#me when long-term consequences for the character that they had no control over to begin with

[totaleclipse573]

I constantly think about Clip and the aftermath of the Starline Au. All. The. Time.

Specifically

The way he's constantly in a very painful in between of "I have to stay away from Shadow, he might kill me" and "I have to stay away from Shadow, I might kill him"

Either way, by technicality, even if Star wasn't able to use him for that ulterior motive to everything he did to Clip (no spoilers)

He still won. And unless the people around him can find some way to help Eclipse heal, that just doesn't change

[vaguely-concerned]

Random Assortment of Ghibli’s Howl’s Moving Castle Thoughts

Because I rewatched it today for the first time in many years and it’s one of those miraculous works that not only remaine as magical as I remembered it through childhood eyes, but if anything was even more magical as an adult and in more complex ways. I’ve finally got words for at least some of the things I was processing only subconsciously as a kid, so here we go. 

- The sneaky underlying theme of deeply flawed mother figures in this movie. Drives me nuts. The narrative doesn’t go out of its way to condemn these characters, it takes a characteristically phlegmatic nonjudgemental view of them, but it feels like this is low-key a stealth Mommy Issues story. (Making it go 🤝 with Dragon Age 2 in my head lol) Sophie’s mother does not seem to be consciously malicious but is intensely smotheringly self-absorbed and immature to the point where it has clearly been neglectful, and on the other side of the ‘Overly Permissive/Neglectful to Overly Authoritarian/Controlling’ scale of shitty parenting Suliman is controlling and invasive and heedless of boundaries. (Notice that her real complaint about Howl entering the contract with Calcifer and thus losing his heart seems to be that it means she can no longer control him and his grasp on magic, more than actual worry for him as a person. Her presence in his life is largely, ironically, paternalistic. She even frames it as something he blundered into incompetently — phrasing as him having had his heart stolen, rather than the mutual agreement we see Howl and Calcifer make even if they couldn’t know all the consequences it would have.) In the end Sophie breaks the circle by managing to be an engaged and responsive mother figure to Markl and making an actual home with the people closest to her. 

Interestingly Howl at his worst seems to be much more like Sophie’s mother than like Suliman — he leaves Markl to handle things he really shouldn’t have to alone all the time and is noted to barely be home anyway, in the beginning especially he’s flighty and vivacious and evasive (not to mention aggressively blond haha) in some of the same patterns we see her mom exhibit. Since Lettie is quite like their mother in terms of looks and sociability, we might infer that Sophie takes more after their father (including in choice of spouse lol). But crucially when the chips are down Howl is ready to protect Sophie and their home with his life rather than abandon her, in sharp contrast with her mother. I like that the movie doesn’t vilify Sophie’s mom for what she does, as such, it’s a pretty impossible position to be in for anyone… but it is just an extension of what she’s apparently been doing for a long time anyway, privileging other parts of her life and her own comfort over her daughter’s wellbeing and happiness. (Adds a certain spice and heartache to how scared Sophie is that Howl is going to leave them, too. And her fear that it would be because she’s fundamentally not good enough, beautiful enough, clever enough for anyone to choose her and stay with her. Ooof. Girl he’s been looking for you everywhere girl he thinks you’re the most beautiful thing in the world girl it’ll be okay)

- Relatedly: the unspeakably sinister vibes and implications of Suliman’s fucking… army of little Ersatz Howl page boys. When I was younger I sort of bought that he was just being a coward in refusing to go back, but honestly looking at all those kids with smiling empty eyes like painted marbles — you know what maybe it was good he got out of there when he did and in whatever way he could, huh. I don’t feel like there were wonderful things ahead here. Between that and the Witch of the Waste — who must have been much, much older than him when they seem to have sort of had a thing, since he seems to be like… mid-twenties-ish? at the time of the movie — there’s some really uncomfortable subtext going on if you want to read into it that way. I don’t think it’s the only way to read it by any means, but there’s something icky and clandestine sticking to Suliman’s whole deal that makes some form of grooming feel potentially relevant, especially taken along with the shame and fear that seems to cling to Howl around it and the recurring symbolism of him being stuck at a child state beneath it all — he slipped away from Suliman one day but never really grew up. (I’ll readily admit this is some fully Vibes based ramblings on my part, so YMMV on how convincingly you find this present in the text vs. how much is conjecture in my overthinking overheating noggin lmao)

