not only affect how your character navigates the world but also how their identity interacts with the story’s larger themes. A gender-fluid sorcerer might find their powers misunderstood or even feared because of their shifting identity, adding layers to both their personal and external conflicts.

3. Move Beyond Stereotypes

Avoid fully focusing on tired LGBTQ+ tropes like the “tragic queer,” “gay best friend,” or “sassy queer sidekick.” Instead, allow them to occupy spaces where their queerness informs, but doesn’t limit, their roles in the story.

This means allowing LGBTQ+ characters to be:

Heroes and not just mentors or sidekicks.

Villains with moral complexities rather than simply “evil” because they are queer.

Leaders with the same flaws and virtues as any other character.

Relatable without relying on typical stereotypes.

Focus on their unique personalities, decisions, and values, allowing their identity to be one aspect of a multifaceted whole.

4. Explore Moral Complexity

One of the most compelling elements of character-building is the moral struggle. Allow your LGBTQ+ characters to face tough moral choices that aren’t just black and white. This shows that they aren’t infallible paragons of virtue or simplistic villains—they are people with the capacity for light and darkness.

For example, a gay knight may find himself torn between loyalty to his kingdom and the corrupting influence of power. His struggles are not centered on his sexuality, but on how his personal identity interacts with the external pressures of war, duty, and justice. This complexity makes him someone readers can empathize with, even as they wrestle with his choices.

5. Authentic Emotional Journeys

Many LGBTQ+ characters experience moments of personal discovery, whether coming out, finding community, or struggling with self-acceptance. However, these stories shouldn’t be reduced to a single “coming out” narrative.

If your character undergoes a journey of self-discovery, ensure it’s nuanced. Think about:

What are their internal emotional struggles?

What external pressures do they face from society or other characters?

How do their personal discoveries impact their relationships, goals, or views of the world?

6. Build Relationships Beyond Romance

Romance is often one of the main focal points when writing LGBTQ+ characters, but building meaningful, non-romantic relationships is vital. Focus on their bonds with friends, mentors, family, and enemies. These connections give them more texture and depth, allowing readers to see different aspects of their identity.

Develop these bonds to show how they shape your character’s motivations and emotional growth throughout the story.

7. Subvert Expectations

Fantasy offers the perfect space to subvert real-world biases and expectations. Maybe in your world, queerness is the norm, and being straight is the thing that raises eyebrows. Or, perhaps gender identity is fluid, and strict binary definitions are seen as old-fashioned.

This allows you to play with audience assumptions and opens the door to explore LGBTQ+ identities in new and innovative ways. By breaking the mold, you give your characters space to be fully realized individuals within a fantastical, yet meaningful, framework.

Crafting Characters with Complexity

Ultimately, the key to writing multidimensional characters lies in treating them with the same care and attention you would give any other character. Give them goals, flaws, emotional depth, and moral struggles that transcend their identity while still allowing their queerness to enrich their journey. By doing so, you create characters that readers can relate to and root for, regardless of their background.

The goal is not just to create LGBTQ+ representation but to craft complex, authentic characters that will resonate with your audience, making them unforgettable figures in your fantasy world.

[ave-cave]

Lucy in Chapter 118: an Analysis 🫧

Hooo boy

Chapter one-eighteen. Where do I even 𝓫𝓮𝓰𝓲𝓷?

Unlike a lot of folks in this fandom (all more imaginative than I could ever hope to be, lol), I had basically no solid predictions for this chapter (or… any chapter thus far, really, and I've been following the manga religiously since 103, so… yeah, there's a reason I'm a BSD analyst, not theorist, lmao).

Needless to say, this chapter is heartbreak and bombshells galore: Tanizaki and Kenji’s apparent Ame-no-Gozen-ing, the possibility that all of those “Jun'ichirō and Naomi aren't real siblings” theories were just proven dead right, the protagonist and villain finally meeting because it's about goddamn time, so on and so forth.

