#its about wanting him to have an arc that parallels the rest of the companions

[bhaalble]

Back on my Wyll script doctor because I was talking about it with a friend. Specifically imagining a version of Wyll's big Character Choice that felt like it had some actual teeth.

Imagine a world where instead of a cartoon evil hot lady Mizora and Wyll's relationship actually had some complexity to it and like. some genuine push and pull which gives him temptation to stay. I just keep thinking about this 17 year old who his whole life wanted more than anything to be a hero, who got his chance to do something heroic and selfless and save the city from certain doom, and his reward is getting kicked out because he did it the "wrong way".

Imagine if instead of forcing his silence, Mizora instead comforted him. How unbelievably cruel of your father! Well...since you've nowhere else to go, why not stick with me? We make a pretty good team, as it turns out, and I can get you a whole list of monsters who need killing. Plenty of devils and demons loose in your world targetting all sorts of innocents. Our interests can keep aligning, and you get a place to sleep when you need it.

Wyll makes his peace with it, because he has nothing and no one. And Mizora's not GOOD maybe, not by Ulder Ravengard's definition. But she's fun. She delights in his growth. And she does certainly keep direct him at greater evils, devils who really do need killing. And if she spies on his every waking moment, well, she worries. If she sends him after the occasional innocent, well, she had people who she has to answer to as well. She's a devil, how much can he fault her for her nature? She's always seemed like she knew where the line was...

Karlach (and the player) express their doubts, of course, but for act one at least he's defensive. Yes, she punished him and he hates it and its miserable but....he was in breach of contract! She's NEVER gone outside its bounds, she's always stuck very closely to their agreement. Wyll, who wants so badly to trust others and believe everyone has the chance for good, can't find it in him to believe the worst even of a devil.

And Mizora is FOND of Wyll, loves him even in her way. As a cherished pet, as a trusted tool, as a best-laid plan. Never enough to choose his own well-being over her own agenda, never enough to see him as his own person. He's her little project, the long shot noble brat she gambled on when Tiamat decided to get too big for her britches. And it paid off! Wyll always pays off, currying her all the favor from Zariel she so desperately craves. And who are you, or anyone, to come between them? She's treated him well. As she's quick to remind him, she wanted him when no one else did, aided him while the rest of his city slept snug in their beds. And if Ulder Ravengard didn't want a son with a whiff of infernal, then do you REALLY think he'd want you with lovely horns and Avernus in your blood?

You discover his father's been taken. Beyond igniting a lot of old feelings, it brings up a question of succession. Of course, Florrick isnt giving up on him, but if not...there aren't currently any likely candidates to take over the Flaming Fists. Not trustworthy ones. Florrick will take the position, but everyone knows in the back of his mind Ulder never really stopped planning for it to be Wyll. With the city in chaos and a cult army on the rise, they may need an answer sooner rather than later. Wyll feels the call of the Gate, but knows just as well that Mizora wouldn't want him to return in such an official capacity.

For the first time ever the leash starts to chafe in a way he can't keep pushing through.

Act 2 rolls around. Mizora sends up the Warlock signal. After potentially some encouragement from the player, Wyll (NOT THE PLAYER. I DONT KNOW WHY ITS THE PLAYER IN THE GAME ITS WEIRD) hesitantly proposes that maybe, if he does this....they can do a renegotiation of his contract. Not break it, he assures her quickly! Just....reopen the terms, take a looks at the agreement. Maybe discuss an exit ramp? After all....I mean, neither of us truly thought I'd be doing this forever, did we?

Based on Mizora's reaction. Yeah she did.

But fine. She agrees. And Wyll's not mad that it turns out you're rescuing her, not a nameless "operative" for Zariel. He would've done that on his own had she asked. Its the fact that she apparently didn't feel like being honest, that she let him fret and worry about potentially handing Zariel back some runaway for basically no reason. Its the fact that she came here to check in on the cult that abducted his FATHER just to see if Zariel could make any use of them. And its the fact that she seems surprised and annoyed that ANY of this bothers him.

All this builds, of course, to the final confrontation. The basic elements are the same. Mizora outside the coronation (this time needling at Wyll, "I'll be at camp if you're not too high and mighty to consort with the likes of me anymore"), Ulder tadpoled and fighting it. Mizora makes her offer. I can end the contract now, and you're free to go running after daddy (who won't want you btw! not like I do!). You'll lose all your powers, all my aid, all those juicy quests to chase down the greatest monsters in the hells. Take on your father's job and settle in for a life of misery and compromise and only doing as much good as the nobles will let you. Or: pledge yourself to me, eternally. I'll give you a boatload of new powers and eternal life to boot, so long as you serve as my sword and shield.

From there I think three endings branch out, and with it three classes for Wyll. If he stays with Mizora, accepts a relationship where he will never be an equal or a free agent in exchange for the affirmation he wants so badly from his father, he remains a Warlock, with some juiced stats and extra spell slots, along with shiny new gear. If he pledges to follow in his father's footsteps, he instead becomes an Oath of Devotion paladin, pledging himself in service to Tyr, if with a sense of doomed finality. The Blade of Frontiers is officially retired, and along with it any identity he has outside of being his father's son. Or the third path, break the contract without taking his father's role. He will look for his father, yes, but whether or not you find him he's going back to his roots, travelling around to do some good in the world (as the Blade of Frontiers) or kicking ass in the Hells with Karlach (as the Blade of Avernus). In this timeline he becomes a fighter, with a default preference for Eldritch Knight.

What's important: if he breaks his contract then Mizora is NOT hanging around camp. She will leave in a fury, accidentally bound by her own word to withdraw her influence completely if he breaks his contract. She may still approach the player some night to sleep with the player, framed for high approval/romanced players and her trying to take something back from Wyll. But Wyll will have to learn how to define himself without her breathing down his neck, without keeping her happy dominating his every thought. Its nervewracking, and even lonesome at times...but its freedom. And, perhaps, that's worth a little bit of lonesomeness.

[iamnightduchess]

SnK 139 (A personal thought on Reiner & Mikasa's ending)

We have finally reached the end. For those who began this fandom since 2010, it's been 11 years of happiness, tears and heartbreak, on top of character discourse with our respective favorites. This manga is rich with amazing life values that requires more than just a quick zip through of every chapter. It requires a thorough, repeat reading. Hajime Isayama weaved his universe in a way that never cease to blow all of his readers' minds away but still touched our hearts in an emotional way.

(Special thanks to @pethellhounds for the key pointers for this post!)

No doubt, I love all of the characters, each of their flaws, strengths and growth but my two favorites have always been Mikasa and Reiner, individually.

Upon the first two reads, I was saddened, I was devastated and I allowed my emotions to filter the absolute value of the final chapter; in particularly to my most favorites. All thanks to the discourse we had in our RK discord, my brethren offered me a different perspective on how we could truly perceive ch.139 for what it truly is: a bittersweet farewell which only leads to new beginnings.

Reiner Braun

Armin was destined to save humanity, Eren confided on that himself. Even if it was Mikasa's personal choice on ch.123 that is the ultimatum that had saved humanity by eradicating the power of the Titans from the world for good. As referenced on this post, it has been Mikasa that was destined to free Ymir all along through her selflessness.

Upon first read, the following panel seemed to portray the remaining alliance members in a different light. Everyone looked amazing, happy as they exchanged banter just like how old friends with shared traumatizing experiences do. After all they're all celebrated world heroes - living with possibly an upgraded lifestyle, fame and wealth even within those 3 years. But upon several more reads and deeper observation, one could not entirely disregard the rather dark and gloomy atmosphere beyond the bright surface. In particular Jean and Reiner, who seemed to be a bit more noticeable.

Jean somehow is putting on a front as a skirt-chaser (having preference for younger girls) while Reiner seemed to be simping over his old crush (who's already married & has a child in Paradis).

The above panel seemed comical because the actions & lines seemed a bit "out of nowhere", but beyond the surface - everyone's hurting secretly from within, some are masking their pain, though some remained unaffected because they all shared a heavy burden of guilt towards Eren's death & Mikasa's withdrawal from the group to lay their friend in his final resting place all the way in Paradis. Jean and Reiner both are putting on a front.

Do remember that during the Marley arc, not even once was Reiner shown to reminisce about Historia very specifically. Not even in a fleeting thought, thus why it could also be deduced that she did not actually have a huge impact on his memory or his genuine affections beyond just a fleeting crush to hide his tormented mental state from within. How could someone who has been shown to have tremendous emotional growth and a consistent, albeit shaky psychological regulation during his primary arc was reduced to a typical simp archetype in the final chapter? This is not, a "Reiner can finally be his real self who's free of his burdens & he is someone who's enjoying his new life" moment.

The last time he portrayed this "simping" behavior? When he was 17 years old during the 104th's first SC excursion and when his psyche was almost teetering on its edges as his Warrior!alter is wrestling control against his soldier personality in Utgard Castle.

Reiner's simping (which was an intended joke) was also an indicator of a bleak truth: his DID regressed, from his regulated state and his psyche was completely torn apart from that day. In Marley, he had been extremely depressed but he was a loyal, strong and steadfast soldier who had only his duties in mind. To see him do a complete 360 & reverted to a creepy old behaviour, is truly saddening. He's been masking his pain with this front. Even Pieck could be seen sending him a silent, understanding look of concern for his letter-sniffing action.

In 139, despite having a new chance at life, having his mother's genuine love and acceptance & achieved his original dream in becoming a respected hero who is recorded in history, one could not entirely rule out the possibility that Reiner's DID has regressed to the point that either he reverted back to his soldier persona as a facąde or he'd might have developed a new alter altogether after having to experience Survivor's Guilt for the second turn. Yet this time, with no known time limit since the Curse of Ymir had been eradicated. DID is a lifelong condition. It does not go away, it cannot be healed even with modern medicine but yes, could be managed. That letter, the mentioning of Eren's name and their impending arrival on Paradis - the place he felt the happiest of his life - could be his trigger to put on that front. He, (along with the rest of the alliance on that ship) had to live with the fact that his and his family's new life and future had been at the expense of two people's livelihood; Eren & Mikasa. Eren sacrificed his life. Mikasa chose to bury Eren at his final resting place in Shinganshina and remain there to honor his memories on her own, without anyone by her side despite having fought together & almost on the verge of dying together.

(Thank you @lancerofdarkness for pointing this out!) We can see the banter between Reiner and Jean is very reminiscent of Reiner and Bertolt, where the latter cautioned the former on "not getting too carried away". Where Bertolt had a filtered approach, Jean had a more direct, head-on snipe. This dynamic had been initially observed much earlier in this post.

The alliance members could possibly have made a silent pact between them on not mentioning either Eren or Mikasa's name out of respect for that 3 years. Or if they, as well as the others, were not divulged of the real truth by Armin. With or without this knowledge, Eren's death and Mikasa's silent departure from the alliance do affect everyone. Some are more obvious than the others.

Once again, I feel compelled to share an unpopular perception that Reiner's simping is not his true self's behavior. It is a mask. A fake persona. It is a front to hide the real pain from within.

He cared about both Eren and Mikasa respectively, as much as the others do.

Mikasa Ackerman

Upon first reading, I was initially devastated for Mikasa's conclusion. It was her decision and selfless act that had saved all of humanity and won Ymir over, which completely destroys the Paths as well as removing the titan powers together with its curse. The woman who had been at the frontlines, placing her life at stake, almost dying first to protect the men in the alliance; she who had sacrificed everything ended up with nothing but only memories of the one who could never be and loneliness.

To throw salt into the wound, we saw Eren uttering in Paths on how he refused to accept the notion of Mikasa being with another man, he wanted her to only love him and have him in her heart even 10 years after his death. It was indeed a last spur of the moment declaration that ironically contradicted his plea in 138.

Their relationship was never meant to take off by riding into the sunset together, they are not destined to be with each other, even if their feelings are mutual. Despite my personal observation of their relationship as a form of enslavement in itself: Mikasa still sees it as her devotion & commitment to Eren. I have to respect her perspective on this.

Ymir mistaken Stockholm Syndrome as love, she perceives enslavement as love. Being used as a tool of war and breeding, surrendering all her will to her captor, yearning for his validation - she saw those as love. Now the glaring parallel between Ymir and Mikasa are truly obvious. Because of love, Ymir tethered herself to Paths or purgatory for 2,000 years and in exchange of Mikasa's decision & action, Mikasa remained tethered to her love for Eren & his memories for at least another 10 years if not for the rest of her life on earth. That is truly heartbreaking.

I was devastated. I personally believe she deserves better. She too deserves to have her happy end, to be loved and have a family of her own.

When Armin had dreams of seeing the world beyond the walls, Mikasa has always been a simple girl with simple dreams: i) to go back home within that forest in Shinganshina and ii) to be by Eren's side forever. Once we realised this, Mikasa actually had everything she ever desired after all. She's back home in Shinganshina, living in solitude and in peace with no burden of world peace, diplomatic affairs on her shoulder and has no need to put on a facąde. She's been grieving and she still cried for her yearning to see Eren's face again even after 3 years that she might not stop shedding tears in the next 7 years just like Eren wanted. That is how psychologically and emotionally affected she is with Eren's words, actions and death. She chose to remember Eren and keep her in her heart that it is almost seen as an imprisonment but she's also free from other wordly responsibilities unlike the rest of the alliance members.

Did I wish she would have a better ending than this? Absolutely. This young woman has never been on her own ever since she was born, it's heartbreaking to see her having to process her grief alone without even a single companion by her side. She lost all of her incredible physical strength and had to learn how to fortify her emotional strength through her grieving process. She has only learn on how to love and be loved by Eren, which has major missing components left to be desired. Mikasa deserves to be loved, to receive that affection openly in return from someone who would be ideal, respectful, trustworthy, expressive, equally devoted, the raindrop to her seed, the sun to her cold days and loving towards her and maybe one day, eventually would be able to grow a real family from that genuine love.

The last two bottom panel above we can actually observe the innocent kid!Mikasa just like Isayama promised. She is ready and curious to once again, learn more about the beautiful but cruel world. She is ready to leave the forest upon realizing that no matter where she goes, Eren will always be inside her heart.

She is at peace. Even if she looks way thinner, fragile that she should be and could be seen collapsing as she was hit by another wave of strong grief. But since the members of the alliance are coming to Paradis for a potential negotiation, it is been stated by Mikasa that they are also coming to see Eren's final resting place to pay their respects. She will be meeting her friends after 3 years for the first time and I could really hope that they can be the support that each other needed for true healing. I am holding on to the possibility of her being ready to move on and start living again after putting the course of her life on hold by mourning for Eren the moment she is reunited again with Armin, Annie, Reiner, Jean and Connie.

The bird flew over the ship carrying the alliance as it is heading towards Paradis before heading towards Mikasa's location, giving his answer to her "You're happy right?" question by wrapping that scarf around her neck for one last time. He wanted her to be free after 3 years of grief. He wanted her to move on when she meets their friends again because she does not deserve to be consumed in her grief not even another day. Not even for another 7 years. Not even for the rest of her life.

Anything that we envision happening after 139 is valid in this universe. I believe Mikasa will begin living her life to the fullest as the end of the series is also the beginning of her next journey. But this time, she will be doing it in the company of her loved ones. Together.

[moonah-rose]

Defrosting Grumpy Three (a Season 8 meta)

I keep thinking about how Season 8 of Classic Who is almost like the first one the show has to a ‘season long arc’ that I don’t feel gets talked about enough. Obviously everyone knows it as “the one where the Master is in every story” but I feel like there is a subtle character arc for the Doctor in this season as well which is tied to the two main characters introduced in the first episode; the Master and Jo Grant.

I’m not the first one to point out that out of Three’s five seasons; this is the one where he’s at his most grumpy and short-tempered. I know a lot of people point to this season as reasons for why they don’t like Three and I totally get that, he’s a real git sometimes, in particular the first and last stories. There are moments where he’s asking for a slap and, no, I’m not talking about him claiming to be buddies with Chairman Mao and a Tory MP. Because I would’ve thought it was obvious that he drops those names purely to gain trust of these people who don’t trust him (at least that’s my headcanon because it doesn’t fit with the anti-capitalist, anti-pollution, anti-imperialist writing). Just him being constantly ungrateful to the Brigadier, snapping at Jo, or just being childish in the most ‘kid throwing a tantrum’ way possible.

But it’s easy to get why. By Season 8 he’s been trapped on Earth for we can assume at least a year. New Who fans who’ve seen the Power of Three and saw how crazy Eleven went when he tried to stay on Earth to study the cubes just for a few days/weeks know the Doctor can’t stand staying still, especially in one time and place. In his first season he could be short-tempered but slightly less so. In Spearhead he’s quite polite and motivated, though that could be the most pleasant form of Post Regeneration Trauma he’s been through. Plus he had Liz, who you can see he immediately clicked with. A fellow genius who finds herself out of place or treated a little unfairly as a female scientist surrounded by men, both of them willing to sass the Brigadier when he deserves it. He also still keeps trying to fix the TARDIS, as if convinced this won’t be as permanent as the Time Lords intended.

But by Season 8 (or you could say even before that, in Inferno) his attempts clearly haven’t succeeded past slipping into a terrifying parallel universe, and now cabin fever is setting in. And Liz, his science bud, has gone off and left. And while it’s sad we didn’t get a goodbye between the two of them, her passing remark towards the Brigadier about the Doctor just needing someone to pass him test tubes and fill his praise kink maybe implies that, at least from Liz’ POV, they weren’t as equals as Three thought, or she didn’t feel that fulfilled working with him, even if she did appreciate him as a friend. 

So enter Jo to replace Liz, who is everything Liz wasn’t. Liz had to study and work her way to her position; Jo is a spoiled girl who got to play spy by sheer nepotism. She failed A level science and doesn’t have the same sharp-wit he and Liz shared. Three is mean to her even before she introduces herself as his assistant when she only tries to help, and doesn’t hide his disappointment when she tells him. Perhaps it might also be that she reminds him of his companions before Liz; she’s cute and perky like Zoe and also loyal and determined like Jamie, even though she lacks Jamie’s physical strength and Zoe’s genius. Still, she’s young and he might not want to put her in danger the same way he nearly lost his previous young companions many times in the War Games.

When Three goes to the Brigadier to try to get rid of Jo, the Brig is far more smug than in the previous season, as he seems to have worked the Doctor out by this point. Their little moment at the end of Inferno where Three insults him and tries to escape only to then come back with his tail between his legs acting all buddy has shown him who Three really is; that this whole grumpy shtick of this is just a defence mechanism while he’s so out of his depth. I like to think the Brig hoped Jo would soften him up, to bring out the compassion that was more overt in his previous incarnation, as well as just pass him test tubes and keep tabs on him. His knowing smile when he watches Three try and fail miserably to fire her seems to prove his point.

In the same story we also have the Master showing up for the very first time. He was created to be the ‘Moriarty to the Doctor’s Holmes’. These kind of ‘foil enemies’ that pop up in so many stories, where you have a villain who is supposed to be a perfect match in intelligence or skill to the hero, are more often than not presented as ‘what the hero could have been’ if they chose to be evil rather than good; the Master is no different. And even though it’s not established until the next season that the Doctor and Master used to be friends, there’s clearly an underlining fondness in their banter which hints at past feelings as well as mutual respect. It says quite a lot that Three is more relaxed and friendly during his conversations with the Master half the time they talk than he is with the humans he’s meant to be saving, or even his own close friends. Because, for all their moral disagreements, the Master is his own kind and his only link - other than his broken TARDIS - to the rest of the Universe. 

In almost every story of S8, after the Master has revealed his evil scheme only for the Doctor to point out how it will backfire on him, they have to work together or form some kind of alliance of convenience. In Claws of Axos, the Doctor outright pretends to betray his friends and elope join forces with the Master to escape, only for it to be a trick in order to defeat the Axons. But considering Three’s attitude in this season, it’s a very convincing act as much to the audience as to the humans. And then in Colony in Space, the Master offers the Doctor half-ownership of the Universe....and the Doctor clearly hesitates! Yes, the Master tempts him with the persuasion of ruling ‘in the name of good’ but Three has to take a moment to remember what a slippery slope that line of thinking is. He’s so tired of being trapped, sick of being leashed by the Time Lords, that the Master comes along as a devil on his shoulder at his most vulnerable point. Considering the last story involves the Master summoning the actual Devil (or close enough) and is also where Three’s temper seems to be at its peak seems all too fitting.

It’s also interesting that the Master’s greatest fear that appears in the Mind of Evil is an image of the Doctor laughing maniacally over him. It’s the closest we get to an image of Dark!Three in the show. To contrast; the Doctor’s greatest fear isn’t the Master, it’s the eruption from Inferno. Seeing the Earth swallowed by flame - not because of an outside force like the Daleks or Cybermen, but by humans themselves. It’s easy to imagine him wondering why he even bothers with them when they’re their own worst enemy.

(Side note; apparently the Evil Overlord in the Inferno parallel world IS the Third Doctor, according to the Expanded Universe, though I haven’t read up on this. We were robbed of seeing Pertwee play an evil Doctor.)

So while this is going on and the Master is playing his games with the Doctor while also tempting him, intentionally or not, to the ‘dark side’, we also have Jo at his side. And Jo takes all of the Doctor’s snapping and mood swings like a pro, and is very quickly overwhelmed with a lot of the stuff she’s faced which that she didn’t know she was signing up for - being hypnotised, captured by aliens, taken to alien worlds in the far future etc. She screams as most companions did at that time, but because it is what you would expect from a girl fresh out of school and throwing herself into something she clearly didn’t properly prepare for. The Doctor has to save her a lot, more than often because she tried to help only to get herself captured. As much as he does warm to her - because he’s not immune to how adorable she is - it serves to prove his point. Even when he finally gets to leave Earth for a day, she’s too frightened to want to leave the TARDIS. What good is she to him?