- The fact that the first thing that allows Sophie to heal is to get to be angry — to finally get to say ‘this is all such absolute fucking bullshit *aggressively scrubs all the shit away about it*’. So much of her arc is about reclaiming the full spectrum of her emotions instead of having to make herself small, to prioritize her own inner experience and expressiveness above the need to be acceptable or pleasing to someone else's gaze. It’s not doing quite the same thing as the book in this regard (which if memory serves does more complex work around societal dynamics around gender and sexuality and aging vs. the more internal personal approach the film takes), but what it is doing is very interesting in its own right. The castle being a space (a home!!!) where all the inhabitants can eventually express themselves freely, including Howl dropping the uncannily imperturbable smiling facade to show the sad wet pathetic drama queen beneath (deeply affectionate) and Markl just getting to be a kid running around having fun. And Sophie makes that home for everyone possible by being herself unfiltered for the first time in her life. What the fuck I’m not crying don’t look at me — 

- The little one-room cottage in the fields being the forerunner to the castle… 

- Something so pleasing about the irony that Howl is said to eat hearts when really he seems to have basically had to tear his own heart out and set it on fire to keep it safe. And then after people have tried to get their hands on it to possess it (the Witch) or dictate how he uses it and who he gives it to (Suliman) for the whole movie, Sophie gives it back to him without a thought at the end; it’s more important to her for him to be whole than to own his heart. Hmnngh. (also so funny that the first thing he does upon waking up is plaintively whining about it fhdasj. Yeah having feelings again can take a person like that) 

- Howl’s bad dye job freakout is still very funny and silly, of course, never change you giant drama queen slime the place down, but there’s something about the fact that he’s apparently been dyeing his hair the colour Suliman seems to favor/uses to mark ‘her people’ all this time even when he hasn’t been able to face her, especially since the flashback shows black is his natural hair colour, and how badly it freaks him out to not meet that standard anymore… Huh. Hm.Hah.

(This time I actually wondered to myself if part of the reason he made the deal with Calcifer was to be able to get away from her and the plans she had for his life (and that he clearly would have hated, if their fundamental philosophical disagreement about warfare is any indication!). I think it says some very sad things that his happiest childhood memory is of a secret place where he got to be entirely alone because it was the only place he felt safe. Howl’s Moving Giant Coping Mechanism Metaphor. You see the castle is the Flight response made. Well not flesh. Timber, I guess. The Flight response made timber. In this essay I will etc.)   

- It hurts me that Howl brings Sophie’s old bedroom into the castle. He wanted so badly to make her happy and he seems to assume that because his memory of childhood solitude is a… if not happy then comforting thing to him, it would be for her too. But to her that’s just a reminder of the stagnancy and loneliness and… indignity? of her life before, and makes her feel like he’s treating her like a housekeeper, relegating her to that tiny room all over again, unwanted and ignored. Augh. At least she seems to understand what he meant to do for her when he shows her the meadow, though, and he doesn’t stop trying to communicate it to her even though his gesture didn’t land the way he’d hoped at first. This movie is so quietly kind about people trying to learn how to understand and love each other. Everyone is allowed to stay at the castle in all their imperfections, even the Witch. 

- Something something the Witch curses Sophie with not being able to tell anyone what’s happened to her… and in the end that doesn’t even really matter because the people around her either grow to understand without having to be told by actually paying attention to her (like Howl) or just accept her exactly as she is anyway, age yo-yoing and all, no questions asked (like Markl). And in the same way Sophie immediately recognizes Howl in his monster form and isn’t afraid of him even when he tells her it’s too late. Suliman warning her about ‘what he really is’ and Sophie immediately hugging him in his full monster form because he came home and that’s all that matters to her. Howl thinks her white hair is the most beautiful thing in the world and worth coming back to the world fully for. Sobbing. 