But because a) the fanbase is already abuzz with talk about those things + no doubt already in the process of doing them analytical justice, and b) I'm annoying, I’ve decided to dissect the ever-loving hell out of the chapter’s three most innocuous pages: this interaction between Kyōka Izumi and Lucy Maud Montgomery.

Inhales

MY GIRLS ARE BAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACK (⁠≧⁠▽⁠≦⁠)

Does a little jig 🎶

Sorry, just had to get that out of my system

No, but seriously. We haven't seen Kyōka in person since chapter 91. Three whole years; definitely too long for a character of her importance. But Lucy… Lucy’s been out of the picture since chapter 81. That’s four whole years. So in other words, two significant female characters, sidelined for ages, are back. That’s kind of huge, IMO.

Of course, we have a vague idea of what they’ve been up to. Given Anne's Room has more than once been shown serving as the ADA’s safe haven and base of operations, per the rules of AOAR, Lucy must be nearby if not inside herself – and Kyōka we see in silhouette form in Anne's Room in chapter 92. But this is the first time in a hot minute we've seen either of them in the flesh, let alone gotten dialogue out of them. I nearly choked on my cereal when I turned the page and saw their faces, lol.

So then, pray tell, what does this long-awaited appearance in the flesh entail? Well…

Lucy and Kyōka:

Right off the bat, the two girls are seen in Anne’s Room (where they’ve ostensibly been this whole time), standing in front of the white door (i.e., the door opposite the prison, which – unless linked to a surface in the real world – will cause those who leave through it to experience amnesia. Not relevant to the scene, just thought I should give a refresher.) The exit is blocked by rubble; the airport, as well as the surrounding buildings, have all been devastated. How to leave Anne's Room at this point is anyone’s guess.

Kyōka suggests Lucy deactivate her ability, but Lucy points out that, chances are, they'll be flattened by rubble as soon as she does. In response, Kyōka does her signature knife-unsheathing and insists, rather ominously, that they'll just have to take a gamble then. Lucy grabs her wrist and tells her to stop, and upon being asked why, she replies solemnly, “Because… if you died… it would crush him,” this followed by a picture of Atsushi’s smiling face.

YES. YES. YES.

Now THIS is what I love about Lucy and Kyōka’s dynamic.

In essence, they're rivals. Thing is, they're not your generic “two girls fighting over the same guy” rivals. Kyōka’s feelings toward Atsushi aren’t even romantically-coded.

Their shared love for Atsushi doesn’t divide them; it unites them. After all, since the Guild Aftermath arc, the “rivalry” aspect of their relationship has had almost nothing to do with him. There, they were only at each other’s throats because Kyōka didn’t like how Lucy, still angry about the Moby Dick, was treating Atsushi, and Lucy didn’t like how Kyōka was standing in the way of her talking things out properly with him.

But once a much-needed heart-to-heart was had at the docks and Lucy officially turned over a new leaf, there was no longer any reason for her and Kyōka to bicker. Kyōka didn’t have the full context of Lucy’s actions, and was thus within her rights to suspect that she couldn’t be trusted, but Lucy proved that she could be when she led them to the right boat.

Later on, Lucy showed that she wasn’t holding any grudges when she advocated for Kyōka, forcing Atsushi to leave her to her thoughts upon learning the truth of her parents' deaths.

The next chapter, Kyōka calls Lucy’s coffee mediocre, but Lucy herself admitted that she's not much of a barista, and so Kyōka’s criticism is really just her not mincing words. What’s more, Lucy is offended at first, but then concedes without any real hostility.

In the Cannibalism arc, Kyōka is shown bowing politely to Lucy while enlisting her help, even if she is just following Atsushi's lead (and later does the same for Mushitarō).

Fast forward to the Sky Casino arc, Kyōka is miffed by Lucy’s hot-and-cold behavior around Atsushi, but that’s not exactly unique to her...

... and moreover, they agree without resistance to work together to infiltrate the casino. In chapter 81, i.e., the last we saw of Lucy until now, the Agency reunites and Lucy encourages Kyōka to join in on the celebration.