Now she continues to prove she has her uses. She has her escapology skills which get them out of a few tight spots. Depending on the writer, she can turn into an Emma Peel-esque agent capable of self-defence and subterfuge. And she’s always patient with the Doctor, no matter what mood he’s in, and extremely loyal. She’s also kind and compassionate with every side character she comes across. There seems to have been a backlash to these kinds of qualities in female characters in the past twenty years or so, what I like to call the Cinderella critique, where if a woman is kind and generous more so than smart, sassy and sword-wielding she’s seen as ‘weak’. Jo is always there at the Doctor’s side when he’s managed to get hurt or knocked out (Three took a lot of naps, anyone else notice this?). Even after he does whisk her away to another planet and nearly don’t make it back, she could easily throw her job away if it was too much, but she sticks with it because you can see that she wants more than anything to be useful and do good for her world - it would be another two season until she found what her own passion was with being an environmental activist but this is where she wants to start.

But it’s not until the end of S8 that we see Jo’s greatest strength and how it saves Three when every other defence he had was gone. He’s spent most of that story chastising her for believing in magic and superstition, as well as anything else he can find to snap at her for like criticising the Brigadier even though he does the same thing all the damn time (this could be seen as a ‘I can insult my bro but you can’t’ moment but it’s still not pleasant). But when he learns the Master is preparing to sacrifice her, he runs in to save her despite knowing it’s a suicide mission. He also gives a cold exchange to the Master when told he’s a ‘doomed man’. 

Oh I’m a dead man! I knew that as soon as I walked through those doors so you better watch out! I have nothing to lose, do I?

It’s a telling line that, behind all his patronising and abruptness, he’s reached a point he doesn’t feel he has anything left to keep going. He’s lost his freedom and his knowledge of time travel; but he’ll die before letting Jo die or letting the Earth burn again. When Azal claims the daemons gave humans knowledge, Three responds: Finally he’s turning his anger on the one who deserves it to save the one who has been his friend, even at his lowest points, for the past several months, while still showing his disappointment in what he’s seen of humans living amongst them:

You gave them knowledge to blow up the world and they most certainly will. They can poison the water and the very air they breathe. 

When Azal appears, he nearly makes the Master’s greatest fear come true by offering his power to the Doctor instead. And the Doctor looks horrified, immediately doing a Jon Snow and refusing it. Unlike when the Master offered him power before, he doesn’t hesitate for a moment, even though Azal’s powers could probably get his TARDIS working again in a snap. He looks almost scared at the thought of possessing something like that. Perhaps his dark persona in that other world became that way because he did take such an offer?

Azal prepares to kill the Doctor for refusing his offer, which is where Jo saves the day by offering her life for his. A lot of people dislike this ending for the idea of the villain being destroyed ‘by the power of love’ more or less, but this was a lot less common a deus ex machina as it is in New Who. The Doctor explains how it works when they’re free as:

Azal could not accept a fact as irrational and illogical as Jo being prepared to give up her life for me.

Three says it as he’s just as baffled, if also amused, by it as Azal was. Why would Jo give up her life for him? Compare that with when Ten has to give up his incarnation to save Wilf, how he rants that Wilf isn’t important but he has ‘so much more’ to give. Even the Doctor wrestles when it comes to sacrificing himself for others sometimes but Jo did it without a seconds thought, made even more illogical given Three’s often harsh treatment of her. But one thing that is obvious is that Three’s grumpy face is gone; he’s smiling for the rest of the episode, looking at Jo with quiet heart eyes, and letting her drag him into the maypole dance, conceding that she was right and there is ‘magic’ in the world. 

Much like Rose was the companion Nine needed after the Time War to enjoy seeing the Universe again and appreciating life, Jo serves a similar purpose in S8 in that she gradually reminds the Doctor through her actions of the strengths in being brave, kind and selfless. She and the rest of the UNIT family are there to remind him of the goodness in humanity and that we’re always learning and trying to improve; as Three says to Azal that ‘they need a chance to grow up’. Jo is the angel on his shoulder to contrast the Master as his personal devil; right down to having her dressed in the sacrificial ‘virgin’ garb opposite the Satanic Master to cap the season off.

Three still has his sour moments after this but he’s far less cantankerous going forward and sweeter towards Jo especially, praising her bravery and learning in future, just as Jo also grows more confident in her abilities and enjoys her adventures with him. He seems far more relaxed on Earth and less desperate to get away because of the people he has around him that make it worth staying around for. Three’s morals and loyalty to humanity might not have been so firm had Jo not been there to ground him, especially with the Master constantly there almost holding out a hand to him offering freedom and excitement. Like all good companions, she saves the Doctor as much as he has to save her, in more ways than one, which she doesn’t get nearly enough credit for. And it’s what adds to the heartbreak of her eventual exit because of the effect she had on his life.

It’s just one of my favorite tropes when a character gets better and softens or becomes kinder not because they had to ‘change for someone else’ but because they were inspired by them, especially if it’s the person they underestimated the most.

[cuefog]

tog/khunbam fic rec

this is for @cannottranslate​ because you asked for it and i am grateful for the excuse to make a fic rec post

i expect this will be a long post so i’ll put it under read ↓ 

i’ll be leaving my own thoughts and comments under each fic (im sorry in advance for rambling too much)!! if you want the full summary and other info please click on the link provided lol

!!webtoon spoilers beware!!

♡ = one of my favourites

canon timeline

(these will be the ones that are set in the canon world and follow major plot events, even if there some changes in the details and relationships)

♡ deep sea blue by Feyren ♡

please read everything written by feyren!!!! lovely prose, wonderfully written khunbam emotional tension. khun braiding his beautiful hair accompanied by symbolism and perfectly crafted metaphor. bonus earrings.

♡ hollow moons by NoteInABottle ♡

please also read everything by noteinabottle!! equally lovely prose, wonderfully written khunbam emotional tension. khun wearing earrings and giving them to bam, accompanied by lots of symbolism and perfectly crafted metaphor. you could probably consider this a companion fic to feyren’s deep sea blue. both of these fics gave me a Thing for khun’s earrings (>_<;)``

take my hand (take my whole life too) by RadiantAshe

our dear ashe has written lots of great stuff but i think this is my favourite!! so much khunbam softness, very classic s3 vibes <33

Chestnuts at Nighttime by khunfounded (ongoing)

khun with a cat who loves him very much, and vice versa. that’s all the explanation you need. this fic overloads my heart with cute soft fluffy feelings!!! (bonus khun and bam dolls with little hands made of velcro so they can hold each other’s hands (ʘ‿ʘ✿) please i can’t take any more of this, somebody help my heart is gonna explode)

a thousand paths to you by LiannaAila

set during the time of khun’s coma. bam travels to a parallel universe and meets an alive and awake khun. this fic is exactly what it says it is and it’s so lovely <3

oh no he’s hot (and other earth-shattering revelations) by Bird_of_Dreams

tldr; bam being thirsty over khun

khun aguero agnis and his growing competency kink by chuuyaya

tldr; khun being thirsty over bam

motion by smokeandwaves (rated Explicit)

set during hell train, khunbam focused. this one is really popular in the fandom!! it’s well written, and if you consider smut a genre i would say this is the best one in the tog tag. lots of emotions, and a wonderful flow of feeling!! also it has a few sequel fics in the series, ‘obedience’ in particular being all about sub!khun,, which is,, (*ﾉωﾉ)

sometimes when i look into your eyes i pretend you're mine by agueros (minamis)

residents of the tower ship jue viole grace and khun aguero agnis and write fanfiction about them (i love these types of fics lmao)

From: Khun by AngrySheepProject  and To you who lies with my heart under the sea by Strawbellie666 (ongoing)

khun messaging bam’s pocket when he thought he was dead in s2

canon divergence + future canonverse

(future fics means it’s set in the future of the current canon, which at the nest arc rn)

♡ A World Without You by Breaking_Formation ♡

this one might be my favourite out of all of them. i know it says major character death but it happens in the beginning and there’s a promised happy ending so don’t worry!!! this one is a beautiful 20k word masterpiece.... seriously..... this fic is set after the nest arc, it has lots of Plot and plays around with the world and the lore of the Tower, so it’s already fascinating that way, but the real heart of the story is in the emotions!! if you love witnessing khun’s endless devotion to bam, this is the fic that shows you that devotion reflected right back at khun. it might bring you to tears :’)

♡ Our Hearts Are Made of Stars by Ruinous ♡ (ongoing)

out of the 5 or so other time travel au fics in the tog fandom, this one is definitely my favourite!! time travel aus are all super fun to read, but this one stood out to me especially because it hits all the right spots!! it’s written well and i love the level of foresight, and the emotions detailed into this, it really feels like the friendships and bonds are at the heart of this story and all the fighting stuff will turn out just fine, and everything will be ok :)

♡ enough by Feyren ♡

future fic, set in a cocktail party on the 87th floor. this is so well written!!!!! again, please just read everything written by feyren. the prose is wonderful and everything going on in this fic feels so well-crafted and carefully executed with just the right amount of subtlety in all the emotions. i think it’s gorgeous.

fire and ice by soundscape (ongoing)

set vaguely in the future. still ongoing, and the story feels like it’s just started, but very intriguing plot!! premise is people trying to separate khun from bam + the team trying to deal with shady fug plots

dig down deep by milkywxy (ongoing)

this one is a plotty one!! diverges from canon at the hidden floor arc. bam decides not to let rachel go with them. im super interested to see where this story goes!!

where the current leaves us by macrauchenia (ongoing)

this one is a Plotty one, still in the early stages of plot development but the premise is super interesting!! basically khun takes bam’s place in the bubble with rachel, during the administrator’s test on the 2nd floor. i’m excited to see where this story goes :D

special mentions for “bam climbs the tower” remix concept fics that you might like to check out (this is for you dango, since you said you like togverse canon divergence :D)

Moonlight by Shadow_to_rant (ongoing, khun meets bam in cave instead of rachel)

Timeless Existence by Jazebeth (Barrattiel) (ongoing, time travel au series)

Second Chance by Shadow_to_rant (ongoing, time travel au)

Never Let You Go by eternus (ongoing, time travel au)

Il Principe by euludey (ongoing, bam with different backstory/origins)

Night Never Falls by TripleTurtles (ongoing, au where rachel doesn’t succeed at pushing bam off the bubble on the 2nd floor)

Child of Arlene by MoodleNoodle (ongoing, bam is adopted by jahad before canon timeline)

au

♡ the king and his lionheart by chuuyaya ♡

khunbam royalty au with bam as king, khun as a genius war strategist. bonus pda in front of a whole courtroom. what more could you want?? this was soooo satisfying to read, i enjoyed it a lot :D (please also check out chuuyaya’s other fics if you like khunbam aus!!)

if there's anything in this life ive been waiting for (its you) by trueaguero (ongoing)

fascinating au where everyone is outside the tower and the tower is part of history. perhaps you could call this a “post-tower au” ?

if my heart was a house by The_Winged_Warrior

very cute magical fantasy au!! khun runs a potion shop and bam is an adventurer

aus are pretty self explanatory so i’ll put the rest in a list:

you are the magic in me by silverinerivers (ongoing, hogwarts au)

hope and legacy by chuuyaya (figure skating au)

♡ jump then fall (i'll catch you) by agueros (minamis) ♡ (figure skating au, consider it a prequel to ‘hope and legacy’, this is a beautiful 13k-word love letter to figure skating <3)

of social media and turtles by chuuyaya (celeb au with social media bits)

i am the last olympian by argenteas (percy jackson au)

who else is there to love but you? by khuns (college au, very soft pining!!)

Lucky coin by bothersomepotato (ongoing, college business majors au)

Greedy Turtles by Alien_ships (ongoing, on the surface it seems like just a pet shop au but there’s a lot of care and attention paid to the characters and relationship dynamics :D)

and i will come to you at every first snow by aguerobaam (khun is a magical doll in a toy store)

the heart heist by paused (ongoing, cyberpunk au)

khun special category

(it’s all about khun here)

♡ all the blue in the world won’t do, without you by NoteInABottle ♡ (ongoing)

multichapter fic set on khun eduan’s 111th floor!! if you’re too impatient to wait for the khun family arc, you should just read this fic. it’s still ongoing as of the time i made this post but it’s already looking to have all the elements i want out of a khun family arc. it’s written so so well too!! noteinabottle is one of my favourite tog authors :D

Brothers and sisters, I'm an atomic bomb by gleek_runner (ongoing series)

a wonderfully well written series of fics focusing on interactions between members of the khun family!!!! im just a sucker for the khun kids and im always starving for khun family content

He Wonders if He Still Breathes by Chocolatesandblood

khun and ran interactions!!

putting his resolve to the test. by soundscape

khun and hachuling interactions!!

Autumn Angel by XprincessxofxspadesX

khunbam meets maria and a series of complicated and fascinating interactions occurs. this was very nice to read ;w;

[aros001]

Read through light novel vol. 6. Random thoughts.

She hurried along behind the others, but she couldn’t quite get the image of the red-haired spell caster out of her mind.

Maybe I’m just imagining things, but...he looked really familiar.

Let me guess...

[Chapter 3]

Nailed it!

“How many?” Guild Girl asked, her pen scratching on the paper. “Oh, and break them down by quest, please.”

“Thirty-four for the first quest.”

He suddenly fell silent. Guild Girl stopped writing and looked up, and Goblin Slayer added quietly, “and ten or less missing.”

“Missing?”

“We went in, rescued the hostage, and flooded the nest. I confirmed thirty- four bodies. There can’t be more than ten left.”

You can tell this series has done a good job making the goblins feel like a threat that I'm really concerned about any goblins escaping the nest Goblin Slayer flooded. With how quickly they learn and how much he tries to keep them from learning his methods, now I'm going to be worried about some goblins down the line breaking open a dam and flooding a village because of how well it worked against them.

This is a weird thing to focus on but why do goblins get so excited over elf women compared to the women of other species? It just gets brought up a lot through the series when seeing things from the goblins' POV. Is it because of their beauty, their age, some kind of ancient grudge between elves and goblins, or is it just that they smell particularly good? Because back in vol. 1 Goblin Slayer made a point about goblin noses being quite sensitive to the smells of women, children, and elves. Obviously they're cruel and lustful to any women they want to capture but they keep singling out specifically High Elf Archer when she's with human women. Closest I've seen to an answer is in this volume, with the goblins knowing that elf meat apparently keeps for longer.

“All right,” he said. Then the helmet turned toward the boy. “Let’s go.”

Ugh. Not expecting much from this meal.

The boy nodded grudgingly then heaved himself to his feet and followed after Goblin Slayer.

If the food sucks, I’m knocking over that table.

This kid's starting to piss me off.

“Heh! I know you’re back-row, but there’s no way someone as weepy and blubbering as you could ever get promoted!”

That sent High Elf Archer’s ears straight back, and she began looking for their antagonist. The owner of the voice rose unsteadily from one of the benches.

It was the red-haired boy—dressed in a robe, holding a staff, wearing glasses. That wizard.

Priestess spent only a second with her mouth open in shock, then the corners of her eyes tightened angrily.

“I—I’m not weepy!”

“I dunno ’bout that. I hear all you clerics like a good cry.” He gave a dismissive sniff and didn’t even open his eyes all the way as he looked at Priestess. Maybe he thought all this diligent ridicule made him look cool.

He didn’t seem to realize that it just made him seem like a slimy villain.

“Whenever you’re in trouble, it’s O gods, please, save me! Boo-hoo-hoo!, right?”

...I want to break his nose. Specifically I want Priestess and/or Goblin Slayer to break his nose.

The only spell he could use was Fireball, and he could only use it once per day.

THE MORON ONLY HAD ONE SPELL HE COULD USE AND ONLY ONCE A DAY?! Priestess already had to keep him from using it once against a basic encounter with goblins! What the hell was he planning on doing after that for the rest of the nest?! Just beating them with his staff?! He doesn't seem like the type to see any merit in fighting like a barbarian and certainly not the type to dirty his magic conduit. His sister was apparently top of her class so I'm assuming she actually had at least two or more spells she could use (I don't remember what specially was said she could do back in vol. 1) and Priestess had two Miracles she could use three times a day.

Ron Weasley, year one at Hogwarts, is a better wizard than this kid! Think about that! He actually used his one spell exactly when he needed it and beat a troll!

It was funny all the ways Goblin Slayer found around High Elf Archer's rules, but it's also kind of funny that now he just seems to be ignoring them. He flooded a nest (finally got to use a scroll for the reason he bought it) and set a troll on fire. Though I like what even she pointed out, that he holds back on such methods when the goblins have a hostage. Also I suppose her main problem was using fire, water, and poison to attack from a distance or flush out the goblins and then pick them off methodically, making it feel like less of an adventure. Then again, it's goblins. She already doesn't consider that an adventure. The goal is less exploration and more pest control.

Aw, Sword Maiden and Noble Fencer are friends. That's sweet.

Just like with how Goblin Slayer's equipment and methods relate to goblins, I love just reading about Dwarf Shaman talk about magic and the basic principles of it, as well as Lizard Priest talking about his culture. It's just little details I like getting wrapped up in. It's very simple yet believable logic how Wizard Boy's eyes were opened to him actually having four spells instead of just one; breaking down something complicated into its smaller parts.

Again, so glad Spearman isn't a Motoyasu. I'm actively glad Goblin Slayer has someone like him and Heavy Warrior in his life. Also, this is funny only just because it's in comparison to the last few light novel series I've read prior to this, but:

Overlord: Protagonist is a skeleton. Can't drink.

Konosuba: Protagonist can drink but it's his useless companion whom usually gets drunk

Rising of the Shield Hero: Protagonist physically can't get drunk. Immunity to toxins too high.

Goblin Slayer: Protagonist drank, got drunk, puked in an alley, went out drinking with friends on another day, had a hangover the next morning, still went out to kill goblins. I really hope he got his helmet open before he threw up because it's already got to smell not pleasant and you know he wouldn't be removing his helmet on the walk home.

I like that you can kind of tell Goblin Slayer is reapplying Burgler's teachings to Priestess (minus the parts where he'd throw stuff at her). At the big moments he doesn't tell her she can or can't do something, rather he asks if she can or listens to the plan she's come up with. As Burgler taught him, once you decide to do something and act on it, you've already won. His words about power not mattering if you can't even do that much feel like they can apply even more to Priestess, as she has next to no offensive abilities and thus gaining power that'd be useful in killing goblins is even less of an option for her than it was for Goblin Slayer.

Despite all my prior words, I didn't hate Wizard Boy. It's just that undeserved arrogance is one of the quickest ways to get me to be against a character, especially when they're loud about how much better they think they are and their ego actively causes problems for others (Ben 10 in his later series is the most immediate example for me). There are plenty of arrogant and egotistical characters in fiction that I really love, like Lex Luthor or Mandy from The Grim Adventures of Billy and Mandy, but usually they can back up their arrogance and they're more "speak softly and carry a big stick". They don't need to boast about how good they are, they just let their actions speak for them. Wizard Boy, I get it, he's going through a character arc and he does grow somewhat during this book. It's just that his sense of superiority despite being in WAY over his head and his disrespect even after he learns his lesson makes it a little hard to be on his side. Hopefully his new adventuring partner can help straighten him out a bit more, and of course I love all the ways his presence caused Goblin Slayer to reflect and evaluate himself, given what they have in common.

This is probably me just looking too deep into things again, but I'm curious what was bigger source of guilt for Goblin Slayer in this book: that he couldn't save Wizard Boy's sister, thus reminding him of his own and making him feel like nothing's changed since he started killing goblins, or that he was the one who killed her? Obviously I think the former is more likely, given the themes and parallels in this book, but it's shown often that despite how he talks, looks, and carries himself, Goblin Slayer isn't some cold-hearted, unfeeling monster. He does care about people and even though it was a mercy kill Wizard begged for I can see him having some heavy feelings weighing on him after killing someone innocent, especially with Wizard Boy's presence forcing him to confront that reality again.

Original Reddit post: https://www.reddit.com/r/GoblinSlayer/comments/fxut3s/read_through_light_novel_vol_6_random_thoughts/

[drinkthehalo]

Macro perspective on each Lymond book

I've been listening to the Lymond Chronicles audiobooks, which has given me a different perspective than reading them. With audiobooks, you’re less inclined to stop and dive into the details, to look up an interesting word or obscure historical fact; instead you get swept along with the larger arc of the book.

So, I thought it would be interesting to look at what each book is about from a macro perspective.

Spoilers for the entire series follow.

The Game of Kings

In genre, it's a mystery told in a historical adventure style; it asks the question "Who is Lymond?" and gives us a ton of contradictory clues, then finally reveals the truth - in a psychological sense by stripping away Lymond's defense mechanisms and revealing the human being underneath, as he breaks down in the dell, "the guard was down... every fluent line and practised shade of Lymond's face betrayed him explicitly"; and in a narrative sense via the trial, which examines each "clue" we received throughout the story and tells us what it really meant.