- The implication that part of the reason Calcifer wants out of the contract (other than just being stuck in the hearth of a place slowly falling into depressing disrepair and neglect around him) is that he’s genuinely terrified of what Howl is doing to himself. There’s something kind of sad and very funny about that. What if you went into a deal with a demon and the demon had to keep telling you ‘uh. Uh bro that’s kind of fucked up you know that right. Hey are you listening to me you’re molting monster feathers onto the carpet Sophie is gonna LOSE IT and don’t come crying to me when she does’. I wonder what would have happened to Howl’s heart if he turned completely — it seems that their contract has kept it safe and unchanged in every other way, if frozen in time, so presumably it would just… keep going the same way? (Calcifer telling Sophie that ‘it’s still the heart of a child’ got me so bad this time around. Bawling all over the place haha.) The idea of being stuck burning around a homeless heart forever is — well Calcifer I guess I get where you’re coming from here

- Of interest only to a very few people, I suppose, but the Norwegian dub of this movie fucking rules, I’m glad to find my childhood self was right about that. Calcifer is so cute in it it almost makes me dizzy sometimes, Aksel Hennie went ham on this one. Also an incredibly calming and charming performance for Howl — whenever I hear the English dub I just start laughing b/c like uh okay that’s Batman, takes me right out every time, that is not my lil guy fhsakjd. (I suspect his characterization is a bit different and softer in Norwegian too, just from the differences in translation I’ve seen?) 

- The first time Howl takes Sophie flying he holds her hand through it the entire time and guides her, the second time he takes her flying he lets her steer the flying machine for a while under his supervision before he goes off to make the distraction (there’s something so sweet about it as much as he’s being a little shit about it, honestly, he believes in her in such a quiet undramatic way even as she’s freaking out), and then after walking away from Howl’s childhood memory she walk-flies confidently on her own exactly like he showed her at the beginning. At the end the whole castle flies, with all of them safe and comfortable within it. Thoughts. Feels. Agony.

- There’s something so… weirdly achingly beautiful about the non-linearity of love in this movie. To properly meet each other as themselves here and now, Sophie and Howl have to flicker through polar opposite ends of life where they’re both stuck: old age and calcified (ahaha) childhood, resigned depression and overwhelmed fear. The promise Sophie makes at the end that is the beginning for Howl and probably kept him going in the meantime — love and a feeling of home that echoes even through the part of your life when it wasn’t there yet, love as hope. He finds her in the future, she finds him in the past, their hearts call to each other across time and space and they both work so hard to be able to actually meet in the now. The castle is kind of a wheezing overwrought monstrosity, the result of having to keep your heart outside of yourself and be constantly running from everything… but how can you begrudge it for it, when it works so doggedly to keep you and all you love safe while you look for that home? (To me Calcifer is basically a metaphor for dissociation, for what it’s worth, and he always has been)

TL;DR One of my fave movies of all times and touches me to the soul, I can't help but be distressingly earnest about it

[aegonbeingfakeisracist]

hi!

Can you talk more about Arianne and Daemon ? Seriously they are my favorite couple I even have a headcanon that Arianne will be pregnant with Daemon I mean it's more a parallel with Asha's possible pregnancy (pairs between Martells and greyjoys) and Daemons are so fertile hahahaha (Daemon Targaryan Daemon Blackfire) even begin another family but Martin chose the same name and Daemon Sand's father has twins in addition to him...

Anyway I don't see any chance of marriage/ engagement or Arianne's love interest in Aegon it just won't be happening,I see them having a friendship relationship and a strengthening of the family bond , with Ari being a guide for his cousin ( so much potential). This is a bullshit she doesn't want to be queen but Dorne anda her father love. I just want Arianne to be able to be happy white someone who respects her and see her more than just a pretty body and face, and Daemon strikes me as perfect.

I really don't want Arianne to be pregnant because it seems to me like needless drama and just all around bad timing – she's serving as an envoy. There's a war going on. And I feel like her words to Elia kind of apply to her, as well – kiss all the boys you want when you're home in Dorne, but this is so not the time. Sure, she propositions Daemon, but she didn't actually sleep with him. Also, Arianne canonically uses moon tea for birth control. So I'm hopeful there will be no baby unless she lives to the end of the series.

But I think her relationship with Daemon is just so unique in terms of all the relationships we see in the series – they were children doing this entirely on their terms. They were the same age. They just liked each other, and so engaged in a relationship without fear over consequences.

I think in recent years, there's been a weird rise in people forgetting that tropes are tools and not fundamentally good or bad. One of the ways this manifests in particular is hating "childhood friends to lovers" or people winding up with their first love. I don't have hard stances on the kind of relationships in fiction I find interesting or boring. Mostly for me, it's contextual – what is compelling in ASOIAF to me is not the same as what's compelling in another work. And while I certainly agree that there are situations in which a childhood friends to lovers angle may be boring, I think in the ASOIAF context, Arianne and Daemon's childhood sweethearts angle is actually extremely compelling.