Perhaps most notable is that, in chapter 78, the two are lumped into the same category by Ango; he recognizes them both as people who would choose Atsushi over the good of the world, and this nearly drives him to kill them on the spot for fear of what their loyalty could turn into.

In this chapter, however, it’s underscored that, while Lucy and Kyōka may be the same in their care for Atsushi on the surface, they’re still, at the end of the day, foil characters.

Both are orphans. Both were taken in – and subsequently exploited – by criminal organizations for their abilities. Both found their place in the story by virtue of meeting Atsushi. Both are undyingly loyal to Atsushi because of what he’s done for them. But that’s about where their similarities end.

Kyōka was introduced as a remorseful killer seeking atonement by death. Atsushi managed to save her (twice, for that matter) in the conventional hero way, cementing himself as her savior and playing into the reckless heroism by which he determines his worth.

Lucy, on the other hand, was introduced as a bitter villain who believed she was justified in lashing out. Atsushi tried, but he couldn’t save her in the traditional hero way. Only his vulnerability managed to get through to her, and if anything, Lucy saved him. This utterly subverted the philosophy by which Atsushi had begun to define both himself and his relationships.

Since then, Lucy has been trying at every turn to get Atsushi to see himself as more than just a hero. She reprimands him for his reckless heroism when she sees it. She stops him from inserting himself into other people’s plights uninvited. She confronts him when he fails to understand his relationships beyond the framework of hero and savior. Kyōka, meanwhile, has been doing more or less the opposite; she’s passively allowed Atsushi to keep playing the perpetual hero, and this wouldn’t be the first time she’s taken on his philosophy of self-sacrifice herself.

To these ends, the girls’ thought processes here are perfectly in line for them: Kyōka tries to push forward without care for what could happen to her, whereas Lucy emphasizes self-preservation.

One might perceive Lucy replying the way she does to Kyōka’s question as callous, but I don’t really think so. She isn’t saying “the only reason you shouldn’t risk your life is because it would make Atsushi sad.” She’s applying her philosophy of self-preservation to Atsushi and Kyōka at the same time. She's encouraging Kyōka to be more than just a hero by telling her to think of how it would affect Atsushi as a person if she died.

If Lucy is good at anything, it’s communicating what she wants from people in a way that she knows will get through to them. She did this with Atsushi on the Moby Dick when she bluffed about waiting on his salvation, knowing that he would be more motivated to stay alive himself if he thought there was someone counting on him to save them. Here, she communicates with Kyōka in a way that highlights the reason they get along; the reason they’re both here in the first place. And if the way Kyōka resheathes her knife without a word is any indication, it works.

Lucy knows that she and Atsushi are close, but she knows that Kyōka and Atsushi are closer; losing her would be the last straw. She recognizes their relationship as something beyond hero and savior, something precious. This is far from out-of-character for her; to the contrary, it’s in keeping with who she’s been all along. All that’s different now is that she’s acknowledging it out loud.

Lucy and Atsushi:

When Lucy pictures Atsushi in her mind’s eye, she sees the spirit that would undoubtedly be broken if he were to lose Kyōka. This in and of itself is heartbreaking, but when you consider the greater implications, well…

In the Sky Casino arc, a huge breakthrough was made in Atsushi and Lucy’s relationship: her elusive “impossible” debt to him was finally repaid, though not in the way you'd expect.

At the time, all Lucy felt she could give in return for Atsushi’s turning her life around was conventional heroism – or in other words, many a close call and many a trip to Anne’s Room. This conventional heroism was a worthless currency in her mind – it wasn’t the kind that saved her, after all – but on the other hand, the vulnerability she so valued in its stead she wasn’t capable of giving; where she came from, being vulnerable was a death sentence, after all. Because of this, how she could ever come close to repaying Atsushi’s ultimate favor was a mystery unto itself. All she knew was that she had to do it one way or another, and that’s where her most glaring flaw – her quid-pro-quo mindset – came into play, eventually driving her so far as to override her own philosophy and embody the reckless hero she so discouraged Atsushi from being.