Thematically, it's mainly about "serving honesty in a crooked way" - that morality isn’t simple and that sometimes you need to break the rules to do the right thing.  Nearly all Lymond’s acts are apparently bad things done for a goal that is actually good. We see the theme also in Will Scott (who learns that the world is more complicated than the "moral philosophy" he learned in school) and the various characters who help Lymond, breaking the rules of society by aiding a wanted outlaw (Christian, Sybilla, the Somerviles). 

It is also about the balance of looking out for self vs the obligation to the greater society - Lymond is not completely selfless (after all, he is back in Scotland to clear his own name), but when forced to choose, he always chooses the greater good above his own goals. He is contrasted with Richard, whose great mistake is to put his obligations to Scotland at risk in pursuit of his personal vengeance, and Margaret Lennox, who is purely and grotesquely out only for herself.

The historical context is part of this theme, as we see the various border families playing both sides between England and Scotland, with the heroes being those who ultimately stand up for Scotland, even as we understand that some have no choice but to profess one thing while doing another.

Queens Play

In genre, it's a spy novel; thematically, it's about what Lymond will do with the rest of his life. The question is asked explicitly several times (most obviously, "You have all your life still before you." / "The popular question is, for what?") It's important that Lymond loses his title at the start of this book; he has to figure out who he will be without it.

The main characters all represent possible paths Lymond could take -

O'Liam Roe, who sits back and laughs at the world with detachment, while abdicating all responsibility to use his mind and position to change the world for the better.

Robin Stewart, who loses himself in bitterness about the ways the world has been unfair to him, and in fixating on how he deserved better, fails to take any action to improve himself.

Oonagh, who works passionately to change the world for the better, but whose ideals have become corrupted because she has attached herself to a leader who is more out for himself than for their cause.

And of course Thady Boy and Vervassal, two extremes of himself that Lymond tries on, and (by the end of the series) must learn to reconcile.

The recurring imagery of the first half is the carnival, the masks, the music, the parties, and our hero in danger of losing himself amidst the debauchery. In the second half the imagery every time Lymond appears is of ice, the ultra-controlled, hyper-competent version of Lymond at risk of losing himself by denying his artistic soul. (There’s a wonderful essay here that explores these motifs.)

In the end, Lymond comes to the conclusion that he must not withdraw into detachment or bitterness, that he must find a way to make a positive difference in the world, but that he also must not attach himself to a powerful figure who may be more out for themselves than for Scotland (ie, his refusal to attach himself to Marie de Guise). This sets up the creation of his mercenary army in the next books, as a way he can exercise independent influence in the world.

The Disorderly Knights

This book couldn't be more relevant to the world today. It's a portrait of cynical hypocrisy in pursuit of power; it lays out step by step the tactics of propaganda and manipulation used by despots to build up themselves and tear down their rivals: pretend to be pious, accuse of others of your own crimes, tear down straw men instead of engaging in real debate. It tells us to "look at his hands"; what matters is what a leader actually does, not what he professes to believe.

It shows us how leaders use charisma to manipulate, and, in showing the battle between Gabriel and Lymond for Jerott's loyalty, shows how Lymond takes the harder and more ethical path, by refusing to use his charisma to seduce (a lesson learned from his experience with Robin Stewart) and instead guiding Jerott to come to his own conclusions by means of rational thought instead of hero worship.

At every level the novel advocates for tolerance and internationalism, and against petty sectarianism, as Lymond questions whether the Knights of St John are really any better than the Turks, and as he tries to get the Scottish border families to abandon their feuds in favor of the greater good of the country.

In terms of genre, it’s a pure adventure novel. I never get bored of the masterful action sequences with the battles in Malta and Tripoli, and the extraordinary duel at St Giles in the end. (Also in terms of thematic imagery, there is some crazy S&M shit going on in this book, with Gabriel and Joleta's sadism and Lymond's self-sacrificial masochism.)

I love Disorderly Knights so much. It is nearly perfect - well structured, thematically coherent, witty, fun, breathtaking, and heartbreaking.

Pawn in Frankincense

In genre, this is a quest novel. In several places it explicitly parallels The Odyssey.

In theme, it explores -

Do the ends justify the means? How much sacrifice is too much? Lymond gives up his fortune, his body, and his health; Philippa gives up her freedom and her future; we are asked often consider, which goal is more important, stopping Gabriel or saving the child? We even see this theme in Marthe's subplot, as she gives up the treasure, her dream to "be a person," to save her companions. Perhaps the most telling moment is right after Lymond kills Gabriel; despite all his claims that Gabriel’s death mattered more than the fate of the child, he’s already forgotten it, instead playing over and over in his mind the death of Khaireddin. If you do what is intellectually right but it destroys your soul, was it really right?

The other big theme is “nature vs nurture.” What is the impact of upbringing on how people turn out? In its comparisons of Kuzum vs Khaireddin, and Lymond vs Marthe, it seems to fall firmly on the side of nurture.

It’s also a kaleidoscope of views on love, with its Pilgrims of Love and their poetry, and the contrasting images of selfless, sacrificial love (Philippa and Evangelista for Kuzum, Salablanca for Lymond, Lymond for Khaireddin, perhaps Marthe for Lymond as she helps him in the end) with possessive, needy “love” (Marthe for Guzel, Jerott for Marthe or Lymond, arguably even the Aga for Lymond).

This novel is also a tragedy. Its imagery and the historical background complement the themes by creating an atmosphere lush, beautiful, labyrinthine, overwhelming, and suffocating.

The Ringed Castle

I have to confess this is my least favorite, in large part because I find the historical sequences (in Russia and in Mary Tudor's court in England) go on way too long and have only tangential relationships to the themes and characters.

It seems to be primarily about self-delusion as a response to trauma.  Lymond spends the entire novel trying to be someone he isn't, in a place he doesn't belong, because he is too damaged to face reality. (His physical blindness as a manifestation of his psychological blindness; the sequences at John Dee's, surrounded by mirrors, forcing him to see himself.) 

Lymond convinces himself he can build a wall around his heart to block out all human connection, that he can be a “machine,” but despite his best efforts, he cares for Adam Blacklock and develops a true friendship with Diccon Chancellor. And of course, by far the most important moment is after the Hall of Revels, when Lymond's heart unfreezes and he suddenly sees one thing VERY clearly. (And then tries, desperately, to escape it.)

The only reason I can think of that the book lingers so long on Mary Tudor (so boring omg) is the parallel with Lymond, her false pregnancies as a manifestation of her desire to see the world as she wants it to be, and her failure to see reality as it is. Ivan of Russia also is a parallel: delusional, unable to trust, and dangerous. Their failures, and the failure of Lymond's Russia adventure and relationship with Guzel, tell us that you cannot hide from reality forever.

The book spends so long painting the backdrop of 16th century Russia that it makes me think that Dunnett got too caught up in her research and needed a stronger editor, although there is also a parallel with Lymond in the idea of Russia as a traumatized nation struggling to establish itself, and of course, Lymond subsuming his need to deal with his own issues into a goal of building a nation.

It's also about exploration, about the intellectual wonder of discovering that there is more to the world, as we learn about Diccon Chancellor and the Muscovy Company. It’s wonderful imagery, but I struggle to how this fits coherently into the overall theme of the novel, and am curious how others reconcile it.

I like the idea of this book more than the reality. If you’re going to do to your hero what Dunnett did to Lymond in “Pawn,” there has to be consequences. But hundreds of pages of our hero in such a frozen state is difficult to read.

That said, the Hall of Revels is one of the best things in the series, and I’ll always love this book for that.

Checkmate

Checkmate is about reconciliation of self and recovery from trauma, as Lymond is forced (kicking and screaming) to accept who is and what he's done, and to allow himself to love and be loved. Philippa is his guide, as she discovers the secrets of his birth, understands his childhood, hears his tales of all the terrible things he's done, and loves him anyway. As far as genre, this is definitely a romance.

There are villains in this book (Leonard Bailey, Margaret Lennox, Austin Grey) but they're all fairly weak; the true antagonist is Lymond himself. From the beginning, he could have everything he needs to be happy (he's married to the woman he loves, and she loves him back!); his true struggle is to stop running from it (by escaping to Russia or committing suicide) and to break through his own psychological barriers enough to allow himself to accept it.

The primary parallel is with Jerott and Marthe, who also have happiness almost in their grasp, but never manage to achieve it.

The heritage plot looms large and is (IMO) tedious; it's so melodramatic that it takes some mental gymnastics to get it to make thematic sense to me. It ultimately comes down to Lymond's identity crisis and childhood trauma. His “father” rejected and abused him, so he based his identity on his relationship to his mother, but his suspicion that he is a bastard means he lives in terror that he doesn’t really belong in his family and that, if his mother isn’t perfect, he is rotten. (I love him but, my god, it is juvenile. The only way I can reconcile it is that his fear about the circumstances of his birth is really just a stand-in for his self-hatred caused by his traumas.) He also continues to struggle with his envy that Richard was born into a position with power and influence that Lymond has spent the past six books struggling to obtain, and that Lymond’s terrible traumas (starting with the galleys) would not have happened if he had been the heir. The discovery that he actually IS the legitimate heir is what finally snaps him out of it, since his reaction is to want to protect Richard, and this also reconciles him to Sybilla since protecting Richard was her goal too.

There are some other parts of this book that I struggle to reconcile (Lymond's inability to live if he can't have sex with Philippa; the way the focus on heritage seems to undercut the nature vs nurture themes; that no one but Jerott is bothered by Marthe's death, which undercuts some of the most moving moments in "Pawn”; and I mostly just pretend the predestination and telepathy stuff didn’t happen). On the other hand, I do sort of love the way this book wholeheartedly embraces the idea that there is no human being on earth who will ever be as melodramatic as Francis Crawford.

In terms of the historical elements, in addition to providing the narrative grounding for the character stuff to play out, it sets up the idea that Scotland has troubles coming up (the religious wars, the betrayal of the de Guises) and that Lymond needs to go home, let go of France and Russia, and focus on Scotland where he belongs. I’m sure there is also some political nuance in the fact that our Scottish hero, after spending so much time and energy in France, ends up with an English wife.

The conclusion in the music room is perfect - it brings us back to the amnesiac Lymond who innocently played music with Christian Stewart, to Thady Boy whose songs made the cynical French court weep, and fills the “void” Lymond described to Jerott where there was no prospect of music. The aspects of himself are finally reconciled and he has a partner to share his life with.

I am curious what others see as the macro / thematic big picture meanings of these books. :)  And if anyone can find the key to make “Ringed Castle” and “Checkmate” make more sense to me...

[ouidamforeman]

@bisexualamy Ok! I’ve read all but the last 9 or so EDAs so here are my recommendations on how to get through them. This post will probably be super long because there are so many books but I’ll try to be as straightforward as possible.

So first of all, no matter which ones you decide to read, I do recommend going through them more or less in release order to get the most out of the story and character arcs. I’ve been reading every one in order without skipping anything and it’s mostly been really enjoyable because not many of these books actually suck. However, there are 73 of them so not everyone wants to put in that kind of time and effort. Don’t worry much about skipping around a bit and then going back to fill in the gaps if you want, or just reading the highly recommended ones. If you’re really invested in getting everything, just skimming the wiki pages for books you don’t read should be fine too. That said, here are the ones I recommend definitely not skipping, along with some other suggestions:

-Vampire Science (this is the second book in the series and where most people recommend starting because the first book, even though it introduces a companion, is kind of garbage. Vampire Science, however, is a fan favorite by fan favorite authors.)

-Genocide (this book isn’t extraordinary but it is interesting for its cameos and character development stuff. I feel like recommending it because it’s a good early book for Sam as a companion)

-Alien Bodies (definitely read this one, it’s where the overarching plot really starts picking up and a lot of the series’ important ideas are introduced. Plus it’s amazing.)

-Kursaal and Option Lock are actually pretty good but not absolutely incredible or totally essential, so go ahead and read them if you want a longer list

-Longest Day is.....not memorable but it did give me feelings and it does have an important plot point at the end that kicks off stuff in the next three books. This is one where reading the wiki page should be fine if you don’t want to read the book.

-Seeing I (one of my favorites, it’s so good and it’s one of the earliest EDAs with the intense character stuff carried through later books. Also finishes off the mini-arc started in Longest Day)

-Placebo Effect and Vanderdeken’s Children are fun but not essential

-The Scarlet Empress (another fan favorite you should absolutely not skip. Very beautiful, very interesting worldbuilding, introduces Iris Wildthyme to the range. Easily in my top 5 EDAs)

-The Janus Conjunction is another good one that isn’t necessarily essential, as is Beltempest, but Beltempest is,,,,,,super weird and divisive as far as who likes it. Try them out if you want.

-The Taint (not an outstanding book but I recommend it because it’s Fitz’s introductory story and has a lot of important stuff about him in it)

-Revolution Man is interesting and has some pretty important character stuff in it

-Dominion is another nonessential one but it’s super delightful so I highly recommend it

-Unnatural History (my favorite Doctor Who novel ever. I’m pretty sure everyone would recommend this as a non-skippable book but I’m not exaggerating when I say it Changed Me. It’s so lovely and has very important plot, character, and concept stuff in it, plus. Unicorns.)

-Interference, books 1 and 2 (more essentials, definitely read these not only because they contain a season finale’s equivalent of important plot and characters, but also because they’re amazing and super cool.)

-The Blue Angel (not only am I telling you not to skip this, but I’m begging you to come talk to me about it when you finish it because I am obsessed with this book. It even has a short sequel and a screenplay adaptation, which I also very strongly recommend reading because it’s just. So good. Also I didn’t understand the book until I read the annotated sequel and screenplay and talked to other fans about it so that’s another thing. God this book is a remarkable experience I love it so much.)

-The Taking of Planet 5 (super good book with important lore development)

-Frontier Worlds and Parallel 59 are two more really good and fun ones that aren’t absolutely unskippable

-The Shadows of Avalon (I consider this unskippable but apparently it’s not liked by a lot of people? Either way definitely try this one, I love it and it does have important plot)

-The Fall of Yquatine and Coldheart, two more I think are pretty good but you can skip if you’re overwhelmed

-The Ancestor Cell (not universally liked but makes everyone cry. Essential for its plot and character stuff. Like, major stuff that effects the rest of the series happens here.)

-I recommend at least reading the wiki pages for The Burning and Casualties of War just to understand what’s going on with the series plot arc, but they’re also pretty good books to read in full so you can decide on those

-The Turing Test (dear god this is a good novel, definitely read it and cry with me)

-Endgame is really fun but not quite essential

-I personally hate Father Time but lots of fans really like it and think it’s great, plus it has some important lore, so I recommend at least trying it

-Escape Velocity isn’t outstanding but it is the end of the previous mini plot arc and the introduction of a new companion

-EarthWorld (a very good and solid book! It’s probably ultimately skippable but I don’t recommend doing so because it’s so much fun and the character stuff is wonderful.)

-Eater of Wasps is a delight but not absolutely unskippable

-The Year of Intelligent Tigers (this is one of the fan favorite Doctor Who novels everyone constantly freaks out about, and for good reason. Holy shit. You need to read this. Remarkably beautiful worldbuilding and some of my favorite character work in the range.)

-The City of the Dead (another one of my top 5 EDAs, this book is so funny and atmospheric and fantastic, definitely a highlight of the range. I have more pages of this bookmarked than any other DW novel.)

-Grimm Reality (I’m not going to lie and say this one is essential but it is totally wonderful and I strongly recommend trying it)

-The Adventuress of Henrietta Street (this book is dark and dense and emotionally exhausting. Definitely read it. You may never want to read it again but. You need to experience this thing. It also has important plot stuff and it’s completely insane.)

-Mad Dogs and Englishmen (another essential!!! This book looks so stupid but it’s a masterpiece!!!!!!!!!!! I’m not kidding actually you need to read this it’s so good and so much fun.)

-Hope is interesting and has some important character stuff but I think it’s nonessential, and Anachrophobia is actually really really good but ultimately skippable if your reading list is overwhelming

-The Book of the Still (I think this one is forgotten a lot on lists of best DW novels but it’s truly wonderful and I definitely wouldn’t skip it. Also Fitz is in love with the Doctor, holy shit)

-The Crooked World (another super underrated book, this one is really weird but like. Genuinely amazingly good. Probably skippable in the grand scheme of things but honestly I would strongly recommend reading it.)

-I didn’t like History 101 but lots of other fans think it’s great, and it has some important plot and lore stuff if I remember correctly

-Camera Obscura (another huge favorite I think is unskippable, I really love this book and lots of important things happen in it)

-Time Zero (a hidden gem I definitely recommend, I actually didn’t realize how good this book was until after I finished it and couldn’t stop thinking about it.)

-The Domino Effect, Reckless Engineering, and The Last Resort make up part of an important story arc but they’re also the books that made me slowly lose interest in continuing just because I found them so depressing. I know they didn’t affect everyone like they did me though, so ???? I might not be the best person to recommend these or not.

-Timeless is the book I’m on right now and I’ve heard it’s important and that things pick up again after this! I’ve also heard that most of the books after this up through the last one (The Gallifrey Chronicles) are pretty good, so you can either ask someone else about these or just read them and see, whatever you want.

Lastly, there are also various other Eighth Doctor books that aren’t actually part of the EDA range, and I actually recommend most of them, especially Fear Itself (a Past Doctor Adventure), The Dying Days (the last book in the previous DW range, the Virgin New Adventures, and actually the first Eighth Doctor novel ever), and Fallen Gods (a Telos Novella, one of my favorite books of all time, please read this one, it’s so good).

And that’s all I think! I hope it wasn’t confusing or overwhelming, it’s a little hard to explain this series outside the perspective of having read almost all of them in order. I have PDFs of all of these books too so if you need them you can dm me. Enjoy!

[theharellan]

THE POSITIVE & NEGATIVE; Mun & Muse - Meme.

fill out & repost ♥ This meme definitely favors canons more, but I hope OC’s still can make it somehow work with their own lore, and lil’ fandom of friends & mutuals. Multi-Muses pick the muse you are the most invested in atm. tagged by: stolen from @dansiere tagging: @ghiassan, @deathsreflection, @altuspavus, @windrunnerrs (velanna), @hopewrought, @willbeshot, @seahaloed (iron bull), @asterfed​ (noctis), @ anyone who wants to steal it! also multis feel free to choose a different character

My muse is:   canon / oc / au / canon-divergent / fandomless / complicated (i’m open to roleplaying with non-dragon age characters, and have AUs for other fandoms)

Is your character popular in the fandom? YES / NO. solas is both wildly popular and wildly hated. he’s been more consistently popular than the controversial women in the series, like sera or vivienne, who have only recently begun to get to the point where their tags are less vitriolic (although i’m sure it’s still out there), but there’s still a sizable hatedom that can’t have his name breathed in their vicinity w/o them talking abt how much they hate him. even if you’re currently cosplaying him!

Is your character considered hot™ in the fandom?  YES / NO / IDK. again, you have ppl who are super into him and ppl who think he’s ugly. my personal opinion is that i think he’s weirdly pretty, and wish ppl would commit more to his unconventional features rather than try to chisel him into sb more traditionally attractive and that ppl who don’t find him attractive would maybe chill w/ calling him ugly. find him unattractive by all means, but lets embrace the fact that inquisition let their love interests have skin flaws etc and accept that some won’t be our cups of tea.

Is your character considered strong in the fandom?  YES / NO / IDK. its hard to deny at this point tbh.

Are they underrated?  YES / NO / IDK. frustrating as the hate in the tags he has enough fans that i couldnt say he’s underrated w/ a straight face.

Were they relevant for the main story?  YES / NO. he’s the reason the game starts with a bang and not the inevitable dissolution of the conclave b/c the sides are disparate.

Were they relevant for the main character? YES / NO / THEY’RE THE PROTAG. regardless of solas’ relationship with the inquisitor, there are parallels and contrasts in their stories and he also is the reason they survive inquisition.

Are they widely known in their world? YES / NO. fen’harel is well-known and revered, if feared, among the dalish, yet at the same time he’s not remembered for a lot besides locking the gods away-- and the context of that decision has also been lost. as solas he’s relatively unknown until inquisition and especially trespasser.

How’s their reputation?  GOOD / BAD / NEUTRAL. again, polarising!! he has loyal agents and people are willing to speak well of him despite everything, including his enemies sometimes (depending mostly on the inquisitor). 

How strictly do you follow canon?  — generally i try to have a canon basis for my interpretation, even if i interpret the text differently than the author.

SELL YOUR MUSE! Aka try to list everything, which makes your muse interesting in your opinion to make them spicy for your mutuals.  —  solas is an immortal who is simultaneously jaded and very much invested in the small moments of life. far from being weary of the day-to-day lives of ordinary people, it is systems and orders he is most tired of. he walks an interesting line that feels far less misanthropic than other immortal characters i’ve experienced, yet still he’s quite cynical. as a character who has fought against religious based tyranny before, but in a completely different era, he is in a unique position where what he sees around him is both horrifyingly familiar and yet completely new. it allows an exploration of the wrongs of thedas’ society from an outsider’s perspective. his motivations are complex and multifaceted, often condemnable and yet also understandable. his character arc in inquisition (if befriended, or regardless in the case of my solas) takes him from a dispassionate, disconnected antagonist to someone deeply invested in the people of thedas, deeply conflicted and actively hoping he will be proven wrong again. i think his story is a testament to human (or elven, or dwarven, or-) connection and how even when we resist we can’t resist creating bonds with the people in our lives. i personally see this bond going beyond the inquisitor hence why i play low-approval solas as conflicted as high-approval, if not when it comes to the inquisitor.