For a start, this isn't a people-staying-with-their-middle school-boyfriend-forever scenario. It's the fact Arianne and Daemon had a relationship, broke up, lived near a decade having separate lives with Arianne certainly having other relationships and Daemon probably also doing the same, and are potentially coming back together.

For another, I really, really like what Arianne/Daemon would mean for Arianne as a character. I've said before that she's my favourite ASOIAF character. But even outside of my own personal bias, think about the type of fics that get written about her. It's hard to identify this for certain, because AO3 tagging is just so messy, and navigating through Arianne's tag is a lost cause, but mostly, fic!Arianne is just three sliders of stupidity, horniness, and ambition. Which is just so, so not book Arianne, at all.

Arianne is unique amongst the most important female characters of ASOIAF. She's is not the heir presumptive, she's the heir apparent. Dorne will be hers. And she is a descendant of Nymeria, the most recent in a long line of rulers of Dorne. Her family is central to Dorne's cultural memory, as it was Nymeria and Mors that turned the collection of states into a unified nation. So unlike, say, the Tyrells or Freys, who determinedly pursue these grand matches in a way of compensating for their relatively recent history, Arianne...doesn't really need to do that? Like, she can just marry a bannerman and it would be totally fine.

Furthermore, Arianne clearly has more rights of refusal than most women, and she is not shy about using them - these are real rights she has. I can imagine her feeling more pressure to accept if offered a candidate that wasn't clearly a joke, but given the setting, this is true for everyone. The fact remains, Arianne has options, and since she's going to be a ruling princess, those options are broad.

But despite all of this, her marital prospects are a huge theme. Doran offers her elderly suitors. Daemon and Drey wanted to marry her. There was an entire marriage pact that no one bothered to tell her about. Arianne intends on bartering her own hand, and thinks about how whoever she weds would rule Dorne by her side.

How does all this connect to Daemon? Because he's a nobody. Okay, sure, that's a little extreme – he's a knight, the son of an important lord, and the former squire of a prince. But even though that is the case, he is still a bastard. His father has at least two legitimate children. This isn't a case like Ellaria, in which the set up makes it extremely reasonable to think that her father's land and title will one day fall to her and her daughters - Daemon will not inherit anything. Meaning if Arianne were to marry him, or even just obviously choose him as her partner without a marriage? It would be for her.

There might be some political benefits, given that Daemon is clearly on good terms with his father, but very indirectly, and not nearly to the extent that would be the case with other marital candidates. It cannot be considered anything resembling a political move. So Arianne choosing Daemon would be her taking control over her life, making the choices she wants, for her. It would be her choosing a Dornish spouse that has ties to her family beyond just her alone. It would be her in a position where she can safely choose to make her life with a person that she loves, that isn't the best political choice.

It would be her choosing someone that is deeply, fundamentally tied to Dorne - not just because he's Dornish, but because he is a bastard, because he was once a child in the Water Gardens, because he attended the feast for Balon Swann and did not drink upon the toast to Tommen. Arianne drank. Doran drank. But Daemon did not. Daemon is clearly still in love with Arianne. There is a reason their relationship was never the same after Doran rejected him for her. He loves her enough to serve as her sworn shield and beg her to allow him to go into a dangerous situation in her place. But he has his own mind, and his own beliefs, and his Dornish identity is a big part of that.

We've seen very little of Daemon. But from what we have, he sees Arianne in a way that few do. Doran didn't understand what was going on with her at all. Arys and Areo both clearly had images of her in their heads that didn't quite align with reality. But Daemon, despite their relationship having never recovered fully and despite Doran being so much like Arianne that one would really think he should understand her more than he does, gets her more than anyone else. He understands the strained relationship with Quentyn and that Arianne maybe isn't so desperate to have her little brother return. He sees bits of Arianne in Elia. He literally finishes some of her sentences.

Of all the people Arianne could ever engage in a relationship with, I think Daemon, more than any other character, represents her making her own choices and coming into her own as the ruling princess of Dorne.