But when Atsushi saved her from Nathaniel – thereby repaying her for her acts of service as he’d promised so many times he would – she realized that, just as her care for Atsushi doesn’t depend on his being a hero, Atsushi's care for her doesn’t depend on her being vulnerable. The illusion was shattered.

From this point forward, Lucy is no longer helping Atsushi out of a sense of indebtedness. She's doing it because she wants to. Because she truly, genuinely cares. Not the artificial kind of care that comes with repaying a debt, but the care that she showcases when she stays by Atsushi’s side after he faints, pressing a cold towel to his face. The kind of care that involves refusing to hurt Atsushi in any way, even to jog potentially vital memories.

Lucy considering what Kyōka’s death would do to Atsushi’s psyche is a perfect continuation of this new leaf she’s turned over, but it also goes to show that her shared arc with Atsushi is far from finished.

Lucy’s character development has always been structured in a rather unique way: each arc she’s appeared in has worked either to establish or address her current most glaring flaw, more often than not in unexpected ways. Her appearance in the first half of the Guild arc established her villainous façade being just that – a façade – by having it crumble as she realized the kind of person she was up against in Atsushi. The second half addressed her unhealthy attachment to the Guild by having Atsushi dissuade her from villainy via empathy. The Guild Aftermath arc added the finishing touch to all of this – the last little push needed to propel Lucy into her new role – by addressing her and Atsushi’s “promise” on the Moby Dick. The Cannibalism arc subtly established her quid-pro-quo mindset, which the Sky Casino arc would then go on to address.

Another great subversion of the tropes usually involved in these dynamics is that, despite Lucy being the closest thing to Atsushi’s “love interest,” only he's managed to bolster her development, not the other way around. This isn’t for lack of trying, of course; Lucy tries. But Atsushi is a tough nut to crack. The fact that she’s still, nearly fifteen chapters later, trying to steer Atsushi toward personhood instead of heroism – albeit indirectly – is testament to this.

If she could reach him now, she’d no doubt be trying even still. She’d be conveying to him that none of his friends’ deaths so far has been his fault – that he can’t be expected to carry the burden of hero to all when the world is going to hell in a handbasket. But she can’t reach him. She’s trapped, and so is Kyōka. Thus is the cruel irony.

Anne's Room:

Anne of Abyssal Red has played a key role in pretty much everything plot-related up to this point. It’s only appropriate, then, that its owner finally appearing alongside it would give it all the more significance.

Lucy’s last line in this chapter is as follows: “So the enemy… even took this into account.” She’s right; Fyodor had countermeasures against her ability. That said, I don’t think this is attributable solely to Fyodor being, well… Fyodor.

AOAR is in the same ballpark narrative-wise as, say, For The Tainted Sorrow in that it’s overpowered to the point of detriment. It’s Lucy’s playground; the product of an imagination run wild due to crippling loneliness. This in and of itself is scary. A power having rules that malleable is automatically dangerous, because it means that, while its wielder can bend and exploit said rules, so can an enemy. In both major fights Lucy has been a part of, the rules of Anne’s Room being molded to favor her opponent has spelled either victory or loss on her end: Atsushi used the prison room loophole against her, and she indirectly used the transportation loophole against Nathaniel. Hell, her capture by the Guild following her betrayal was thanks to the loophole that, while Anne couldn’t be defeated, she could be restrained.

So basically, for as powerful as AOAR is, underneath that power is a shaky foundation. Power doesn’t always mean stability, and this is underscored by the fact that, at the end of the day, Anne is only infallible in terms of strength; she could only do so much to alleviate Lucy’s loneliness growing up (which is honestly a pretty clever mirror to her conflict of strength vs. vulnerability with Atsushi.)