Now the OPPOSITE, list everything why your muse could not be so interesting (even if you may not agree, what does the fandom perhaps think?).  —  solas is selfish and motivated solely by revenge, he’s clinging to a past that clearly no longer exists, if you ignore all the people from it who are still alive. he’s totally unaware of all his flaws and never owns up to any mistakes ever. no, i haven’t listened to a single word solas has said in my life why do you ask. he’s also critical of my faves which means he’s #cancelled, there is clearly no validity to what he’s saying. ksjdf no but in all seriousness i think a lot of reasons ppl don’t find solas interesting are just... weird readings of his character that sometimes have no basis in the text of inquisition, but also there are plenty of perfectly valid reasons to not find him interesting. usually those ppl don’t like... talk abt how much they don’t find him interesting constantly tho. they just chill and aren’t invested in this particular villain. for one thing i think the game missed out on opportunities for exploring how someone who may not have even had a body at the beginning of his existence would feel about gender and sexuality, so making him presumably straight and cis was a boring choice. i also think that the dragon age games being very protagonist-centric hurts solas’ character, there’s no real reason why the inquisitor is the only one who can throw his plans into question but making the player the center of the universe means he’s not allowed to change due to the effects of other companions or NPCs. thank god this is rp and i do what i want.

What inspired you to rp your muse?  —  i have a history degree so when the inquisition companions were being teased, solas describing bias in primary sources from the memories he’s seen got me interested in him. but my first playthrough i didn’t actually take him with me all too often, i think my main party was dorian-blackwall-varric. i liked him, and i think he or dorian were my first friends in skyhold, but my initial interest was in other characters. between his dialogue that appealed to the historian in me tho and how his spirit opinions sort of turned everything i’d felt about spirits in the last two games on its head, i started vibing with him more the farther i went in. like merrill set me up for the “spirits are people” thing and solas hit it out of the park. then temple of mythal happened, and i did bring solas with me there. i found his dialogue fascinating and also suspicious, i’d just finished masked empire like the day before da:i came out so i definitely thought solas was an ancient elf in the same vein as felassan. it was after temple of mythal that i actually decided to make his blog, although like as one idk linchpin to cement my status as solas trash... i was hit BAD by the banter bug on my first playthrough, probably got like a dozen banters total. but then at some point late in the game i took solas to the forbidden oasis and he wouldn’t stop talking to people, and i really loved his banter with the rest of my party at the time.

What keeps your inspiration going?  —  replaying inquisition, new DA content when the bioware gods deign to grant us a lifeline, but the biggest thing is my rp partners. i wouldn’t be here if it weren’t for the people i write with, new and old. my activity of late hasn’t been the best, work and the summer heat has really been sapping me of energy, and does even during years when we aren’t going through a pandemic. but it’s the thought of my rp partners and love of solas that keeps me coming back.

Some more personal questions for the mun.

Give your mutuals some insight about the way you are in some matters, which could lead them to get more comfortable with you or perhaps not.

Do you think you give your character justice?  YES / NO / I SINCERELY HOPE I DO? i have my doubts sometimes, but i think i do ok.

Do you frequently write headcanons?  YES / NO / SORT OF? there is no headcanon too small for me.

Do you sometimes write drabbles?  YES / NO. but not lately * gestures to the low activity * i’ve been in this cycle where i get anxious abt late replies, so prioritise them, then burn myself out and can’t write the fics i want. i’ve had two i’ve been DYING to write tho i just... need to find the space in my brain to let myself.

Do you think a lot about your Muse during the day? YES / NO. i mean it depends on the day. if i work closing shifts at my store it gets very quiet and boring around 8:30 so i spent the next 90 minutes thinking about character stuff.

Are you confident in your portrayal?  YES / NO / SORT OF? 

Are you confident in your writing?  YES / NO / SOMETIMES. 

Are you a sensitive person?  YES / NO / SORTA.

Do you accept criticism well about your portrayal?  —  i’m going to say ‘no’ because like, i don’t ask for criticism. this is a hobby based on my interpretation of a character, if you think i write solas too soft then you’re welcome to think that, but i’m happy with the balance i’ve struck with his internal versus external behaviour and how he changes based upon who he’s speaking to. if you think i’m erasing straight people by making solas pan then ksjdfs. ok.

Do you like questions, which help you explore your character?  —  yes!!! even if they retread ground already trodden, a) my interpretation may have adjusted since the last time i played or b) a reminder is nice. if it’s new stuff then it’s fun to think about.

If someone disagrees to a headcanon of yours, do you want to know why?  —  it’d depend on why they disagree. if they just disagree on a subjective opinion about what i took from a certain line, then they’re welcome to their opinion but i don’t necessarily care to hear it. if it is unintentionally hurtful then i would like to know. although rather than a comment i’d rather a non-anonymous message.

If someone disagrees with your portrayal, how would you take it?  —  same as the above.

If someone really hates your character, how do you take it?  —  if they’re vocal about it i typically just unfollow / softblock if i was following in the first place. people can feel how they want about solas, but i’ve found over the years that if people really hate solas ooc it can often bleed into their ic interactions. it’s really weird seeing your character being brought up repeatedly in threads with others specifically to dunk on, for no reason other than i guess solas is living rent free in their heads, so at least we have that in common. but anyway unfollowing is just the best choice to avoid getting kinda pressed if i’m having a bad day.

Are you okay with people pointing out your grammatical errors?  —  roleplay is the wild west of writing, so i think it’d depend on what the error was. coming at me like “you shouldn’t start a sentence with a preposition” would get a laugh, but i don’t edit my replies much if at all and mistakes will 100% happen. pointing out typos is chill so long as you do it politely.

Do you think you are easy going as a mun?   —  it depends! i’ve learned that being too easy going actually just means i’m subjecting myself to negative emotions to please people. so i’ve gotten less easy going as the years go by. how does one define “easy going” anyway? does asking that question mean i am objectively not easy going? the longer this thought goes on the more the answer seems to be “probably not,” but i like to think it could be a lot worse.

[hypnothesis-au]

A Double Act [Part 1]

It had been a long day. The finitely recorded seconds down to the decimal seemed stretched to impossible lengths, from the moment the Inkcarnival had opened that morning to now, with the sun close to setting and the evening's crowd beginning to disperse. Tartar had spent most of the morning begrudgingly humoring their bandmate to his thrill seeking and ""fun"". While the afternoon was spent wandering the amusements' layout up and down the streets of Inkopolis (to avoid him, mostly). The socially exhausted machine was more than ready to draw what they considered a waste of a day to a close. They'd rather have been working in the comforting solitude of their office. 

They had considered sneaking off to do just that in Octavio's absence, but their one pause, or more accurately many haltings, had come from who all they had encountered around the carnival. A good handful of alternates-- once again, more multi-dimensional interaction they hadn't calculated for, and once again, it had left them with a lot to process. So they stayed, wandered around some more, tried not to think of what they usually cared little for and hated themself for doing it anyways.

From what the android had heard, however, the circus was due to close for the night within the hour, and they considered it more than fair enough to begin the war of an argument with their partner that it was time to leave. Tartar could only hope he wasn't in a mood for after-hours mischief, which to their misfortune, wasn't unusual. They probably could have just left him there if he desired to cause trouble strongly enough, but then again; potentially having to bail him out of said trouble for getting caught did not sound like an ideal late-night-to-early-morning endeavor… if he got to drag them there in the first place, they could drag him home just as well.

They relocated the DJ easily enough, somewhat near where they had originally slithered away for some time to themself, and approached stoically. They'd run out of motivation to lace the usual oversaturated disdain into their tone, and inquired simply, "Have you finally wore yourself out? The carnival is closing soon, and I've been ready to go since we got here."

Octavio took in a deep breath, the evening breeze scented with fried foods wafting cool through his mask. He was returning from playing carnival games with an inkling he met earlier that day. After stashing his prize in a locker, Octavio had left to search for his partner. “Sure thing, T. I’m ready ta go.” He paused, feeling the AI relax slightly. “But-” He added quickly,  “After we do one more thing.” He pointed towards a glimmering ring in the distance, looming above most of the other attractions. “We gotta ride the ferris wheel.”

The gathering dusk allowed the carnival its full splendor, rides twinkled festively, lights flickering in patterns and arcs along steel supports. His request certainly wasn't as severe as they had worried it might be, though they still weren't thrilled to participate. Octavio would take no kind of denial as an answer-- even a solid, “I'll wait for you at the bottom.” On their part was met with an even more insistent, “You have to come with me.” 

Perhaps, when they asked why, it didn't sound genuine enough to warrant his explanation; for he simply dragged them off for the umpteenth time that day without giving one. Worn down from the morning's bout of stubbornness, and distracted by the afternoon's reflection, they put up very little fight.

Once boarded upon the ferris wheel, the attraction in question began its slow rotation, sending the two drifting into the air-- and Tartar finally received their excuse; "You never haveta do it again." Octavio assured his partner, "But ya gotta ride a ferris wheel at least once 'n ya lifetime."

They exhaled at this, having already spun around the same conversation with him countless times earlier that day and unsure how they could word it yet again: machines are not people, they don't need fun, I am not entertained by this. 

But the point seemed to be lost on the Octarian, he appeared convinced they'd find some attraction or another in the carnival that would pique their interest. They'd only managed to become more confused as the day progressed, clearly being amused by none. But he hadn't relented even after this fact became apparent. Why was that?

"I scarcely find myself applicable to the concept." Was their response after a long enough pause, moving to prop their arm under their chin and lean slightly over the side of the ferris wheel's booth. The android stared out to the sky, towards the receding blacktop beneath them, anywhere but at their bandmate. Maybe he'd stay quiet and they could pretend he wasn't there.

They still felt the urge to ask the questions that had been on their mind all afternoon, their inability to create a solid analysis of the point of it all was building an insufferable pressure on their processors. It certainly wasn't a conversation they wanted to get into here of all places, let alone discuss it at all-- sitting next to their confrontational companion without an exit was the least enticing situation to question why they were spending time on this in the first place.

They stressfully ran a thumb over their artificial eyebrow, resting it above the outer edge to hold down the twitch that had developed from a fluctuating magnetic field. They knew they needed to calm down, but, feeling helpless to their current position did very little to ease them-- they inhaled deeply, internal fans purring audibly with the strain of keeping their core at a safe temperature. 

After getting far enough up in the air, people milling about on the ground below looked small. Distant. The amount of space it illusioned was moderately calming to the reclusive AI, the brief comfort of solitude perhaps just enough to get them through the simplistic but ever-dragging action of a ferris wheel ride. Allowing themself to relax somewhat, closing their eyes and burying their forehead into their palm, the most pressing question on their mainframe passed their vocal hardware before they could silence it, "Why did you bring me here…?"

Only after their own voice passed their ears did they remember, Octavio was still in fact sitting right next to them, and they were not speaking to the air. . . . A flit of static choked their quiet expression after the first letter, a habit that had become an apparent censorship of one swear or another. They hoped he would ignore their question, "Nevermind."

Unblinking, he answered sardonically, “Because. You need to get outta the apartment once in a while, or ya joints will rust together.” He clicked his tongue. ‘For all ya artificial divinity, you sure can be thick.’ “I want you to be happy--” The words escaped prematurely and he lurched forward a fraction of an inch as if to catch them back.

Despite having over 100 years of experience in politics, he still hated lying.

He was tired of faking the part of the indifferent band member, pretending that Tartar’s insults never found their mark. Together they ran but not in unison, parallel lines that would never touch. Anger swept through his body, but he kept his eyes level, lazy. He cooly undid his facemask from around his ears, crushed the fabric into a ball in his fist and with all the strength in his arm, threw it as far away from the carriage as he could manage.

Tartar uttered a rueful laugh at his reply, of course he replied, and watched just out of range of their optic as he angrily, but calmly, threw away his mask. They found it foolish, but said nothing; he would inevitably need it again by the end of the night. They refused to follow his gesture. Octavio settled back into his seat, turned away from them and resuming his observance of the shrinking landscape. His eyes flecked with color from the strobing bulbs that rose up on either side of the ferris wheel.

Perhaps, if they had a little more self control, they'd have left the exchange at that. Yet, they still wanted to know why, why Octavio cared so much about the way they reacted to these attractions, why he kept bothering to try. They weren't sure how to ask anymore, each answer was more confusing than the last.  "I have no reason to currently emulate 'happiness', you know. Not while this world continues to sleep, breathe, live in it's own filth every day." They processed as they spoke, yet again making some appeal that he might finally understand the reasoning of a machine, "Petty amusements like these are just distractions from my purpose for existing. They hold no value to me-- they're not supposed to."

The AI looked back to the ground, still wholly unmotivated to look their partner in the eye as they continued without restraint, "My motivation belongs only to cleansing this poor excuse of a sentient species as soon as possible. And you. You're upset that my resolve doesn't meet your expectations of how I should behave, then? Is that it?"

Expressions melted into each other, first Octavio pursed his mouth in a grimace, then pulled his lips tight over uneven fangs, his head still turned away. He finally settled back into a placid scowl. 

"No--!" He cried sullenly, "I don't want ya ta be someone you’re not." He gnawed at the knuckle of his forefinger, one of his nervous habits.

Another bout of silence as the wheel climbed, stopping at intervals to let people on or off the carriages. "I'm sorry." He murmured finally, turning towards them, "I didn't mean to try and... Well, T, if I may, that's a bunch of bull. Squit. I know ya can be happy. Talkin about humans makes ya happy, listenin to retro. Shell, cleaning makes ya happy. I guess, I just can't tell what's you and what's…" he pointed to the black speck of his mask on the pavement below, "A front, a mask, 'ye old silicone imitation.'" Octavio leaned forward, resting his elbows on his knees as he ran his hands over his face. His eyes were glassy with surfacing emotion. "Cod knows I want the inks gone as much as you. But it's not a waste to enjoy tha time you got, ‘specially after a hard day's work." He wondered if the beauty of the dusk had seized him, or if it was the security of knowing they had no other choice but to listen to him that made him so bold.

"What I want, is for you to realize there's more to life than obsessin' over a goal or a dream. You think you'll only find happiness when you get this or that, but it's a lie, T. Your life is now, however artificial you insist it is. You have a s--" he stopped himself, not willing to argue on the philosophical. He bowed his head and laced his fingers together over his knees "I know this cause I've lived it."

"You know?" They repeated him, their tone floating with a sarcastic awe, "You don't k n o w anything about me, be honest-- We are two entirely different kinds of creatures. I am aware organics like you need rest and distractions to relieve yourselves, but I do not operate on the same necessity."

Tartar's eyes searched the ground fervently as they suppressed the urge to squirm in their seat. Though everything Octavio had claimed about their nature could only be assumptions, it was more accurate than they cared to acknowledge. Did he really think they were so transparent? He couldn't possibly have a clue, they kept their personality under calculated restriction at all times-- at least, they felt sure they did.

"Why does it matter so much to you?" They finally blurted, turning fully to face him with a stern expression, "I do everything in my ability to hold up my end of our agreement, which should be your only concern towards me. Why are you bothered with anything else? With how I f e e l ?"

Afraid that continuing on the defensive side of the debate would inevitability expose information they strained to keep hidden away, they instead posed him a more burning question about his continued insistence that they must be able to enjoy the situation they were currently in, somehow. Why would he care? At the current moment, they felt quite the opposite of enjoyment of the ferris wheel, and especially the conversation at hand. Their only solace was in the recognition that their cart of the ferris wheel had finally crawled its way to the peak of the mechanical circle. Soon enough, they'd be descending, and Tartar could finally get away from both the physical and metaphorical ride they had been forced onto-- regardless of whatever conclusion Octavio was attempting to reach with them.

Wild fervor rose, red-hot in his throat, but the Octarian kept the fire subdued until they had finished. He gave himself a few moments to calm the desire to throttle some sense into them.

“Why shouldn’t it matter to me.” The question was a whisper, his eyes locked with their optics. “Would it surprise you—” a pause, “Would it shock ya to know sometimes I forget you’re a robot.” His voice rose slightly, indignation and passion beginning to color his face. “Why d’ya get so offended when I try ta treat ya with respect, when I extend ya common decency. Answer this T, why can’tcha wrap your head around the idea that I want to get to know you. Frill the Cod clam contract.”

The AI exhaled with a glitch-like halt, holding Octavio's stare with increasing difficulty as his expression began to speak more for him than words ever could. An error code appeared for a malfunctioning swirl of ink within their core-- a feeling they couldn't place, refused to, shoved back into its rhythmic flow through their systems.

Octavio curled his bottom lip under his teeth, “S’ much as I would like ta be a heartless bastard, I can’t help but be bothered with how ya feel.” With a shaky exhale he leaned his head over the back of the chair, staring blankly up at the darkening sky. They had finally reached the apex of the ride when it halted again, doubtless to allow more passengers off. Through his raging thoughts, Octavio noted that the ferris wheel’s turbo bulbs flickered out of sync.

>Part 1 Part 2 Part 3

[cantfoolajoker]

s.e.e.s. as dnd classes

after my last post on the thieves, i have now returned to talk more about using dnd classes and subclasses as character study opportunities with the focus now being on sees (plus hamuko bc she counts)

since the post is lengthy, its going under the read more

so, for starters, minato/makoto is a shadow magic sorcerer. sorcerers are based on the idea that rather than learned arcana or given magic, you inherently have it inside you and can produce said affects with your sheer force of will, or your charisma. shadow magic sorcerers are linked specifically to the shadowfell, which is the negative energy to the feywilds positive energy, and sorcerers uniquely display quirks depending on their lineage; two i’d propose for minato/makoto would be “when you asleep, you don’t appear to breathe (but you still do to survive)” and “always cold to the touch”, since they seem the most fitting in my opinion for him. they get things such as strength of the grave, which says that on a successful saving throw on an otherwise fatal hit, you’ll drop to just 1 hp due to your constant state of being between life and death, and you also get the umbral form at 18th level, which allows you to change your form to a shadowy state that is resistant to all damage except for force and radiant that also allows you to move through other objects or creatures (man does that remind you of a certain battle a bit). 

in comparison, minako/hamuko is a totem barbarian in my full honest opinion. the reason i say this is because one of her defining traits is her hot headedness and impulsiveness to jump into situations, making her a prime candidate for barbarian due to their rage state and ability to tank hits. they get martial weapons, allowing her to pick up some weapon similar enough to a naginata, and the main aspect of the class is the ability to pick a totem spirit, which provides buffs depending on which animal you pick for your totem. personally, i throw my vote in for the wolf totem because it functions as a leader with the ability to land advantage melee hits on any creature hostile to you, the ability to track certain enemies and move at a stealthier natural pace, and the ability to just knock a large or smaller enemy prone when you hit them with a melee attack, all of which benefits minako/hamuko very nicely and lines up with her fighting style in both p3p and pq2.

alright so i know yukari uses a bow and arrows, and i know ranger exists, but also rangers are kinda bad in dnd overall and also yukari isn’t really a scout in any way. luckily dnd has an answer to this in the form of arcane archer fighter. arcane archers fuse magic into their archery methods in order to protect and deliver damage, mixing both yukari’s magic usage with her weapon of choice. they get the ability to literally redirect their arrows once shot to new targets and second wind, which lets them regain hp as a bonus action once per short or long rest. arcane archers essentially get an arrow type for like every school of magic, which makes up for the fact this would mean yukari has lost most of her healing spells since arcane archer fighters focus on dps more than they do support, though its not like ranger wouldve made up for that anyway.

so since junpei wants to be the leader so badly, i decided a champion fighter was gonna be the best bet for him, both because in a meta sense it is usually the First Pick newcomers do due to its simplicity of hit and hit more, but also because the class focuses on dps and raw physical power pushed to perfection, which junpei does end up getting when he learns to use a bat rather than a sword with the way he swings. this class and subclass is super straightforward: you get More damage to do the more you try to hit, and you get a higher chance of critical hits along with a more flexible fighting style and the ability to regain hit points with the survivor feat. they also get remarkable athlete, which lets them use half their proficiency bonus for any checks made while using one of their physical stats (so strength, dexterity, and constitution, all of which junpei def has) to have a greater chance at passing said checks.

akihiko's a monk. i literally don’t know what anyone expected. he’s a way of the open hand monk. open hand monks generally focus on debuffing enemies, which is akihiko’s staple in the party next to his all around good stats, which monks possess too in form of natural armor, increased movement speed, and having a hit die for throwing punches rather than dishing out 1 point of damage per hit, which increases as they get stronger. they can also heal themselves which akihiko has with his dia and diarama spells, but that isn’t the focus of it as much as it’s just a neat add on. overall, the guy’s a boxer and needs to dish out punches and monk does literally exactly that.

so i made a joke with a friend about how mitsuru keeps using marin karin because the ai of p3 is bad, and that led into the idea that mitsuru is a college of swords bard. while bards can be very stereotypically flirty, it’s just based on the fact their casting stat is charisma, so really any charismatic character can be a bard, which mitsuru does have with her formal way of speaking and her way of holding herself to establish authority. swords bard use, if you couldn’t guess, swords to fight, typically finesse weapons that they use dex for to fight, which with mitsuru’s weapon being a rapier, an actual finesse weapon in dnd, it’s an elegant weapon pick for an elegant class. they also get jack of all trades so they’re good at pretty much everything, which reflects the sort of type of person mitsuru reflects herself to be, and as a big joke, they get countercharm which allows them to perform and their allies get advantage when someone attempts to charm them. yeah. anyway mitsuru’s a bard. next.