[z0ruas]

I'm nervous to share this but I need to get better at it. In March this year my therapist diagnosed me with OSDD - otherwise specified dissociative disorder - or one of the variations under the umbrella of what used to be called multiple personality disorder. I didn't know my undiagnosed autism in early childhood could become something this advanced, and I can never find out what trauma exactly caused it because 1) that's the nature of the disorder and 2) my parents who homeschooled/abused me will never help me remember. My best guess is CSA that they tried to cover up and it should bother me more to share that but despite having been a walking billboard of the symptoms at times I don't recall the trauma itself whatsoever so whatever, just the rituals I used to do to try to get out of any more of it happening I guess. Telling my therapist that as a child I stopped bathing for days at a time and don't remember when it started and to this day I'm still mysteriously horrified of the shower tipped her off to my dissociation being highly abnormal

"DID is a dissociative trauma disorder in which a survivor has undergone longterm, repeated trauma in early childhood. This trauma, combined with other factors, results in a rather dramatic interruption of psychological development -- particularly as it pertains to identity. Through a process known as dissociation, this thwarted development results in "differentiated self-states" (also known as alters/parts) who may each think, act, and feel considerably different from one another. These parts of the mind - who may have their own name, age and personality - are able to take executive control of the body, leaving the survivor without any awareness for the time they were gone. These amnesic gaps in memory can be for just a few moments, a few days, or even entire chunks of one's childhood. The alters in a DID mind exist to help the survivor cope with deeply painful and unconscionable trauma, holding it outside their awareness to the best of their ability. However, often once the survivor begins to find safety and/or enter adulthood, this once supremely creative and protective mechanism can turn into a maladaptive trait causing real life consequences."

I'm not sure if I count as fully DID because of my likely low end alter count, which I'll explain, and because how my amnesia works. I want to say I am because I don't remember anything before the age of 7 and didn't know until recently that not everyone forgets early childhood that hard, lately everything before age 13 is on its way out too and I'm gathering that the degree of my short and long term memory loss are pretty severe during times of stress, but I don't currently have blackouts or alters who keep each other out of consciousness to "take over" and are damned to keep secrets from each other, so I don't know. It feels more like they just filter themselves through me, like we're all living the same life but just deal with it and feel about it different ways.

They've written a lot of notes/journals to me over the years, so as an adult as long as I check those I usually remember what they do and feel generally and don't ever wake up like "where the fuck am I," but in the past I mistook them for fictional characters or "intrusive inner monologue" that conflicted with "me," because I didn't know what this was. With more therapy and introspection I've figured that 20+ years ago I once had alters who I can't remember anymore who took a lot of memory away whenever it was they "left"/I no longer needed them.

Turns out even if I hadn't decided to formally learn creative writing I would've been coming up with other people in my head to cope anyway. Kinda puts a damper on the last decade I've spent as a writer or so I thought. Similar to the ablutophobia I don't recall when exactly I started coming up with and illustrating stories, just that I seemed to be able to and I needed to do it as much as possible.

Without prodding off the top of my head I only have two clear memories of being 7, I don't know when they are and they aren't reels of continuous moments more than they are snapshots of just having been there, but I can still see what the rooms looked like when I was in them: 1) playing Pokemon Yellow in my bedroom for the first time and 2) sitting down at the brick computer in my parents' bedroom to write my first word document story.

I say my alter count is likely to be low (but I can't be sure until I get a therapist who specializes in this disorder, mine only does in autism) because I, the host of this blog and normally my brain/body, used to feel like a singlet (someone without DID) and was long unaware of what this disorder was besides the name of it, so we didn't have a naming or recognition method for alters for 20+ years. The way its portrayed in media and online I see a lot of systems with drastically individualized members, but a lot of mine are just "me but with certain emotions dialed up" "me slightly to the left or right" "me at 13" "me when I've suddenly forgotten x important thing again"

Like the autism this is definitely one of those things I needed to know about myself decades sooner, but unlike the autism which I was #bornwith this feels like something I need to apologize for, despite not having the language or knowledge to express how it felt and despite not remembering why I started doing it.

If I'd been able to always express myself as a "we," if I'd known, I wouldn't have hidden this from people, so that I can get better. Whether that be through "final fusion" (all alters becoming one) or "functional multiplicity" (less alters becoming as few as possible) I plan on healing as much as possible despite no longer being able to recover all the pieces of my puzzle

[welcome-to-oslov]

One thing that keeps me hooked is how Tilrey's growth/healing journey/setbacks/etc are woven throughout the saga, and central to it.