With Anne’s Room nullified by Fyodor, Lucy has truly nothing at her disposal. She's not physically strong (she’s 165 cm and 44 kg, so… yeah ˙◠˙), and while by no means stupid, she doesn’t repeatedly say in this chapter that she doesn’t know what to do next for no reason. Anne’s Room is all she’s ever had. While at the orphanage, it was her only comfort. While in the Guild, it was her only value. With Atsushi, it was all she had to offer in return for his ultimate favor.

This, I feel, could be the establishing point for the next portion of her arc. She could strive to find a way out of the rubble, working together with Kyōka, and in the process learn to break away from her ability as what defines her role in all of this. One thing's for sure: something has to be done sooner or later, otherwise, they'll starve.

I dunno, maybe that’s wishful thinking given how much is already going on. But either way, I’ll hope against hope that this isn’t some one-off return, because Lucy has proven time and time again that she has a lot to offer to the story, both plot-wise and thematically.

[lusthurts]

**SPOILER WARNING FOR THE RED WHITE AND ROYAL BLUE MOVIE**

This movie was very entertaining. It hit all the beats of a great rom-com. I personally enjoyed the music a lot, even if it was at times very different from the music in the book. Nicholas Galitzine was a standout of the main cast for me - he really made me feel Henry’s angst just like the book did, and I think this is a character that the film truly did justice. My personal favorite character from the movie though was Zahra - Sarah Shahi was absolutely incredible. She had fantastic comedic timing and her dynamic with Alex, Henry, Shaan, and Ellen. I really enjoyed Bea, Nora, & Pez as well, although I think they were severely underused and I kinda hated how the Nora/Pez dynamic worked without June. I think the romance was beautiful - I particularly enjoyed the polo scene, the karaoke scene, the Texas stuff, and the V&A museum.

I also laughed out loud a ton during the movie. Zahra’s scenes were hilarious, and the royal wedding/cake debacle was handled perfectly. I miss June here a bit, but I generally was very satisfied with how it all went down. Also, despite many fans early fears of a lack of chemistry between Nick and Taylor, I thought their chemistry was fantastic. Maybe not the best I’ve ever seen, but it was definitely believable, entertaining, and one of the most compelling parts of the story.

I also liked that we got more of Henry’s POV than we did in the book. It didn’t add a ton in my opinion, but I do think it allowed Nicholas Galitzine to show off his acting chops. I think the heart of the book remains, and after the press/everything I’d heard about the movie going into it, I was pleasantly surprised with how the political stuff was handled. Alex’s arc with Texas in particular was beautiful, and I think the end of the movie left me with a similar feeling to the book.

As for things I didn’t love, and I will say there were kind of a lot of small things, I’ve made a list that I’m sure no one cares much to read.

I missed June a lot. I identify a lot with her character, and although I totally understand why she was cut out (I do think in the book she serves less plot purpose than Nora), I actually think the choice to exclude her made even less sense after seeing the movie than before seeing it. Nora and Alex’s relationship felt very underdeveloped in the movie, and none of the romantic elements that I thought made their relationship important to the book ended up mattering at all in the movie. He kisses a different girl on New Year’s, there’s no mention of a sexual history between them, there’s no fake dating setup to detract from Alex/Henry, and Nora’s just generally absent. I feel like June would’ve served that purpose fine if not better.

The romance felt kind of rushed. The whole Christmas phone call that imo is so crucial to Henry & Alex’s relationship and character development doesn’t happen at all (probably because his parents are still together), and I didn’t have like a timer or clock or anything but it felt like the 100 or so pages leading up to the NYE kiss was like less than 20 minutes.

I hated that Alex’s parents were happily married, and I think it massively takes away from his character development. His arc honestly fell very short for me which is disappointing since he’s a character I identify so closely with. I don’t feel like they do his like major anxiety justice, and I think he goes from kinda being an idealist, reckless dummy to being a heartfelt, romantic, ready for a big commitment guy in the span of a few minutes.

I honestly could’ve done without the sex scenes. They were good, and I could tell the intimacy coordinator slayed with this one, but they were more explicit than the book imo (especially the one in Paris), and while I don’t think there’s anything wrong with that, I would’ve much rather had more fade to black so as to save screen time to develop the romance more at the beginning.