for fuuka, i took more inspiration from her persona and how it encloses around her while she does her work to come up with an abjuration wizard. the school of abjuration specializes in protection and banishment spells, with outsiders believing it to be a specialization in denial and negation but truly being about ending harm and protecting the weak, which represent fuuka’s character and her bullying arc well. this class is mostly just what it says on the tin; they specialize in closing portals and rifts to other worlds, performing exorcisms, and securing locations that are too important to allowed equally magical wandering eyes and ears from engaging with. it’s also a high intelligence based class, which fits fuuka well. since she’s also a wizard, which gets virtually no hp and also no armor, so she needs to be protected, which everyone should want to protect her lmao.

aigis, for one, is a warforged in terms of races in dnd since they’re the robot race that only act on the goal they are given, But that’s just a side point to the main point of classes, which way of the kensei monk is definitely her. kensei monks train so extensively with their weapons that they become an extension of themselves, with aigis’s without a doubt being firearms due to her robotic nature already making them a literal extension of herself. they’re speedy and precise, both of which fit aigis and her programming to be the best combat unit, as kensei focus almost exclusively on dps output and the ability to just deal as much damage in one hit. unerring accuracy is also a feat kensei monks get, which allows them to reroll any attack they miss and again, really hones in on the combat robot thing aigis has going on.

now i know some of you probably went ‘are they gonna class assign koromaru’ and let me tell you i’m not going to cause 1 you wouldn’t be able to play him anyway in the theoretical sense, but also he’s usually seen as a companion to either ken or shinjiro, so he fits more as a companion animal that you see some classes get like rangers or druids. usually these animals survive as long as their owners lifespan and get extra health and sometimes magic so koromaru is a-okay in fighting still.

now for someone who i’m very excited to talk about: ken. being hellbent on revenge is actually a class in dnd! it’s called the vengeance paladin, which is a paladin whose oath revolves around singlehandedly bringing “evildoers” to justice, though what this justice is would be defined by the individual paladin’s definition of morality and their own vendetta. even in their basic description, oath of vengeance defines anyone who takes it as someone who sees their purity not being as important as the concept of delivering justice where justice is due, which fits not only ken’s theme as the justice arcana, but overall his entire relationship with shinjiro (which. oh boy paladin shinjiro and paladin ken parallels?). paladins get martial weapons which means ken gets his lance he uses, and on their spell list they get hunter’s mark, letting them mark targets to deal more damage. one another thing i want to bring attention to is their 7th level class feature, relentless avenger, which essentially makes it so any enemy that provokes an attack of opportunity can’t truly escape because the vengeance paladin can immediately take half their movement speed to follow after said enemy as apart of their reaction, which i think pretty easily describes the october 4th scene if you know what i mean.

and finally i’m saving the best for last cause i wanna talk about shinjiro. picture this: shinjiro’s a big tanky knight meant to service the people and protect them but a stray spell one day kills an innocent woman and suddenly he’s failed the one thing he swore his life to. giving up his oath, shinjiro turns into an oathbreaker paladin, a paladin who in someway shape or form has broken their sacred oath and now walks a darker path. now oathbreakers, while being stereotypically written as “evil”, don’t have to be evil themselves; being an oathbreaker pretty much is what it says on the tin, with them having failed to fulfill their oath’s rules in some way shape or form. breaking his own moral code and also abandoning his affiliation with sees pretty much solidifies shinjiro as an oathbreaker with him not necessarily being a bad person cause we all know he’s not. oathbreakers get things such as channel divinity: dreadful aspect, which lets them channel their anger into an intense magical intimidation, and paladins themselves are the only class to get the find steed spell, which fits castor’s horse riding-ness. they also get martial weapons and heavy armor, making shinjiro a big tank with an even bigger axe just like he likes to be. as a bonus thing, shinjiro Definitely has the tavern brawler feat (which gives unarmed strikes a hit die rather than a flat 1 damage) so he can wrestle with akihiko

BONUS: chidori’s a life cleric. her entire fountain of life or whatever the thing her persona does right next to her white gothic lolita aesthetic fit her as a life cleric. Or she could be a grave cleric with an atypical aesthetic, but then again, theres been pastel goth grave clerics before too.

BONUS x2: my friend and i had 2 ideas for ryoji while throwing ideas for this whole list around: death cleric, which is yknow, pretty straight forward..... OR deathlock great old one. deathlocks are specifically enemy warlocks that have been brought back from the dead by their patron because they believe that the warlocks job hasnt been done yet, and well, nyx i think counts as a great old one patron.

[mama-m1na]

The Kiss of Death: Chapter 6

~~~VI~~~

When the Lilium had approached the ports of Norcht, it was disguised as a Ukaidian tourist ship so they were able to stop without any trouble.

However, since there were still many Ukaidian knights wandering the streets, Rhamina decided to wear her enchanted mask to avoid any trouble.

“You ready to go?” Assad asked as he walked into his shared quarters to see the teen folding a piece of paper.

“Yeah, once sec,” she replied, finishing her work to reveal a paper crane in her hands, “Just need to tell them where to find me.”

As the pair walked onto the main deck, Rhamina whispered to the paper bird before it began flapping its wings and fluttered off into the port city.

“Have you ever been to Norcht?” Assad asked as they walked through a large street market.

“Nope, I’ve just been in Ukaidia for the past eight years,” Rhamina replied as she stopped at a stall with various crystals, “It was very beautiful there, though. At least, the places that had people that just pay no attention to me.”

“Holy shit!” she squealed, running off to a stall selling plush toys, “These are so fucking cute!”

The teen was currently holding a plush fox pillow with a childlike glow on her face with her eyes wide, pupils dilated, large smile, and if her fox tails were present, then they’d surely be wagging in utter joy.

“It’s so squish!” she exclaimed as the inanimate fox was hugged to her face, “Oh my god!”

Assad stood off to the side with the stall keeper as the eighteen-year-old continued to gush over the plush toy.

“How much is it?” the pirate captain questioned as he turned to the old woman running the stall.

“Oh, just have it, that young lady looks far too happy for me to make you pay for it,” chuckled the woman, “You sure got lucky to find someone like her.”

“Yeah,” Assad replied with the ghost of a smile on his face, “I sure did.”

 The rest of the day was spent with the pair just exploring the port city and avoiding suspicion of Ukaidian knights, which was not difficult in the slightest.

“This is honestly disappointing,” sighed Rhamina as the reboarded the disguised pirate ship, “The knights back at the capital were so dedicated but out here…”

“They’re slackers,” Assad finished as the ravenette sat on their bed, hugging the fox plush as her enchanted fabric was dangling around her neck.

“They keep their stronger forces close to home and send the weaker ones to other countries and kingdoms,” he explained as he sat down at his desk, glancing at the marked maps on the wall above it.

“That’s stupid but smart in a way,” Rhamina sighed as she let her back plop down onto the bed, “It’ll cause other powers to look down on them, but they would get an upper hand if any of said powers tried to attack.”

“Exactly.”

“Still an extremely petty move though,” the ravenette scoffed, “Almost like they’re setting a trap to bait others into starting a war.”

“That’s how it’s been since Armadeyus I came into power,” Assad replied before asking, “He was a cruel tyrant that only cared about conquering land and gaining power. He didn't care about what lives were lost or about who suffered.”

“That much hasn’t changed in his son and grandson,” huffed Rhamina as she looked over to see that her friend’s hands were clenched into tight fists, unspoken words surely plaguing his mind.

“Where exactly did you tell your friends to meet you?” the male sighed after taking a deep breath.

“Here,” she replied stretching out to hear a few cracks from her back, “at midnight. I want all of your crew members inside when this happens, They don’t know who I’ve been travelling with yet and I don’t want them starting any unnecessary fights breaking out because they think you kidnapped me or something.”

The male nodded as the ravenette proceeded to curl herself into a comfortable ball, her ears and tails revealing themselves.

She then proceeded to wrap herself in her tails with only her head sticking out of the cluster of fluff as she hugged her new fox plush close.

“That makes sense,” the male chuckled as he looked over to Rhamina as she prepared to take a nap.

When the female woke up, the sun had begun to set and when she checked the clock it was around six o’clock in the evening.

Assad wasn’t in the room, grabbing them dinner, she assumed before walking over to the desk to continue writing a new story she had started.

This time it took place in a universe similar to her own and was based on her life in the jungle.

No war took place, but some explorers managed to stumble across her people and that was the part she was on, wondering if and which character would be dying within the next few pages.

A knock at her door briefly interrupted her thinking before she said, “Come in, the door’s unlocked!”

The door opened to reveal Nessa, the woman who she would spend time with when Assad was gone or if she couldn’t find something to entertain herself with.

“Hey, kid!” she greeted with a large smile, walking over to the ravenette as the said teen’s pen danced across the pages of a journal provided to her, “What’s going on here?”

“I can't decide who should die,” Rhamina sighed, brushing some hair out of her face as she turned back to face the woman, “I need someone to die in order to move the plot forward.”

“Well, which character do you like the least?” the dark-skinned woman asked as she read the cursive over the teen’s shoulder.

“Kir, but I need him alive for a story arc in the future chapters,” explained the ravenette as she cracked her knuckles.

“You sure have a lot of things going on in that head of yours, don’t you?” Nessa chuckled, ruffling the teen’s hair, earning a slight whine from her.

“I got to have some sort of distraction from how much of a shit show my life has turned into,” Rhamina replied before she laid her head on the desk.

“You know,” she chuckled, “as a child I was always wishing for adventure, but now I kind of take that back.”

Sensing the dark undertones of the female’s statement, Nessa picked up the journal before asking, “How so you come up with these stories?”

“I just think, ‘What if this happened?’ and I write about it,” the ravenette replied simply with a shrug, her face still on the wood.

“That’s it?” the woman asked as she read through the very descriptive but ambiguous prologue of the teen’s most recent work.

“For the most part,” shrugged Rhamina ask she rose, letting her companion continue to read through her inked creation, “Once an idea pops into my head, following plots and subplots tend to come in as well.”

Nessa looked up from the book for a moment as she began to notice many parallels between the main character and the author.

“You should get this published when you finish it,” the blonde suggested, giving the journal back to the ravenette, “You’re really good with a pen.” 

“Thanks, I noticed that too,” chuckled the teen as she set the journal down, resting a hand on the cover as a fond smile grace her, “I mean, when I was younger I was so bad at talking about my emotions, so I would resort to just writing letters because it was easier for me to write than speak.”

“I think I’ve gotten better at it thought,” she continued, looking up to Nessa, “Not perfect, but definitely better than before.”

“That’s good then,” Nessa commented, placing a hand on the ravenette’s shoulder, “You’re improving and that’s all that matters. If anyone says otherwise to you, bring them to me so I can beat the shit out of them.”

“Most definitely,” chuckled Rhamina; however, her chest tightened.

‘Not good enough.’

‘Shut the fuck up, I’m trying and I don’t need your negativity right now.’

‘You know I’m right thought.’

‘I said to shut up.’

By the time midnight rolled around, Rhamina stood by the ramp that connected the wooden pier to the main deck of the Lilium.

She wore a white blouse with a brown corset over it, black leggings, and a pair of black flats; all supplied by Nessa before she got some clothes of her own that morning.

Her enchanted mask was pulled over the lower half of her face once more so that wantering knights paid her no attention.

“Mina?” a familiar voice called from her right and the teen turned to see Kerstin, Sam, Tijarah, and Chloe.

Overwhelmed with pure joy, Rhamina ran over and lept at the four, just managing to fit them all in her arms.

Despite the fact the ravenette’s face was covered, the four could tell that this was their friend without any doubts whatsoever.

She didn’t even notice that her ears and tails had materialized until she felt the breeze from their wagging.

Quickly willing them to disappear, the teen backed up and said, “I’m so happy that you guys were able to make it out here!”

“Yeah, it wasn’t easy to do that, but come on,” kerstin said taking her older sister’s hand, “the others are waiting to see you too!”

“One second,” Rhamina spoke, pulling back slightly, “I need to tell someone that I’m going, otherwise he’s going to lose his shit.”

“He? He?! Hoot, hoot, hoot!” the shorter brunette exclaimed with a glare as she gripped tightly onto the ravenette’s arm.

“Relax, Owl, he’s a friend,” the teen chided as she pried the fifteen-year-old off of her arm, “They’re all trust worthy.”

With one last nod, Rhamina dashed back up the ramp and quickly opened the door to her shared room, startling Assad who was looking over documents at the desk.

“Hey, Imma go somewhere with my friends, be back later, bye!” she spoke quickly, not even letting him reply before running back out the door.

“Hey, wait!” he exclaimed, bolting up from his seat to follow, but as soon as he got out the door the female vaulted over the railing and landed easily on the pier before following after her friends who had taken off once she landed, all laughing as they went.

“Be careful, Prinsesa,” the male muttered as she gripped a letter in his hand with three words highlighted.

‘Ukaidian slave ships.’

Once they were far enough away, the girls slowed down to walk, their laughter ringing out among the other ships.

“Mina, what the fuck was that?” Sam asked as the laughing females struggled to catch their breaths.

“Listen,” the ravenette started, taking a deep breath as her heart only began to calm itself, “If I stayed to explain, then he would have wanted to come and i kind of want to do that after I explain everything.”

The girls went along with it as they led the eighteen-year-old to the complete other end of the pier where a lavish Ukaidian ship was anchored.

Things were going well until the two guards at the ramp refused to let them onto the ship.

“Who is she?” one asked looking at the teen who appeared as a blonde woman with bright blue eyes.

“A friend,” Kerstin spoke bluntly, “Now move unless you want me to start screaming again.”

“You know I can’t let any unidentified personnel on this ship, you brat,” hissed the same guard, glaring at the group of teens.

As the two glared at each other Rhamina snickered to herself, only able to imagine what they had done during the boat ride to warrant such a familiar challenge.

“Fine then,” spat the half-Lemurian as she opened her mouth to take a deep breath in.

“Okay! Okay, fine,” the second guard said, earning a jaw dropped glare from his partner, “just hurry up and get on before the captain comes out.”

“You can't just let them on!” the first guard hissed as the girls walked up the ramp, “Who knows who that wench is?”

“Give it a rest, Steven, I’m tired and i don’t want to deal with the noise complaints when the brat is screaming her head off again.”

As she was led inside the bright hallways of the commercial ship, Rhamina asked, “What have all of you done to terrorize those poor guards?”

“I’m sure you an guess,” Sam spoke with a smile on her face as the older teen leaned away with a look of disgust.

“Good to know you haven’t changed,” snorted Rhamina as she shoved the brunette’s face away from her own.

“The others should be right through here,” Tijarah said as they stopped in front of a pair of doors labeled ‘Dining Hall.’

Pulling the mask down, the ravenette wore a bright smile and burst through the doors proclaiming, “Guess who’s not dead?!”

At the sudden appearance of the female, certain teens burst up from their seats to tackle her in a large hug that sent her flying to the ground, while others needed a few moments to absorb what had just happened.

“Mina, oh, my god it’s really you!” a blonde female exclaimed as tears began to form in the corners of her eyes, “Fuck!”

Mostly younger members of the band were the ones that were piled on top of the female as she tried to process all of their words at once.

‘Y’all really missed me, didn’t you?’ she thought trying to offer all of them words of comfort when they mentioned the thoughts of her death.

“Aw, Glo, are you okay?” the teen asked as she craned her neck to see the younger boy in tears, “Why are you crying?”

“You were almost killed, Mina,” he spoke, wiping away his tears as he spoke, “that isn’t okay.”

“I’m sorry, Hun,” Rhamina replied with a frown as the group tightened their hold on her.

After the ravenette was let up from the ground, she was given some space and for once, all of the band members were completely silent.

“Why couldn’t you guys be this quiet at rehearsals?” Rhamina chuckled with a fond smile, trying to lighten the mood.

“Anyways,” she continued, scanning every single person in the room, “I honestly did not expect all of you to come. The next step of my plan was to get whoever came to Lemuria on the ship I came on, but there’s no room for all of you, so we’re stuck here until I can somehow get another ship.”

“That’s fine, Mina, you have time,” Sierra spoke holding a jello cup in one hand, “We’re supposed to be playing at the music festival tomorrow anyway, so Ukaidia won’t be suspicious if we take a few more days.”

“Hey, Mina, you should play with us at the festival!” Jamie exclaimed, earning a chorus of agreements from others.

“Yeah, you can still play your solo since we’re doing Second Suite,” Underwood added with a smile.

“I don’t have any of my instruments though,” Rhamina replied.

“Yes you do,” Joel spoke from his spot next to Sierra, “We thought you might want them back, so we brought your clarinet, flute, and trumpet with us.”

The ravenette blinked in surprise before saying, “Y’all are nuts.”

“So, what ship did you come here on?” Justin asked, earning looks from the others, “I doubt it was a Ukaidian ship.”

“Well, have y’all heard of the Lilium?” she started with a nervous smile as many gaped, wide-eyed at her.

“Mina, you did not use a pirate ship to get here!” Krystal exclaimed in disbelief as the ravenette giggled.

“Why wouldn’t she?” the Ukaidian male chuckled in his deep, throaty voice, “I mean, she is a fugitive, so why wouldn’t she have ties to an infamous pirate crew?”

This statement caused almost all of the individuals in the room to glare at him and if looks could kill, then the apathetic teen would be six feet under.

“Justin, too fucking soon, man,” a half-Lemurian teen, also named Justin, replied with a frown.

“Sounds bad, but he’s right,” Rhamina begrudgingly defended with a tense shrug, “because the captain of that ship is actually one of my only childhood friends from when I lived in Lemuria and has agreed to help me with my plan.”

“So what exactly is your plan?” Underwood asked, reaching back to keep her tightly curled hair held in place with a clip.

“Well, in all honesty, that all depends on what Armadeyus decides to do next,” the teen explained, “If he moves one way, then me dragging you out here was for nothing.”

“But, if he moves in the way I predict he will, then I need to start training up willing volunteers for battle again,” she continued, hopping up to sit on the edge of one of the tables.

“Things really are getting that bad, aren't they?” sighed Kerstin as she looked up at her older sister, “but don’t the islands have their own military forces? Why would you have to train them?”

“Before I answer that question, let me expose myself one more time,” the ravenette sighed as she crossed her ankles, “One more secret I’ve been keeping from all of you.”

“As some of you may know, Lemurians tend to have two names; their common name and their true name,” she explained before biting her lip, “My true name is Kitsami Verum Princeps Ibadora, the last remaining Guardian of the Gods’ Temple.”

The eyes of every Lemurian in the room widened in shock before they began dropping to their knees, one-by-one, to bow before the individual before them.

In Lemurian culture, Guardians of temples were held in a high regard, the highest being the Guardians of the Gods’ Temple on the island of Banal, a smaller island considered to be the most sacred of land.

After the war with Ukaidia, everyone was told that the Guardian known as Kitsami Verum Princeps Ibadora was killed and without a child, could not be reincarnated.

“Guys, don’t bow,” Rhamina whispered as she clutched at her pants, “I didn’t tell you this until now for a reason.”

“Okay, so you’re one of the most important people in our culture and your death was a complete lie,” the Lemurian Justin started, “What does that have to do with you training warriors?”

“See, Guardians are trained in a more… feral… style of combat compared to a traditional military and vastly different to how Ukaidian Knights and mages are trained today,” the ravenette explained once everyone lifted their heads, “It’s what gave us an edge all those years ago and from what I observed in the training of Royal Knights, will be even more effective now.”

It was silent as everyone absorbed what the eighteen-year-old had to say to them.

She was really planning on fighting an entire kingdom again, taking up her status as the highest ranked temple Guardian in the hierarchy and taking what she was taught to a new level.

Many of the members of band knew that the teen could easily switch between fun loving child and serious leader; however, this was a new side they hadn't seen yet and it almost scared them to see it in person.

There was still so much they didn’t know about her and this was revealed to them with her true name, but it also explained a lot about her current mannerisms as well.

By being born a Guardian, it was assumed that she lived under strict parenting which could be a factor in her heavy want to follow rules as well as her opposing force that wishes to destroy and create her own instead.

“Mina,” Chloe called, tugging on the female’s sleeve, “will you teach us?”

“No,” the eighteen-year-old spat with no hesitation whatsoever, “I want you all as far away from battle as possible, but that I’m not going to just force you all into hiding if you don’t want to, I’ll make sure you can at least protect yourselves if it ever comes down to it.”

“That’s why I’m taking every Lemurian here to Pugad on my island,” she continued, “That way you’ll have a solid line of defense.”

They conversed more and just began catching up until the sun began to rise, the sky brightening slightly through the windows.

“Shoot, he is literally going to kill me,” the ravenette hissed, pulling the mask back over her face once more, “Thanks guys, I’ll see you soon, love you!”

“Love you too, Mina!”

The teen practically sprinted to reach the other side of the pier, only stopping once she reached the Liliums side.

She was about to board the ship when out of the corner of her eyes she saw the sun peaking past the horizon.

 She had never noticed how truly stunning it was until then, the sound of water and picturesque scenery capturing her heart once more.

“Doushite doushite suki nan darou, konna ni namida afureteru,” she sung, walking over to the edge of the walkway, “ano koro wa ushinau mono ga oosugite nani mo utaenakatta sukoshi hanareta basho soko ga watashi no ibasho datta.”

“Kimi no hitomi no oku ni ano hi samishisa wo mitsuketa futari niteru no kana?” she continued, dangling her legs off the edge once she sat down, “kizukeba itsu mo tonari ni ite kureta.”

“Doushite konna ni suki nan darou kimi no koe kanashii hodo hibiiteru yo,” the ravenette sang as she relished in the peaceful morning, “ima made nani ga sasae datta ka tooku hanarete wakatta yo.”

“Nakinagara sagashi tsuzuketa maigo no kodomo no you ni,” she continued, kicking her legs back and forth, “kedo soko ni wa eien nante aru wake nakute.”

“‘Dare mo shinjinakereba iin da yo’ tsubuyaita ne futari niteta no kana?” Rhamina’s voice drifted through the air, “ano toki kimi wo mamoru to kimeta no ni.”

“Doushite omoide ni dekinai n darou toosugite chikasugite todokanai yo,” the sun’s rays hit the girl’s form, giving her an ethereal presence, “‘Wasureyou’ tte omoeba omou hodo kimi ga ookiku natteku yo.”

“Doushite konna ni suki nan daroukimi no koe kanashii hodo hibiiteru yo,” the wind blew by, refreshing the female, “ima made nani ga sasae datta ka tooku hanarete wakatta yo.”

“Doushite kimi wo suki ni natta n darou kantan sugite kotae ni naranai.” 

She continued to hum the melody as a pair of arms were draped over her shoulders and a weight was placed on her head.

“How was your little excursion, Prinsesa?” a familiar voice asked as the teen closed her eyes and leaned back into the form behind her.

“We need to get another ship somehow,” she whispered, doing her best to hold back a yawn, “all of them came.”

“Are you serious?” he asked in disbelief as the teen shifts in his hold to turn away from the sun.

“I’m sorry if this is too much, Assad,” Rhamina yawned as the male ran his fingers through her slightly warm locks, “I’ll deal with it.”

“I know I’m asking for a lot and it might not even be worth it for you at this point,” she continued.

“It’s okay, Prinsesa, we’ll talk about it after you get some sleep,” Assad spoke gently as he stood up, holding onto the ravenette’s hand as she did the same, “Come on now, you just started getting on a somewhat normal sleep schedule.”

She only hummed in response as she took small steps forward with her eyes closed, relying on Assad to guide her as she linked arms with him.

Once back in their room, the ravenette slipped off her flats and muttered, “Wake me up in two hours,” before plopping herself onto the bed, snuggling into her fox pillow.

“Prinsesa, at least take off the corset first, you shouldn’t be sleeping with it on,” the male chided, earning a groan from the teen.

“Too much work,” she spoke, voice muffled due to her face being in the pillow.

“Then at least turn this way so I can loosen it,” sighed the male as the teen slowly rolled onto her side so that her back was facing him.

“You are literally going to hurt yourself like this, Prinsesa,” he whispered as he untied and loosened the lacings of the corset, but she couldn’t hear it as she was already dozing off.

As the teen slept, a younger teenager sat in a dark cargo hold, crowded with many other fellow Lemurians.

Every move was heard as the metal locked around their ankles and wrists only echoed in the large storage area.

She had no clue as to how long they had been at sea for, nor how far away they were from her island home, but her chance to escape was then.

Her prayers were finally answered when she heard the ethereal voice of a goddess bless her soul just a few minutes before.

‘I will get my revenge on these dirty Ukaidians,’ she thought, gritting her teeth and glaring down at her chains.

When the ravenette woke up, she changed into a black dress with black lace sleeves paired with a pair of black wedges as the teen pulled her mask up to cover the lower half of her face.

Walking out onto the main deck, Rhamina tapped Assad on the shoulder saying, “I'm going to go check on them, I’ll be back around noon.”

“Hey, kid, when do we get to meet these friends of yours?” Nessa asked, walking up with an axe casually slung over her shoulder.

“Tomorrow at the music festival,” the ravenette chirped, “I’ll be playing with them, so I’m heading over to get some practice in.”

“Alright, just be careful, Prinsesa,” Assad spoke, enveloping the girl in a quick hu before ruffling her hair.

This action earned a whine from Rhamina as she backed away and ran off towards the ramp, only looking back once to stick her tongue out at her long time friend before continuing on her way.

“So, Captain,” Nessa started as they watched the teen disappear down the wooden pier, “Have you told her yet?”

“I haven’t gotten the chance to do that yet,” Assad sighed, brushing back the dreads that fell out of place.

“Assad,” groaned the first mate, earning a sigh from the male as he turned away, “You can’t keep something like this from her.”

“I know, Nessa,” he replied with a groan, “I was going to tell her last night, but I never expected her to be so impulsive in going off for so long.”

“She wasn’t like that when we were kids,” he added.

“It’s to be expected when your life changes so dramatically, especially now that she’s on the run,” the woman replied, “You need to think and act on your toes or you end up dead.”

“Do that in a war and it’s a higher risk of ending up dead,” the male sighed as his gaze darkened.

“I think she knows that, Assad,” the blonde spoke after a few moments of silence, “From what you’ve told me, she knows how to plan and act in battle, but this isn’t war and she trusts you enough to act so carefree.”

The sea breeze blew past as the two companions stood in silence, the subject of the ravenette and war bringing up differing perspectives.

One wanted to trust their newfound friend while still being there to support her; while, the other still wished to support her in any way possible, but wanted to keep her kept away from the world and safe from the cruelties so she would not have to suffer any longer.

Meanwhile, a Lemurian female’s breaths echoed through an alleyway as she ran from her pursuers.

Making the mistake of looking back over her shoulder. The girl was knocked to the ground by one of the men in front of her.

She immediately began to struggle and scream, eyes glowing a dark red as she tried to summon any magic she could, only for the shackles to tighten around her wrists and ankles.

“You really are the stubborn one aren’t you?” growled the man sitting on her back as he gripped her hair in one hand, “Why don’t you be a good little bitch for once and shut up, huh?”

“Ayaw ko, Tarantado!” the girl spat, before the man slammed her head into the cobblestone below them.

The surrounding men snickered as the girl groaned in pain, her head spinning while the man’s tight grip on her hair did nothing to ease the pain.

“Hey, what’s going on over here?!” a female voice called, earning the attention of everyone in the darkened alleyway.

Lifting her head as much as she could against the man’s grip and despite the dizziness and blurry vision, the girl saw the glowing form of a female at the entrance of the alleyway with her knee length hair swaying in the breeze and glowing golden irises standing out against her dark silhouette. 

Joy flooded her system as realization began to set in.

As the large, armored silhouette of one of her captors blocked the female from view, the girl could only rasp one word before losing consciousness.

“Reina.”

Rhamina could feel her blood boil as she made her way over to the music hall using almost empty and deserted back streets.

She was inches away from finding out what exactly was going on when she was stopped by the infamous Captain Gustav of Ukaidia.

Unlike Leon, Gustav was actually efficient and decent at his job; otherwise, and extremely loyal pawn to the Ukaidian king.

She recognized the sounds of chains and the kinds of clothes those men wore for she had been in a similar situation as that girl about a year after her arrival to Ukaidia.

Those men were slave traders, and the captain had defended them when the practice of owning slaves was illegal in Ukaidia… Unless…

Rhamina brought her left hand up to her mouth before biting down hard enough to draw blood.

As more connections were made in her mind, she bit down harder, the taste of iron filling her taste buds, but she would rather have this than her magic flaring again.

In fact, she could still feel it building as her rage did the same, but she couldn’t expose herself here.

After taking a deep breath to calm herself, the teen released her jaw, licking her teeth and wiping away the scarlet liquid from her mouth before pulling her mask back up above her nose.

Looking down at her bleeding hand she sighed before walking off, keeping it hidden in the pocket of her black skirt.

Had she bitten any harder, the girl realized, she was at risk of taking a chunk out of her own hand.

The dull pain was beginning to shed through the teen’s rage and she could only hope that there were first aid kits at the music hall where they were supposed to be practicing.

Despite the dark secrets she was uncovering, Rhamina found one good thing from her discovery… She had found her extra ship.

~~~Fin. Chapter 6~~~

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Song Used: Myself - Full Moon o Sagashite

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[runawaykotaro]

hi i have a weirdly specific question about the benizakura arc cause im rereading it. irt katsuras "death" do you think gintoki ever ended up, even for a small portion believing kataura did die, or did he always hold faith? its probably a silly question but i keep vacillating between gintoki having strong faith in his friends abilities vs being pragmatic after his fight w nizou that he himself only got out of because of shinpachi so i wanted to know your opinion cause your meta is fun to read

Thank you!! I’m glad that you enjoy reading my meta posts! I really enjoy writing them!

You’ve posed a really interesting question, and one that I’ve been vacillating on for a while. Unfortunately, I don’t really have a definite opinion. I’m inclined to believe, however, that Gintoki believed that Katsura was alive the whole time. My rationale gets kind of long though- so the rest of this post is going to be under a read more.

This comes first from taking Gintoki’s dialogue, parallels to later confrontations in the arc, and shonen genre conventions. First, you have his initial confrontation with Nizou where he tells Nizou “Zura would never be killed by a lame-ass murderer like you.” Then, after being shown Zura’s hair, “Don’t make me repeat myself. Zura would never be killed by a nobody like you.” (admittedly, this was before Gintoki almost died but,) In the manga at least, Gintoki never contradicts this or expresses any doubt about it past this. Second, the way that Zura going missing is mirrored (paralleled? I’m not quite sure what the correct literary term would be lol) later in the arc also suggests that Gintoki believed that Katsura lived. The first moment is when Katsura jumps out of and slashes takasugi- then immediately says ‘I could not rest knowing that I had been killed by a former comrade. Isn’t that true for you as well, Takasugi?’ The second moment is Katsura and Takasugi watching Gintoki battle Nizou on the roof, while Takasugi comments that fighting the benizakura is like fighting a battleship with your bare hands. Neither of those situations DIRECTLY match up with how Nizou claiming that he killed Katsura, but they all convey the Joui 3′s confidence in the others’ abilities to survive. Each of them believes that the others can’t die except in specific circumstances. Because Katsura and Takasugi believe that of Gintoki, and because of the way the narrative hints at their understanding of each other, it implies that Gintoki would hold the same faith in Katsura even faced with the heavy realities of his confrontation with Nizou. You can also say here that Gintoki is familiar with the fact that Zura is “Runaway Kotaro” too (I’m still so glad i got this url) and knows that Zura is the kind of combatant who would play dead or hide, and doesn’t feel the need to engage with an aggressor to the end of the confrontation. That leads into the shounen genre conventions- the protagonists Believes in their Companions, unless something Actually Happened to them, in which case the Protagonist is able to Instantly Distinguish that what the antagonist is saying is True. I’m not sure how to explain it better but basically, metatextually, as the protagonist, Gintoki gets to believe that Katsura is alive as long as Katsura is alive.

Of course, if that was all there was to consider, then it would be a pretty clear cut question to answer. There are significant conflicts with those arguments. For Gintoki’s thoughts, in the manga, he doesn’t comment on Zura’s life status after “Zura would never be killed by a nobody like you,” however, the movie has the conversation with Tetsuko: ‘I can’t help you. I got beaten up, and my friend was killed.’ With this line in mind, Gintoki does seem to think Zura is dead. However, his sincerity when delivering his line is called into question when it’s revealed that he was intending to help Tetsuko all along, he was just trying to shake off Tae. But why say that to her at all? Neither Tae nor Tetsuko know Zura at that point, and saying that to Tetsuko when she’s already torn up about what Benizakura is being used to do just seems pointlessly cruel. So if it wasn’t part of the deception, why say it at all if he didn’t believe it? (There’s just A LOT to discuss with this line, and I feel like its the line that called Gintoki’s belief in Zura’s survival into question the most.) Another piece that could easily be interpreted either way is the panels after Gintoki sees that Katsura is alive:

(First of all, don’t even get me started on that line but) He doesn’t look shocked, which would imply that he believed that Katsura was alive the whole time, however, Gintoki isn’t a very open person, and his expression could ALSO be interpreted as relief, implying that he was worried that Katsura was dead.

There’s also the element of rationality, like you said. Gintoki almost died fighting Nizou- would have died if Shinpachi and the police hadn’t intervened. Nizou also showed him Katsura’s cut off hair, which is solid evidence there was a confrontation that Zura didn’t escape from unscathed. The rationality argument conflicts with the shounen conventions, because the protag usually just Believes what is correct, without regards to pesky things like logic, reason, and the possibility of death in a combat situation. However, Gintama has violated shounen conventions plenty of times before- Gintoki just being who he is stomps all over the idea of what a shounen hero is supposed to be. However, it does tend to stay pretty close to the power of peoples’ bonds- which is why I believe that the protagonist power of Companion Well-being Radar is in play here.

So there are a lot of different factors at play, and while I do believe that Sorachi intended to convey that Gintoki kept faith in Katsura the whole time, there’s a solid argument that that’s not the case. Personally, I change my interpretation every other drabble I write about the benizakura arc, so…? I can’t really give you a definite answer. I think that Gintoki could have been in a possible middle ground. Maybe he believed that Katsura was alive but was worried that he wasn’t? Or he might have been too focused on Tetsuko, Shinpachi, and Kagura to focus on thinking about whether or not Katsura was alive? I don’t really know, but I feel like it’s more likely that Gintoki believed that Katsura was alive for the duration of the benizakura arc.

[pass-the-bechdel]

Stargate SG1 s09e12 ‘Collateral Damage’

Does it pass the Bechdel Test?

No.

How many female characters (with names and lines) are there?

Two (18.18% of cast).

How many male characters (with names and lines) are there?

Nine.

Positive Content Rating:

Three, but a queasy one. If I gave half-points, this’d be a 2.5.

General Episode Quality:

Good emotional exploration, but a troubling choice of inciting incident.

MORE INFO (and potential spoilers) UNDER THE CUT:

Passing the Bechdel:

Reya and Carter don’t discuss.

Female characters:

Reya Varrick.

Samantha Carter.

Male characters:

Cameron Mitchell.

Daniel Jackson.

Hank Landry.

Teal’c.

Marrell.

Amuro.

Frank Mitchell.

Walter Harriman.

Davidson.

OTHER NOTES:

The Emissary (who is kinda-weirdly never named) showed up late at night, unexpectedly, at Reya’s house; at the beginning of the memory we see her putting on her robe, clearly uncomfortable about being around him wearing whatever she’s got on under the robe (bedclothes of some description, presumably); the Emissary then creepily fiddles with her sleeve while declaring that they “expect great things” from her, and Reya backs up and crosses her arms, clearly more uncomfortable again. It’s...part of a tapestry. 

Daniel is a huge hypocrite about other planets developing advanced tech “which could artificially accelerate their technological development!”, like, hello, what do you think you’ve been doing for the last nine years? I don’t know why they even bothered to include these lines, they’re that moronic.

Reya asks Mitchell to walk her home, because, she says, she doesn’t like to do so alone at night, for fear of ‘crime’. While we know she legitimately wants him to come home with her and is using this as an excuse to invite him, it’s also, obviously, a real concern. It’s part of a tapestry.

“you wouldn’t have come here if you didn’t want to [have sex]”, Reya says when Mitchell suggests they “shouldn’t do this”. That’s not how enthusiastic ongoing consent works, Reya. This is not part of the intentional tapestry, and it’s particularly egregious in that context. Someone should have thought that line through better, because it’s a red flag they really didn’t want to throw up.

...because some time after that, Reya gets violently beaten to death. The tapestry is about violence against women, with a special emphasis on sexually-motivated misogyny! Hooray!

You know what isn’t about violence against women, with a special emphasis on sexually-motivated misogyny? The rest of the episode.

“local Allied intelligence” dropped the ball and got those refugees killed, because God forbid we even let the audience THINK it could be the fault of ‘MURICA.

Reya was murdered by her ex-husband in a jealous rage after he saw her go home with another man, however, the fact that the husband also stunned Mitchell and then gave him the memory of having committed the murder exposes this as premeditated, not an irrational bout of murderous anger (which still wouldn’t make it ok, but anyway); the nature of the motivation (or its ridiculousness and inconsistency) isn’t challenged or questioned in any way, everyone just goes with it like ‘of course, that makes sense’, and the episode treats it as a quick and easy shorthand that ties up neatly. And then of course, the government covers the whole mess up so that the husband can keep on doing his top-secret research instead of going to jail, paralleling the whole debacle with Mitchell’s dead refugees in order to earn that ‘Collateral Damage’ title. What?

Well. It’s really unfortunate that this episode bungled its themes so badly, because the individual pieces are well-wrapped and consistent within themselves; they just absolutely don’t play well together. The episode really has no intention of considering any kind of story about gendered violence, and the set-up in which it signals that idea (culminating in the actual violence of Reya’s murder) is essentially a smokescreen; we the audience know that Mitchell didn’t kill Reya in some kind of ‘lovers quarrel’, we don’t need to see the Emissary as jilted in order to suspect him of the crime since the episode supplies an alternate, professional motivation for him and never investigates any other possibility, and since the story never implies that Reya was afraid of Marrell the fact of his violence is separated from the other fears the episode indulges in the lead-up to Reya’s death. Thus, the episode constructs that tapestry early on but ultimately does nothing with it, it’s just really, really unfortunate detail, just a woman being made to feel uncomfortable with her companions and endangered in her own body for no actual reason. 

The fact that the episode then segues into an awkward excuse to explore the emotional reasons that Mitchell joined the Air Force and became a pilot, etc, and the personal difficulties he’s faced, kinda adds insult to injury; nevermind the dead woman, this is about Man’s Feelings. As I said, it’s unfortunate because the exploration of Mitchell’s psyche is, on its own, good stuff, and the way they tie that in to the idea of collateral damage is solid. However, because the context of the episode has been something wildly different, that exploration is tainted, and Mitchell’s guilt over the refugees feels like a false note, too convenient, and not emotionally truthful or relevant: they claim that the memory of killing the refugees and the memory of Reya’s murder have the same emotional resonance, but that seems ridiculous since one of them was a violent attack and the other was a mistake; both might inspire the same sense of guilt after the fact, but the emotion of the acts themselves is poles apart. The incidents make poor companion pieces in-story, as well as awkward, unrelated concepts dragging the content of the episode in different directions. 

Ultimately, the episode is a bad combo of two distinct ideas: it should either have been about Mitchell seeking justice for Reya’s death (with Marrell’s responsibility exposed early on and the rest of the episode being about the fallout for the diplomatic relations between Earth and Galar), or it should have been about Mitchell’s personal and professional history, in which no women are senselessly murdered for manpain-y reasons. Sometimes you get characters/episodes/story arcs that you appreciate way more after viewing them critically, and sometimes, you don’t. I have typically enjoyed this episode in the past, but this time around I have been forced to admit that it’s really a Goddamn mess. 

[qqueenofhades]

The Punisher as Medieval Romance: Tropes, Themes, and Characters

So a few days ago, an anon asked about more mythologies/inspirations for Kastle, apart from Hades/Persephone, and I mentioned that Frank’s character and his overall story arc have substantial (and fascinating) parallels with medieval romances. I was just answering quickly, but I then started to think about it in more depth, and realized that in fact, damn near all of The Punisher can be read as a modern-day medieval romance, sometimes subverting long-established tropes and sometimes playing them almost straight. This extends into Daredevil canon as well, as the characters around Frank also fit into recognizable mythic-medieval roles, and… yes. I resisted writing a long and research-heavy meta, clearly what I needed to do on the last week of term, for oh, forty-eight hours. Then, well, we know how that goes.

A note that I work specifically on medieval history, rather than medieval literature, so if I say anything clangingly bad, I hope my brethren and sistren medievalists can forgive me for it. Also, I don’t know if any of this is intentional on the part of the writers, so it’s not like I am identifying anything they’re specifically doing (or if they are, I don’t know about it), but this is just me, as a nerd, wandering into the candy store and being like “OH HEY GUYS LOOK AT THIS.” Of course, not all the examples fit in every aspect between medieval romance and modern Marvel canon, but there are still enough of them in a number of ways to make this interpretation plausible. And indeed, considering how Marvel stories have become ubiquitously embedded in our popular lexicon almost exactly in the way Arthurian legends and stories did for their medieval equivalent, it’s a noteworthy comparison.

(As you may be able to guess, this will be long.)

Let’s start with the source material. The medieval Arthurian romances are part of what is known as the Matter of Britain: the vast corpus of texts, written and rewritten across several centuries and by countless authors (usually French or English) that deals with some aspect of this mythology. Arthur, Guinevere, Lancelot, Merlin, the Knights of the Round Table, and other characters appear in various guises and playing different roles in each of these texts. They are still “themselves” on each appearance, but the interpretation and the storyline is largely up to each individual author. One may remark that this bears some similarities with the Marvel comic universe. The characters have been written and re-written in a vast array of formats from their first creation to their present modern iteration (and likewise, Hollywood is still making a King Arthur movie every other year). They have been interpreted by many authors and given different plots and re-imaginings, and are part of our collective pop-culture reference in the way that Arthurian romance and chivalric literature was in the medieval era. If Twitter had existed back then, we would have fans begging for Arthur Pendragon to be saved from Camlann the way we now have fans begging NASA to save Tony Stark. It’s a kind of cultural entertainment that you’re probably at least aware of, even if you’ve never participated in, and thus has reached similar levels of saturation. The Arthurian romances inspired endless knock-offs. We likewise have an omnipresent superhero genre. It reinvents and redefines the hero’s journey for its particular day and age on a massive scale. In some sense, we don’t even need to explain these characters or tropes, because everyone already knows who and what they are.