I didn’t enjoy the Miguel character at all. He has no character development, and I do not at all understand how this character is the Luna/Liam blend he was promoted as. He functions as a ruthless journalist who despite being queer himself decides to out Henry and Alex to the entire world, and we NEVER get an explanation for why. It’s alluded to that maybe Miguel had feelings for Alex and did it because he resented Alex for not feeling the same? But like, he literally outed two prominent figures to the entire world at risk of benefitting a homophobic predator running for office. And he never apologizes? Or faces any repercussions???? Like this is just kind of there?? And that is NOT AT ALL Rafael Luna or Liam who are both generally speaking positive forces in Alex’s life. I just don’t get it at all.

This is a personal issue I had that most probably don’t care about, but I’m from Minnesota, and seeing Minnesota red in the movie was infuriating. MN is not a swing state, never really has been, and was basically the only state in the upper midwest to stay blue in the 2016 election. I’m biased because this is my home state, but MN would NEVER vote red and I’m kinda just annoyed at the implication that it did instead of them just choosing to blame it on all the actual swing states.

Okay those are my thoughts. I doubt anyone cares that much, but I needed to get it out of my system. I will say I really enjoyed the movie, and I can see why the bulk of reviews are positive. I think anyone who didn’t read the book won’t feel like anything is missing, and fans of the book will for the most part still really enjoy it. I will definitely be rewatching when it comes out officially on Amazon Prime tomorrow, and I can see myself rewatching hundreds more times in the future. But it sort of needs to exist independent of the book for me, I guess. And that’s okay! I think everyone involved did a great job with the adaptation, and I look forward to watching it again.

[blueskittlesart]

You've talked about how great the ocarina of time story is (hard agree!) I was wondering if you have any thoughts about Sheik and how his story fits into the game's themes?

YES. sheik is such a good character genuinely. i think he’s best analyzed in tandem with link bc so much of their characters play off of each other. i ❤️ narrative foils

link, the eternal child, grows up in a sheltered space in which bad things don’t happen. bar the recent tragedy of the deku tree, he is unfamiliar with death and tragedy and unfairness and therefore carries an air of naïveté and a childish sense of justice—bad things shouldn’t have to happen, and if they DO happen, people should try to fix them.

zelda, even at nine years old, is his foil, the little adult. she has seen tragedy. she has spent her life ignored and neglected by adults. she understands that when bad things happen people would rather ignore than work to fix. but she is ALSO still a child, and she still carries some of that sense of justice with her and that’s why she tries so hard to fix things herself. but children are fundamentally unequipped to tackle adult problems. she was doomed the second she started trying, doomed essentially by the very adults that claimed to care for her but refused to listen.

as we jump to adulthood, link remains the eternal child, having lost no time in the seven years he slept, still mentally nine years old. sheik, on the other hand, is no longer the little adult. he is grown and he has seen every tragedy the world has to offer him. he has been forcibly adultified by the world without being given the time and space to process and grieve, and so, as a trauma response, he has struck down the child which still remains in him in order to protect her from the horrors he knows the world has to offer. this is why so much of what we see of sheik is strangely contradictory and why he keeps himself removed from the story as much as possible. sheik is governed by fear. he fears that allowing himself back into the story sets little zelda up to be burned again. he fears that little link will blame him for the actions of a desperate girl nine years ago. and yet the little girl he once was is still there, and she cannot allow him to stand and watch as tragedy unfolds like so many adults did to her.

functionally, where link is the child who doesn’t get to grow up, sheik is the child who is forced to. where link’s tragedy stems from the actions of adults who failed to protect him, sheik’s stems from the inaction of adults who COULD have protected him and chose not to. this crucial difference leads to sheik and link’s differences in worldview—where link still carries that childish sense of justice and motivation to change the world, sheik, having been forced into adulthood, struggles with the ramifications of action vs inaction as well as the choice to either protect link or save his kingdom.