So… onto Frank. At first glance, he is a considerably unlikely medieval romantic hero, right? He’s rough around the edges, has (to say the least) grey morality, and is generally regarded as an outcast and a loner in his community, rather than some idealized, flawless Sir Galahad type who has never done anything wrong in his life and nobly avoids all temptation. But he’s actually a hero in the middle of his trials and tribulations and the corresponding loss (and eventual reaffirmation) of heroic identity. The broad strokes of Frank’s character arc, as seen in Daredevil season 2 and Punisher season 1, are these:

Separation from home and family;

Exile from society and the implied loss of chivalric (military) virtue;

Test of honor/contests against other knights, good and bad (Matt Murdock, Wilson Fisk, Lewis Wilson, etc);

Search for the Grail (life, restoration to honor, vengeance for his family, completion of the chivalric quest);

Partnership with worthy knights on the search (David Lieberman, Curtis Hoyle);

Resisting temptation from a knight’s wife (Sarah Lieberman);

Saving a fair maiden and having to be worthy of her love, while bound by a code of secrecy (Karen Page);

Confrontation of betrayal by an intimate/revelation of the dark side of chivalric honor (Billy Russo);

Menaced by a quasi-mythical and possibly demonic figure who must be defeated, who fights him in a parallel battle at the beginning/end of the story (Agent Orange/Rawlins);

Attempt to re-enter society and re-establish identity (end of s1, though that will be once more disrupted and complicated by s2);

All of this is, basically, the overall character arc for a medieval hero. Pretty much beat by beat. Also, while we’ve gotten used to think of ‘chivalry’ as implying a certain kind of idealized and virtuous behavior around ladies (holding doors, gentlemanly actions, whatever) that was only a small part of the overall code of chivalry – which, at its core, was an ethos about fighting, military prowess, and the display of valor through acts of war. Frank says that he loves being a soldier, and this would be a sentiment familiar to a medieval knight. Chrétien de Troyes has a line about how, essentially, only morally suspect half-men prefer peace. The soldier’s proper right, duty, and true joy in life is the practice of war, and he earns chivalry – martial renown – by doing it. It is not merely a pretty or romantic veneer on courtly behavior (though that is often how it is presented), but about war, the military, the destruction of opponents, and the very nature of being a constant soldier. To say the least, this fits Frank’s character extremely well. He is the consummate soldier who in fact needs a constant war to fight, and who has built an honorable legacy for himself (decorated Marine, Navy Cross, etc) prior to his forcible separation from society. This darker, grittier underside of chivalry, when the violence, bloodshed, and distortion of self was a constant concern, also fits very well with the tone of The Punisher.

That separation is often the keystone for a medieval hero’s journey, and functions to drive him out from the context in which he has until now been respected and earned his living. Sometimes we have an outright reason for that action, sometimes the hero just leaves Camelot and sets out on a quest, but Frank’s separation from society bears some similarity to Bisclavret, a twelfth-century werewolf romance written by a woman (Marie de France), and interesting for various reasons. (Some literature is available via Google Books.) In this case, the hero (the eponymous Bisclavret) is driven from society by the treachery of his wife, who hides his clothes so he can’t turn back from a wolf into a human and is forced to spend seven years in the forest as a beast. Of course Frank loses his wife, rather than being betrayed by her, but there’s still the connection between loss of wife – loss of home – loss of self, resulting in exile to the margins of society and transformation into a “monster.” Bisclavret never gives up his principles and identity even while forced to remain a wolf, and Frank gains a reputation as the “Punisher,” but likewise adheres to his own code of honor. He remains a knight, even if a knight-errant.

Bisclavret is rescued and brought back from the woods by an unnamed king, who sees his humanity and treats him well even as a monster (and yes, there are some definite homoerotic undertones in the fact that it’s the king’s love that restores him to himself, after his wife rejects him for his monsterhood or arguably, queerness). However, you could credibly parallel this to Frank and David Lieberman, who believes that he can help Frank and they can restore him to his former self/his good name. David of course physically helps Curtis care for Frank after his injuries in TP 1x05, and in general performs the humanizing role for the “monster.” He serves as Frank’s companion in the wilderness and believes that he is not the way the rest of society sees him (just as everyone else in Bisclavret sees him as a werewolf and has to be convinced by his good behavior that he’s really a man). Likewise, Karen recognizes early in Daredevil season 2, and never gives up in believing, that Frank still has honor. He’s (literally) not a monster to her. He has been expelled from the chivalric society in which he operated before, but he has not completely abandoned his morality.

Next, as noted, the motif of contests against other knights is essentially a central theme in all quest narratives. Frank must match his wits and skills against challengers, and be paralleled and anti-paralleled to them. One of his most obvious foils is against Matt, as they are explicitly set up as reflections and reverse images of each other. In some sense, Matt is the perfect chivalric knight, at least in DD s1/s2. His morality tends to the black and white, he always has some sense of how his faith informs or restricts his actions, and he constantly incorporates the church’s teaching into his sense of self. As Richard Kaeuper discusses in Holy Warriors: The Religious Ideology of Chivalry, this is basically exactly what the medieval church would want for a knight. Some degree of coexistence (sometimes a great deal) exists between chivalry and Christianity, but the underlying question of violence and sin always underlies it – can a man who makes his living by killing people really claim to be acting in a holy cause? Matt avoids this paradox (or tries to) by not killing anyone, but Frank almost exactly embodies the tension between these two ideologies that was ever-present in the medieval era. Clerical moralists always worried that knights were too comfortable with killing, violence, and general unethical behavior (even as they needed and co-opted that violence for their own purposes, such as the preaching and popularization of the crusades). For their part, the knights often selectively used the parts of Christianity that they liked, and fashioned it into their own ethos, just like Frank does to justify his campaign of vengeance.

In other words, Matt and Frank are perfect symbols of the struggle between church and chivalry, with Matt embodying one side (reconciliation) and Frank embodying the other (estrangement), but neither of them are completely excluded from knighthood despite their differences. They’re in fact the central tension of its existence – how violent can a knight be, and how much consideration, superficial or otherwise, does he have to pay to the church’s restriction of his ethics and behavior? There is some argument that chivalric literature was written as an attempted correction or moral instruction for real-life knights, who were supposed to take it as guidance on their own behavior and be more merciful. This isn’t always the case, since as noted, the literature exalts the very kind of violent behavior that built a chivalric reputation, but there was always that inherent wariness about how much was too much. Matt and Frank push and pull each other on this very question, end up working together at points because they are both within the system, but can’t fully reconcile.

(Also I’d like to point out: Stick, Matt, and Elektra as Merlin, Arthur, and Morgana. Stick is the mysterious, possibly immortal mentor, who teaches and mentors both of them, but also misleads and manipulates them for his own purposes. Matt becomes the ‘hero,’ son of the dead/fallen king (Uther Pendragon/Battlin’ Jack Murdock), while Elektra becomes the villainess/feared sorceress, marginalized by a society frightened of her agency and unwillingness to play nice. Also, one of Arthur’s two half-sisters, usually Morgause but sometimes Morgana, is the mother of his illegitimate son, Mordred, who is prophesied to be his destruction. So there is a dark/forbidden/taboo sexual aspect to their relationship, and just as Mordred causes the ultimate fall of Camelot, Matt and Elektra are literally caught in a falling building at the end of Defenders, which destroys their current identities. Matt enters Once and Future King stage after that and at the beginning of DDS3, where he is ‘gone’ or sleeping or suffering a crisis of faith and must summon up the wherewithal to return, and the character of Benjamin Poindexter becomes one of the many Arthur imposters. There are also some parallels for Elektra with Nimue, the ambitious young student of Merlin’s who overthrows him, ends his reign, and imprisons him in a tree.)

Anyway, back to Frank. So what are knights actually doing with all this questing? Well, various things, but they’re most often searching for the Holy Grail: symbolic of eternal life, forgiveness and atonement of sins, return to self. For this reason, few of them actually find it or are able to encounter it without being changed. It too has a deeply underlying Christian context, and Frank, the ex-Catholic, has been estranged from his belief but not separated entirely. (Likewise, if you were not worthy to look on it, you could be blinded, so… the fact that Matt himself is blind is arguably a commentary on who he actually is vs. how he imagines himself.) The Grail is also, interestingly, in the custody of a figure known as the Fisher King. He is the keeper of the castle where the Grail is hidden, and in the context of the Punisher, he’s basically Curtis.

The Fisher King, for a start, is always wounded in the legs or the thigh, and unable to stand. Some scholars have interpreted this as a metaphor for castration (since “thigh” is often a euphemism for the genitals), and that the Fisher King is passive and impotent because he is physically unable to perform warfare and thus to acquire chivalry. Either way, the Fisher King is the keeper of eternal life, but is physically disabled and needs the help of a knight to activate that power. Curtis is to some degree a subversion of this trope, because he is explicitly not helpless and functions to enable other questing knights (veterans with PTSD) to search for the Grail (health and reconciliation to society)… but in TP 1x09, he still needs Frank to save him. Frank has to encounter the Fisher King and make the correct choice/ask the right question (which wire to cut) to save him and continue his own path toward the Grail. Curtis, by running the veterans’ group, is symbolically the keeper of eternal life, where questers have to literally ask questions/talk to each other to restore themselves, and Frank, by going at the end of s1, is still trying to reach it. But true to form, with the beginning of s2, he’s not going to be able to entirely get there. There is still another obstacle/quest to overcome.

So what about Karen? Visually and to some degree topically, she is set up as the lady whose love Frank needs to obtain and maintain, even in the wilderness of his exile. Karen is blonde-haired and blue-eyed, which was often viewed in the medieval era as the ideal/most beautiful kind of woman (because white supremacy in Europe has always existed to some degree, even if in differently constructed ways. However, the thirteenth-century Dutch romance Morien, and some other ones, feature black and mixed-race protagonists, who are just as able to achieve the predicates of the heroic quest as others). She is also, as discussed above, one of the only people to believe in Frank’s honor and to reach out to help him. However, this relationship has to be kept secret, and has the potential to destroy them both if revealed. This is a fairly close parallel to another of Marie de France’s romances: Lanval (adopted in fourteenth-century English form, by Thomas Chestre, as Sir Launfal).

In brief, Sir Lanval, after being cast out from Camelot, meets a fairy woman and they become lovers, and she promises him that he will have everything he needs, as long as he keeps her secret and never mentions her to anyone. (Marie’s original version of this is much less misogynist than Chestre’s, which adds Guinevere making sexual advances to Launfal and her jealousy being the cause of him being thrown out, so yes, Dudes Ruining Stuff has a long history.) This is not an exact analogue to Frank and Karen, but keeping the code of secrecy (Karen obviously can’t tell anyone about Frank, Frank receives what he needs from her in terms of information, emotional support, etc, but likewise can’t tell anyone about it) is paramount in both relationships. Speaking about the relationship or revealing it to the outside world will result in its destruction, and the fairy lady has to vouch for Lanval’s goodness to the court in Camelot, just as Karen stoutly defends Frank to the court of public opinion/literally everyone. In some sense, while the knight has to rescue the fair maiden, the fair maiden is also the arbitrator of his fate and his overall reputation. (Also, all of TP 1x10 is  basically Lancelot, the Knight of the Cart, in which Lancelot must rescue the abducted Guinevere from Meleagant, and having to struggle with the revelation of this relationship and the fact they can’t be together and the dictates of public/proper behavior. Anyway.)

Lastly, Frank’s initial and final conflicts, and the overall shape of his quest, are dictated by his encounters with two archvillains: Billy Russo and William Rawlins, or “Agent Orange.” These are made especially painful for him by the fact that they are or were both close to him. Billy was his best friend, essentially part of his family, and as noted, there is a major theme in chivalric literature revolving around a betrayal (and subsequent murder) by those closest to you. We already discussed King Arthur being overthrown and killed by his incestuous illegitimate son, Mordred; the best-known version of that tale is of course Thomas Malory’s Le Morte d’Arthur, though only the seventh book, as linked above, actually tells the story of Arthur’s death. There is also Arthur’s half-sister and Mordred’s usual mother Queen Morgause; in the Morte, she is killed by her son Gaheris for committing adultery with Sir Lamorak and dishonoring her husband, King Lot. So in one sense, the knight is always doomed to face a betrayal from within his family, or from a close friend.

However, Billy Russo is also straight-up one of the demon knights of Perlesvaus, or, The High History of the Holy Grail. In Perlesvaus, Lancelot is haunted by the specter of these demon knights, who engage in a dark mockery of chivalric behavior, excesses of violence, and satanic imagery, and are otherwise the “dark side of the force” of honorable knighthood, as Richard Kaeuper puts it in Chivalry and Violence in Medieval Europe. Honor and chivalry are not permanent or unchangeable qualities, and in fact are very fragile. The perfect knight can and should have both of these, but he can also lose them very quickly by impious, dishonorable, murderous, or otherwise wrong actions. The demon knights are a metaphor and a commentary on the same tension we discussed in regard to Frank and Matt: when does a knight-errant become a bad knight? When does his behavior permanently transgress him and cast him beyond the reach of repentance? Billy outwardly embodies the same qualities as Frank, has been through the same wars, is part of the same order, but he isn’t a hero on a quest whose chivalric identity can eventually be reconciled to him. He has crossed too far to the wrong side of the line; now he is the embodiment of evil, a shadow parallel and a cautionary tale. He is not a knight-errant, he is merely a monster.

Then, of course, there’s Rawlins/Agent Orange. Noting the fact that his nickname is also color-coded, we can see some parallels to Sir Gawain and the Green Knight. In short, in this tale, a mysterious “Green Knight” challenges any man to strike him, with the condition that he will get to return the blow in a year and a day. Sir Gawain accepts and beheads him, after which the Green Knight stands up, picks up his head, and remains Gawain of his promise. Gawain has to struggle to both honorably keep his bargain and avoid dying, and is eventually struck at in return by the Green Knight, wounded, but not killed. In some interpretations, this has just been a test all along for Gawain to prove his honor, or an attempt by Morgana to deceive him and cause him to betray his chivalric ideals, and the Green Knight is just a pawn to achieve this. In others, the Green Knight is a potential embodiment of the Devil. (He also has a dual identity, as the Green Knight/Sir Bertilak, as Rawlins does.) Frank strikes at/beheads/blinds Rawlins, as seen in the flashbacks of TP 1x03, so Rawlins literally wants to do the same to him (an eye for an eye) in TP 1x12. In the story, Gawain and the Green Knight part on cordial terms, but in this case, Frank has to actually complete the death/destruction of his opponent. Like Gawain, however, he is wounded but not killed, and must find some way to survive his encounter with a possibly demonic entity determined to pay back in exact measure the physical wound/symbolic beheading inflicted earlier.

So. . . yes. Overall, both in the broad parameters of his character arc, in the obstacles he confronts, and the other people he meets and the encounters he plays out with them, Frank is actually an excellent hero for a modern-medieval romance. The essential core of the medieval romance was not about love, though that was often present, but about identity, adventure, and the challenge to self, and while in some places these tropes have been updated or nuanced or subverted, in others they’re played as recognizably or directly descended from their medieval counterparts, and the way in which we have thought about stories and enjoyed them for a very long time.

[sparda3g]

Tokyo Ghoul:re Chapter 171 Review

Emotional attachment can lead to complexity within a person. “Easier said than done” is one quote that will be thrown around a lot when it comes to settling the issue. It’s up to their companion to relieve them from despair or among themselves to accept it. The arc is drawing near to the end as one battle ends, another one coming to a close. After a long period of waiting, it was well worth it for this emotional driven chapter.

It’s a bit challenging to say which scenario is the best part of the chapter. Sometimes I like the first half more, sometimes I like the latter. Both scenarios carry the similar theme of attachment to the world and its people, human and ghoul. When it comes to connecting themes and character’s growth, Ishida shines brightly with his delivering on his compelling characters.

I thought the last chapter concluded the battle between Yomo and Uta, but instead, we got a definitive ending here and it’s all for the better. It’s good to know Uta didn’t die from that devastating attack. Granted, I had a hunch he was going to live, but if he did die, that would be a bit easy. The chapter treated us with a really delightful ending to their bout and if there’s more room for the series, a really good future for the two.

Uta goes into greater detail on his thoughts on life itself. The way how he described his life in the past compare to the present somewhat reminds me of Citizen Kane. In that film, there’s this “checkpoint” of a man’s life that often look back and think that’s where the path was decided. Uta had fun back then because nothing in life mattered, even when they break their legs, him and Yomo. It began to change when Yomo was heading towards a different path alas Anteiku with Yoshimura. If Uta doesn’t follow or move anywhere else, what does he have left?

I thought it was pretty sad that Uta did in fact try to help Yomo to avenge his sister because it was like his way to keep him together. You know how many stories go about revenge won’t reward you greatly, if not any. This one is no different but it doesn’t address the obvious, rather use strong words to not only address the morale but connect to Uta’s despair. They couldn’t avenge for Yomo’s behalf, but now, Yomo has move ahead of it, because the world is changing.

Uta is a man that watches the world change but don’t adapt any of it. He has tried enough to adjust, or rather recover from the losses but he just couldn’t change. Every man adapts differently; he’s just harder to crack open. Honestly speaking, I am amazed and moved by Yomo as of late, which is funny considering how much of a mute guy he was. I know he let out his inner feelings when the moment is right, but his connections and thoughts speak to me.

Yomo comes off genuine with his words that it’s a bit unbelievable. Okay, no more knocking on him; I actually like his character a lot. The thing about his words is the fact they are sincere and relatable. He doesn’t come off as a leader or spokesman for a noble peace prize; it’s just two friends talking like friends. Surprising how Yomo did once come close to become another Uta on simply saying life sucks. He lost many loved ones before joining with Anteiku and convinced himself that cruelty is inevitable. When the café was burnt down, his reaction didn’t match up to his thoughts. Easier said than done.

It’s relatable to his thoughts about what should he have done instead of following orders to stand back and watch it fall. Many of us would often think about the past action and debate if it was a mistake or not. What I really like about Yomo transcribing his past is how we get a better view of his character. He was a mute person, but his subtle reaction clued you in how he really felt about it. The most obvious display is against Arima, but it’s also the moment of change for the better.

It’s ironic due to how Arima revolved Yomo’s character for past vengeance yet it intertwined with the present with Ayato and Touka. It’s no longer about fighting for the past cause. It connects very well to theme of attachment since Yomo is now fighting forward to see what rewards him, good or bad. Uta was avoiding the change around him, so nothing seem to progress. He’s there to adjust other’s life. Yomo is part of the world changing and contributing it till the end, hence soon to be a grand uncle. Best grand uncle ever, that’s for sure.

It has a charming way to end the grudge with Yomo willing to allow Uta to earn his desire. Yomo only wants for the best for others and prefer to be taken alone and him alone. It makes sense since Uta was only part of Clowns to change shape of others, even though his target has been only on Yomo. I like how Uta’s reply simply state that they are adults now. These two had a good sit down chat over their problems and reason each other like adults. It also implies he is finally stepping forward and hopefully for a better path.

The charm is how they start talking like good friends again. The topic is amusing because even the characters themselves can see the obvious pairing that is Kaneki and Touka. Who knew that they’re shippers since the beginning? I still remember when Uta asked Kaneki on his opinion on Touka; now it makes sense. The parallel panel is a nice way to end the battle; past or present, some things never change.

The rest of the chapter belongs to Amon and Donato though not without some new revealing details that was well timed for connecting themes. You got to credit Amon to keep on striving against Donato, even against the odds. I know some fans are tired of him getting wrecked, even though most of them are understandable; however, this time is actually relatable, reasonable, and powerful.

To my surprise, Takizawa isn’t there to join along the battle with Amon or even watch him to die. I was certain that the former was going to happen. It came close that Takizawa was pulling the old Shounen method of “Don’t interfere. He is fighting for his honor!” However, the reason to not to interfere is valid because Amon is actually struggling to himself. It wasn’t because Amon is weak or outclassed completely, though wouldn’t mind to be the case. He simply can’t kill Donato due to his attachment.

Whatever the missing pieces from the last chapter were are found here, including Tomoe. Like I said before, she had the perfect chance to kill Amon, but she didn’t do anything. Although she has some pity, it shouldn’t stop her. What stopped her is fear of losing a purpose. All she has left is vengeance and that can be settled now if she like, but then what? Not a single word came out from her after that thought. It’s a small yet valuable moral to exploit on fearing to fulfill their selfish wish.

The part that got me compelled is the flashback scene with Takizawa versus Houji, back at Rue Island. It was a bout that was skipped entirely, and I never knew why. With how Ishida put two and two together, I can understand clearly why it was on hold. In retrospect, fans including me believed Takizawa overwhelmed everyone, but the truth is in and it turns out that Houji held back and accepted death.

It humanizes the theme further because that bout was more emotional influence than a typical a monster versus humans. I was left believing Houji was a cold guy that had no remorse, even though I believed he drew a tear while confirming their next target. Takizawa was a loose cannon but that one expression opened his mind; Houji did care and felt sadden to end up this way. You can argue on why he was sad like regretting to save him before, but the bottom line is he was hindered by emotion and Takizawa technically took it for granted.

Basically, Takizawa’s purpose is to watch Amon develop or die before anything. If he steps in and somehow defeats Donato, what does Amon gain from it? It’s equivalent to a guy who wanted revenge on a criminal, only to be killed by another. No lesson will be learned and if there’s no other way around it, the man is lost. Amon has always been one of my favorite characters of the franchise. I find it appealing whenever he gets a development. While the bout as a whole is pretty solid, it transpires to one of the best humanized development that the series has offered so far.

What intrigued me about Amon the most is his justice system and his origin with Donato. Normally, it would be a simple premise with a boy who grew up with an evil father-figure, now against his kind. While he did embark that journey, he however remained attached to him despite everything he stands for. This portion would challenge readers if they are fine with his struggle despite one is clearly evil. The context is what saved it for me and bonus, shined his character deeper.

It’s a complicated scenario where a character meets his/her faithful enemy who is also the one who fathered them. It has a great parallel display of his tie with Kaneki and the current situation. The two prime examples of his divine character development. He has stuck to the code of justice system based on CCG. His hatred from his past went on Ghouls and killed them for what he believed was right. Once he becomes a ghoul, his view started to change.

It’s a shame that those who are so high up on their code would be forced to be a Ghoul alas force them to wear their shoes. He established a while back that not all Ghouls are evil but they are classified as one, so that may never change. I do wonder about the aftermath, which I still press on for part 3 as long as there are other elements left unsolved. Basically, Amon established both Human and Ghoul are largely the same, and yet he can define who is real evil and Donato is one. So why can he kill him if that’s the case?

The most powerful part is how he finally developed his view about the world being twisted. Remember how he told Ghouls or Kaneki to be specific that they’re the one that ruined it. After what he has gone through, he realizes the world would be twisted by anyone and among them is him. If he let Donato roam free, he is no better than anyone he’s against; a cruel irony. It’s intriguing with Takizawa realizing late of Houji’s emotional attachment result to a sad end while Amon realizing late would result to a good end. Not everyone have a same meaning and he has to deal with it.

The ending is interesting. Amon makes a sword shape weapon, though it can be considered as a cross; a fitting design. Donato looks at him and smiles like a proud father. Amon finally pushes through and takes a huge portion of his left’s side body; similar with Kaneki to Amon in Part 1. Amon actually concludes that he loved Donato and he can’t be hold back because of it.

If it wasn’t for its context and delivery, it would be difficult for readers to accept to like a murderer. The point is Amon and Donato did come a long way in their life in the orphanage. It’s hard to dispute any connection and detach any love they harbored in the past, especially since childhood for Amon. Growing up as such isn’t easy to forget and set free. Even if he seeks for vengeance, it didn’t grow out of air. The bond exists and he had to accept that fact no matter if it is wrong.

After a long break, this chapter was a great return with emotional connection with these characters. The art is pretty solid with its nice use of parallels and expressive feelings. Yomo and Uta have a relaxing bromance ending and Amon and Donato are closing their feud soon with a strong message. It seems like this arc will end in this volume. It’s a only matter of time.

[meeedeee]

Star Wars: The Last Jedi RSS FEED OF POST WRITTEN BY FOZMEADOWS

Warning: total spoilers for The Last Jedi.

After weeks of frantically speed-scrolling through my various social media feeds when anything that looked like a Star Wars spoiler appeared, I’ve finally managed to get out and see The Last Jedi. Despite my diligence, I didn’t go in completely unspoiled: I knew the general shape of the fan discourse surrounding the characterisation, which means I had some context cues and a smatter of details to work with, but not the major plot points. Now that I’ve seen the movie, however, I’m electing to write my own review before catching up on other people’s opinions, so if I touch on something that’s already been dissected at length without referencing said discussion, that’s why.

In broad-brush strokes, I enjoyed The Last Jedi. Assessing it purely on its own merits, there was a lot it did right: the cinematography, special effects and original creature creation were wonderful, I loved Rose Tico, and there was a pleasing balance of drama, emotion and humour, the requisite scenery-chewing deftly subverted by moments of self-aware comedy, especially in the opening exchange between Hux and Poe Dameron. Mostly, it was solid.

Mostly.

But.

The thing is, no Star Wars film is an island. The Last Jedi is the second film in a trilogy of trilogies, one whose core trio were clearly and intentionally mapped to the heroes of the (original by creation-date, second by internal chronology) series in The Force Awakens: Finn to Han, Rey to Luke and Poe to Leia. This being so, it was easy to mark the other narrative similarities between The Force Awakens and A New Hope – most notably, the parallels between the Death Star and Starkiller Base, both of which were destroyed in the respective finales, but not before their destructive power was unleashed. Which makes comparing The Last Jedi to The Empire Strikes Back not only reasonable, but – I would argue – necessary, if only to determine whether the decision to parallel the new with the old has continued beyond the first film.

The short answer to that is: yes, The Last Jedi is structurally akin to Empire, but not always to useful effect. The long answer, however, is rather more complex.

As a writer, there’s nothing that makes me crave a metaphorical red pen quite like a story where, for whatever reason, I can see the authorial handwave of Because Reasons gumming up the mechanics. If The Last Jedi was an original film, detached from the Star Wars universe, I’d be able to tell you that the problem stems from the poorly-forced sexist clash between Poe and Holdo, and that would be that. But because The Last Jedi has borrowed certain key narrative structures from Empire, there’s a clear template against which to measure its narrative choices, which makes it easier to infer the hows and whys of various changers.

A quick refresher in Star Wars, for those who haven’t watched the original trilogy lately. The Empire Strikes back begins with the Rebel forces being ousted from Hoth in a massive battle. After fleeing the planet, Luke goes to Degobah to train with Master Yoda, while Han and Leia spend some time dealing with a broken Millennium Falcon and the pursuit of Boba Fett, kissing and bickering and generally cementing their chemistry before finally going to track down Han’s old buddy, Lando Calrissian, in Cloud City. Frustrated with Yoda, Luke has a premonition of danger and goes to rescue his friends, as Lando, who’s been strong-armed by Darth Vader, hands Han and Leia over to the Empire. Han is frozen in carbonite after Leia declares her love for him, Luke loses a hand and learns Vader is his father, and the film ends with the pair them, plus Lando, escaping as they resolve to rescue Han.

By comparison, The Last Jedi follows a fairly similar arc. The film opens with the Rebellion being ousted from its base and pursued in a space battle. Rey attempts to persuade Luke to help her, while Poe and Finn are left dealing with a fleet that’s low on fuel as they try to outrun Hux and the First Order. As Leia lies injured, Poe clashes with Holdo over command, which results in him sending Finn and Rose on a secret mission to find a codebreaker who can help sabotage the First Order’s ship. Unable to the codebreaker, Rose and Finn return instead with DJ, a stranger who claims he can help them, but who ends up betraying them to the First Order. Unaware of this, Poe mounts a short-lived mutiny against Holdo. Meanwhile, frustrated with Luke and experiencing an odd connection to Kylo Ren, Rey goes to try and turn him to back to the light, only to find that Snoke was the source of their connection. Kylo kills Snoke and his guards with Rey’s help, reveals the truth about her lost parents, then betrays her in turn. In the final battle, Rose is injured and declares her feelings for Finn, and the film ends with the rebellion united but still fleeing.

Based on this, it seems clear that The Last Jedi is intended to parallel The Empire Strikes Back, both structurally and thematically. All the same elements are in play, albeit recontextualised by their place in a new story; but where Empire is a tight, sleek film, The Last Jedi is middle-heavy. The major difference between the two is Poe’s tension-and-mutiny arc, which doesn’t map to anything in Empire.

And this is the part where things get prickly. As stated, I really love Rose Tico, not only because she’s a brilliant, engaging character superbly acted by Kelly Marie Tran, but because she represents another crucial foray into diverse representation, both in Star Wars and on the big screen generally. There’s a lot to recommend Vice-Admiral Holdo, too, especially her touching final scene with Leia: I still want to know more about their relationship. I am not for a moment saying that either character – that either woman – doesn’t belong in the film, or in Star Wars, or that their roles were miscast or badly acted or anything like that. But there is, I suspect, a truly maddening reason why they were paired onscreen with Finn and Poe, and that this logic in turn adversely affected both the deeper plot implications and the film’s overall structure.

Given how closely The Last Jedi parallels the main arc of Empire, it’s narratively incongruous that, rather than Finn and Poe heading out to find the codebreaker together, the pair of them are instead split up, decreasing their screen-time while extending the length of the film. But as was firmly established in The Force Awakens, Finn and Poe map to Han and Leia – which is to say, to a canonical straight couple. Even without the phenomenal on-screen chemistry between John Boyega and Oscar Isaac, that parallel is clear in the writing; and in Empire, Han and Leia’s time alone is what catalyses their on-screen romance.

That being so, I find it impossible to believe that Finn and Poe were split up and paired with new female characters for anything other than a clumsy, godawful attempt to No Homo the narrative. Rose and Finn’s scenes are delightful, and their actors, too, have chemistry, but every time we cut back to Poe and Holdo, the story flounders. Everything that happens during Finn’s absence is demonstrably redundant: not only does it fail to move the plot forward, but in trying to justify the time-split, writer/director Rian Johnson has foisted a truly terrible mini-arc on Poe Dameron.

Specifically: after Leia is incapacitated, Holdo is given command of the rebellion. Seeing Holdo for the first time, Poe looks startled and states that she’s not what he was expecting. When Poe, recently demoted by Leia for ignoring orders, asks Holdo what her plan is, Holdo dismisses him as a hot-headed “flyboy” who isn’t what they need right now. Not only doesn’t she tell him where they’re headed, she apparently doesn’t tell anyone else, either. This failure to communicate her plan to her people is, firstly, why Finn feels he has to light out on his own, which is how he meets Rose, and is secondly why, once Finn and Rose come up with a plan to infiltrate the First Order, Poe decides that they can’t risk involving Holdo.

As we eventually learn, Holdo does have a plan – and a good one. There is literally no reason why, given the steadily escalating fear and anxiety of her crew, who are watching their companion ships get picked off one by one, she doesn’t share the full details with the rebellion. Instead, she leaves it to Poe to figure out that she’s refuelling the transport ships to evacuate – and when he panics, pointing out (correctly) that the transports are neither shielded nor armed, she likewise doesn’t elaborate on the fact that they’ll have a cloaking device to shield them and a destination close by, one where they can land and take shelter while the main ship acts as a decoy.

Because of Holdo’s decision to withhold this information, Poe thinks that she’s given up and is leading them blithely to their deaths, and so stages a mutiny – one in which he’s supported by a number of other, equally worried crewmembers. Happily, Leia recovers from her injuries in time to reclaim control, and only then does she let Poe in on Holdo’s plan. Poe suffers no further consequences for his actions, and even when they talk privately, both Holdo and Leia seem more amused by his mutiny than angry at what he’s done, rendering the whole arc moot. Except, of course, for the fact that Finn and Rose, on their mission from Poe, bring DJ into the mix – and DJ, who knows about the cloaking device, betrays this secret to the First Order, who promptly open fire on the transport ships.

Hundreds of rebellion soldiers die because Poe and Holdo so disliked each other on sight that neither one trusted the other with vital information – and for the rest of the film, this is never addressed. But of course, Johnson can’t address it, not even to hang a fucking lampshade on it, because the entire scenario is manufactured as a way to justify Poe’s protagonist-level screentime while Finn is away – which is also why, contextually, their antagonism doesn’t even make sense. The film begins with the premise that the entire rebellion, who’ve just been flushed out of their single remaining base, is on the run together – so why the fuck haven’t Poe and Holdo met before now? Especially as both are shown to have a close, personal relationship with Leia, it rings utterly false that they’d not only be in the dark about one another, but start out instantly on the wrong foot.

As such, the coding around Poe’s surprise at Holdo – that she’s not what he expected – is a lazy misstep. Traditionally, when hotshot male characters say this about a new female commander, it’s a sexist dogwhistle: oh, I didn’t know we’d be getting a woman. But why would Poe Dameron, son of Shara Bey and devotee of General Leia Organa, be surprised by Holdo’s gender? He wouldn’t, is the answer. Flatly, canonically, he wouldn’t. But if there’s some other aspect of Holdo that’s meant to ping as unusual besides her being female, it’s not obvious. It would’ve made far more sense to write the two as having a pre-existing antagonistic relationship for whatever reason: instead, we get Poe cast as an impatient, know-it-all James Bond to Holdo as Judi Dench’s M, who doesn’t have time for his nonsense when they first meet, but who ends up forgiving it anyway.

It’s like Rian Johnson looked at the Poe Dameron of The Force Awakens – a character universally beloved for being vulnerable, funny, charming, honest, loyal and openly affectionate – and decided, Hey, that guy’s an awesome pilot, which means he’s a COOL GUY, and COOL GUYS don’t play by the RULES, man, especially if it means listening to WOMEN – they just A-Team that shit in secret and to HELL with the bodycount! And anyway he’s HOT, so he’s ALWAYS forgiven.

Dear Rian Johnson, if you’re reading this: I like a lot of what you did with this film, but FUCK YOU FOREVER for making Poe Dameron the kind of guy who gets a bunch of his friends killed, then has a mutiny, then indirectly gets even MORE people killed, and never shows any grief about or cognisance of his actions, all because you wanted to avoid fuelling a homoerotic parallel that you openly queerbaited in promo but never intended to fulfil anyway. GIVE US OUR GODDAMN GAYS IN SPACE, YOU COWARD.

Anyway. 

The point being, the entire plot of The Last Jedi suffers because of a single, seemingly homophobic decision – unnecessarily splitting up Poe and Finn to avoid further Han/Leia comparisons – and the knock-on consequences thereof. Which is where I bring out my metaphorical Red Pen of Plot-Fixing and say, here is what should’ve happened. Namely: Poe and Holdo should’ve had a pre-existing antagonistic relationship, but one that didn’t prevent them from sharing information like grown-ups. Rather than Rose being part of the rebellion, she should’ve been the codebreaker they were sent to retrieve on Holdo’s orders (because two plans are better than one, and why not try both gambits?). This voids the need for DJ, who barely appears before disappearing again, so that Rose-as-codebreaker retains her status as an important, well-fleshed character who interacts with both Finn and Poe, and whose introduction works to map her onto Lando Calrissian. If you really must keep DJ because Benicio del Toro and thematic betrayal parallels (more of which shortly), he can be the dubious guy with First Order secrets that Rose has been trying to recruit for the rebellion, which explains why she’s with him on the casino planet in the first place, and how he’s so easily able to cut a deal with Phasma. BOOM! You’ve just saved a solid 20 minutes of redundant screen-time without degrading Poe’s character or undermining Holdo’s for no good reason and without dumb sexism creeping in. You’re welcome. 

(Also. ALSO. Not to take away from how lovely that Finn/Rose kiss was, but let’s just take a moment to peek into the other timeline, the one where Stormpilot gets to go canon the same way Han and Leia did in Empire. Let’s imagine Finn and Poe bickering in the casino, getting all rumpled during the escape while Rose and BB8 exchange Meaningful Looks and scathing droid-beeps about the two of them. Let’s imagine, during that final battle on Krait, that it’s Poe, not Rose, who stays behind to forcibly knock Finn out of that self-sacrificing dive towards the enemy gun; Poe who grabs Finn and kisses him because they should fight for what they love, not against what they hate, before passing out injured, thus completing the parallel of Han going into carbonite after kissing Leia. Let us gaze upon that world, that glorious thematic act of completion, subversion and queer recontextualisation, and then quietly wish a pox on everything in our cruddy Darkest Timeline that conspired to make it unhappen.)

And now, with all that out of the way, let’s address the Rey/Kylo issue.

As I said at the outset of this piece, I tried my best to avoid spoilers before watching the film, but no matter how quickly I scrolled through feeds or closed my tabs, I still knew that a lot of people had come away rejoicing in the idea that Rey and Kylo were being set up romantically, while an equal number had not.

And I just. Look. While I’m not going to stand here and tell people what to ship or on what basis, both generally and at this historical moment in particular, I find myself with an intense personal dislike of narratives, canonical or otherwise, which take it upon themselves to woobify Nazis, neo-Nazis, or the clearly signposted fictional counterparts thereof, into which category Kylo Ren and the whole First Order falls squarely. I don’t care about how sad he feels that he killed his dad: he still fucking killed his dad, and that’s before you account for the fact that he demonstrably doesn’t give a shit about committing genocide. In the immortal words of Brooklyn Nine Nine’s Jake Peralta: cool motive, still murder. Except for how the motive isn’t actually cool at all, because, you know, actual literal genocide.

From my viewing of the film, I honestly can’t tell if Rian Johnson wants us to think of Kylo as a genuinely sympathetic, redeemable figure, or if he’s just trying to improve on the jarring, horrible botch the prequels made of Anakin’s trip to the Dark Side by showing us his complexity without negating his monstrousness. Or, well: let me rephrase that. In terms of the actual script and what takes place, I’d argue that, even if Kylo is given a final shot at redemption in Episode IX, he’s still not being primed as Rey’s love interest. It’s just that the question of how much Johnson wants us to care about Kylo as a person, regardless of anything that happens with Rey, is a different question, for all that the two are easily conflated.

Yes, Rey and Kylo touched hands. They did! And Kylo killed Snoke instead of Rey! This is what we might call a low fucking bar for romantic compatibility, but hey: it’s not like white dudes in cinema are ever really called upon to jump anything higher. More salient in terms of the Star Wars universe is the fact that, after they defeat Snoke’s guards, Kylo’s appeal to Rey to join him and rule the galaxy together is an almost word-for-word callback to the offer Anakin makes Padme in Revenge of the Sith, right before he force-chokes her into unconsciousness, leaves her pregnant ass for dead and turns into Darth Vader. The fact that Anakin and Padme are also sold as a tragic romance prior to this moment is not, I would contend, the salient hook on which to hang the hopes of canon Reylo. Aside from anything else, Rey is mapped to Luke and Kylo, very clearly, to Darth Vader: with clear precedent, Rey’s desire to turn Kylo back from the Dark Side can be heartfelt without being romantic.

(Also, I mean. The connection that Rey and Kylo had was deliberately forged by Snoke to exploit their weaknesses, which is why they each had a vision of converting the other. Though we’re given a hint that the link remains in the final scenes, it ends with Rey shutting the door – both literally and figuratively – in Kylo’s face. I’m hard-pressed to view that as destiny.)

As for Kylo himself, his characterisation reads to me as deliberate, selfish nihilism. Kylo is conflicted over his murder of Han Solo because it impacts him, but at no point does he hesitate to reign down destruction and death on strangers. His desire to turn Rey to the Dark Side is likewise covetous, possessive: she is powerful, and he wants a powerful companion in the Force, but one who, by virtue of being his apprentice, will be subordinate to him – not a judgemental superior, as Snoke was. This is reflected in the way DJ’s betrayal of Rose and Finn is paralleled with Kylo’s decision to first help Rey when it benefits him, and then to turn on her afterwards. Like DJ, Kylo is mercenary in his allegiances, helping whoever helps him in the moment, then discarding them when the relationship is no longer useful.

The death of Snoke itself, however, is rather anticlimactic. He was a looming, distant figure in The Force Awakens, and while there’s an established tradition of Star Wars villains showing up and looking cool without their origins ever being satisfactorily explained at the time, this is vastly more annoying in Snoke’s case. Unlike General Greivous, Darth Maul or Boba Fett, Snoke isn’t just the random antagonist of a single film, plucked from obscurity to thwart the heroes: he’s the reason Ben Solo turned to the Dark Side and become Kylo Ren. Presumably, the hows and whys of Snoke manipulating the young Ben could still come out in Episode IX, but if it never gets addressed onscreen, I’m going to be deeply irritated.

On a more positive note, I enjoyed what the film did with Luke’s arc, for all that it’s not what I’d expected. To me, one of the most fascinating arguments in Star Wars discourse is the question of the Jedi, their morality, and how it all set Anakin up for failure. The Jedi ideology put forth in the prequels is the kind of thing that sounds superficially deep and meaningful, but which looks increasingly toxic the more closely it’s examined. The ban on children, marriage and close relationships outside the Order; the extreme youth of those taken for training combined with a forcible, protracted separation from their families; the idea that fear necessarily leads to anger, and so on. Luke describing the Force to Rey as something that existed beyond the Jedi, an innate aspect of the world, felt both refreshing and intuitively right, even given the necessity of respecting the balance between light and dark. The appearance of force-ghost Yoda felt a little pat, as did his ability to call lightning, but he still had one of my favourite lines in the whole film, delivered in support of Luke’s choice to step away from the Jedi teachings: as masters, we become the thing they surpass.

There were other, smaller niggles throughout than my issues with Poe and the no-homo restructuring of the plot: the handwaving of distances between Luke’s world and the main fight in a story that hinged on fuel supply; the sudden appearance of trenches and tunnels into the caves on Krait when everyone was meant to be trapped inside; the random appearance of an Evil Ball Droid to play momentary nemesis to BB8; the on-the-nose decision to show a random white slave boy, holding a broom he Force-summoned like a lightsaber, at the very end of the film. And as wonderful as it was to see Billie Lourd on screen, the knowledge that Carrie Fisher will be absent from Episode IX – the film that was meant to have been her movie, just as Harrison Ford had the The Force Awakens and Mark Hamill had The Last Jedi – rendered both her presence and her mother’s all the more bittersweet.

  Ultimately, The Last Jedi is a successful-but-frustrating mess, which is kind of how you know it’s a Star Wars movie. I’ll be forever angry at the carelessness with which Rian Johnson treated Poe Dameron and Vice-Admiral Holdo, but even if I could’ve wished for a different plot structure, I’m always going to stan hard for Rose Tico, who was warm and kind and intelligent and who stole every scene she was in. LESS REN, MORE ROSE – that’s my new motto.

Here’s hoping that Episode IX delivers.

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