that choice of link vs hyrule as sheik’s internal struggle is doubly important when examining the end of oot and the choice zelda makes to send link back. this, irt zelda’s arc, is a solution which returns that childlike justice to her—she gets to undo her past actions and save the world. she gets to fix the action and inaction which led her to this point. it’s hope where there once was none. it’s zelda saying “we CAN change things and we SHOULD change things,” a thorough rejection of the inaction mentality which characterizes the adults in her life and a literal return to her childhood at the same time. oot is a fucking masterpiece of a game

[pinkiemachine]

Hi! So, I was wondering... You said all heroes before 24 are in the YJ, where does that leave the original team of the NTT? Are they in the JL now? Do the Outsiders exist anymore? (and if you don't have this all figured out or have a different plan for canon it is okay, I just overthink things)

So, I’m a little confused by your question—the “original” team was the Mighty Teen Titans, the second gen was the New Teen Titans. Typo? Idk.

ANYWAY—REGARDLESS—I’ll try to answer your question as best I can :)

So, one of my main objectives when it comes to the superhero teams is trying to keep things simple. I don’t want there to be a whole bunch of different teams for people to try and keep track of all the time, because that makes it harder on the average viewer. At the moment, the only teams I’ve greenlit so far are The Justice League (there will be a few “generations” for them as well. Changing members over the years, like Aquaman leaving to become king of Atlantis and being replaced by Green Arrow and Black Canary), the Teen Titans (I’ve posted plenty about them, but yeah, there’s three distinct generations for them, each led by a different Robin, and yes, Jason would have gone on to lead his own team if he hadn’t sadly passed away), speaking of which, the Outlaws, led by Red Hood. Additional members: Arsenal, Artemis of Bana-Mighdall, and Bizarro. Then, there’s the Green Lanterns of Earth. (Yeah, that whole “each sector has only ONE Lantern” thing doesn’t really sit well with me. Besides, it’s not like DC listens to that rule anyway, lol.) So, the team consists of five members: Hal Jordon, Guy Gardner, Jessica Cruz, Kelli Quintella, and is led by John Stewart. While he leads the Lantern team, Hal is the active representative on the Justice League, helping them on missions periodically when the rest of the Lanterns are preoccupied. Kyle Rayner comes in later, during the adaption of the Emerald Twilight arc, leading up to Blackest Night.

Finally, there’s Young Justice, which unfortunately is the least fleshed out of the teams right now, but it too will have distinct “generations.” However, which members are included will vary depending on the characters themselves. For example, among the original Teen Titans—Robin/Nightwing, Starfire, Beast Boy, Raven, Kid Flash, Wonder Girl, and Cyborg—Cyborg went on ahead and became part of the Justice League before Young Justice was founded, leaving Nightwing and Starfire to lead the new young adult team along with newcomers like Batgirl and Supergirl. I’ve been thinking maybe once Raven finishes her arc and defeats her father, Trigon, she can go ride off into the sunset, maybe by going back to Azarath. Either way, the point is she moves on. I haven’t decided about the rest yet. After that, some of them, like Nightwing and Starfire, go on to be part of the Justice League. Then, the next gen of YJ comes along: Robin/Red Robin (Tim Drake), Spoiler, Cassie Sandsmark (who’s usually Wonder Girl 2.0 but to avoid another “multiple Robins” or “multiple Superboys” fiasco, I decided to make her an original hero called Olympia), Miss Martian, Conner Kent Superboy (I’m also looking for a potential new name for him, but I’m coming up dry), Aqualad 2.0 (Kaldur), and Impulse. I have not written anything for this gen of YJ yet, nor for the generation after them, and I can’t say when I will.

What I can say is that I have no plans currently to include the Outsiders. That may change, but personally it seems like a bit too much to include them on top of having the Teen Titans and Young Justice and The Justice League. If there are to be more superhero teams, they really, really, really need to justify their existence by having a specific goal or reason for being.

Thanks for asking :) I enjoy the questions.