Unfortunately when something really traumatic & ongoing happens to you at such a young age, you definitely spend time re-facing it/re-facing yourself at every stage: in your 20s, your 30s, your 40s, in your friend/family/lover/colleague relationships, when you become a parent, as you build career, when you see yourself reflected in others, etc.

The recent ask about how Tilrey told himself at the beginning that "he'd made his choice" (which he implied no one but a worthless person would do, so he must be - devastating indeed, and you would subconsciously carry that with you) really struck a chord. And how you've said that in Oslov Unraveled one thing he must finally figure out (and overcome) why he's so uncomfortable claiming power.

What do you think are some of the most pivotal moments of growth/healing/self-knowledge Tilrey's had over the years - and some of the most pivotal setbacks to his healing/evolution? Or, if not most pivotal, what have been your favorites :)

I'm also dying to ask your thoughts of what you hope to see in Oslov Unraveled, but don't want to spoil it for ourselves - since you're the author 😅🙌

I have to think about this, because Tilrey has had such a long character arc across all the stories! I just started writing some “deleted scenes” from the very beginning, before the start of AtKoB, and I remembered something, which is that young Tilrey initially believes he’s “saving his sector” when he goes to Redda, because that’s what Supervisor Fernei told him to make him cooperate.

So that’s where his arc starts: naively believing that every trauma he experiences is for a good cause. When he starts suspecting that’s not the case, he also starts seeing his “choice” to cooperate as cowardly and bad.

I think this is a pattern he experiences over and over. Sometimes he thinks that everything he undergoes is in service of a higher cause, which gives him an incentive to be active, plan, scheme, fight. Then everything suddenly seems useless, and he feels powerless and falls into depression and self-hatred again.

He feels a sense of triumph every time he learns to exercise some control over a situation, even if it’s as bad as living with Malsha or Verán. But with Gersha, and then with the True Hearth, he finally starts to get some traction and find ways to have agency. He sees that he can do more than just survive.

The interrogation where Ranek Egil forces him to admit he was raped is a milestone, because he starts acknowledging that not everything was a “choice” as he once believed. He can realize he lacked agency in the past and still seek agency now. Reclaiming his sexuality and ability to feel love with Gersha is a milestone. Confronting Malsha and not being afraid of him anymore, same. After that, and reconciling with Gersha on his own terms, he’s ready to work with the rebellion and be a leader and not just a tool.

But throughout all these stages, he has moments of backsliding into self-hatred and feeling powerless. I think one problem is that he still doesn’t know how to express his anger except by turning it on himself. He does express some of it with Vera and Tollsha during the whole unexpected pregnancy debacle. But usually he uses sex, especially D/s, as a way to channel anger and aggression.

The character of Einara is sort of a shadow self who represents Tilrey’s anger and aggression to him. So when he asks her to hurt him, it’s therapeutic, but he’s still not fully facing those emotions.

I just reread the moment in Crosscurrents and Consequences where Tilrey says no to Besha for the first time. It may seem trivial, but it’s a big deal to him, the beginning of saying no more often. Years later, when Lindahl asks him for sex, he says no with zero apologies, and that one seemingly small no becomes a catalyst for the sequence of events leading to the revolution.

So: At the time of Unraveled, he has love and affection and support in his life, but he still struggles with forgiving himself, with expressing anger, with claiming the power he now has, with saying no. I don’t know if anyone ever entirely solves these problems, but he can still make progress.

One thing I want him to do is make peace with his angry, raging inner self, and I do have an idea for that. ☺️ Having sex with Einara helped him but didn’t really heal their conflict.

So anyway, I’m still thinking about these character arcs, but it’s great to have readers who understand how these issues recur cyclically throughout a person’s life and don’t just get “cured.” Thank you for the question! ❤️

[remypat]

Saw MoM tonight and let me be frank, it had the potential to be amazing but failed utterly. Having a fantastic cast, mind-blowing cameos, and stunning visuals means nothing when the storytelling flops. Read below for a spoiler induced rant.

There are a lot of things that I wanna talk about but its nearly 4am for me so I won't drag on.

To start off, I feel as though absolutely nothing has changed in the MCU excepted they tried to nerf Wanda. Stephen went through absolutely no character arc, they teased Evil!Dr.Strange but didn't fully deliver the way one twenty minute long episode of What if? did, which is to say, that is a bit ridiculous. In What if? he learns that no where in the multiverse will he ever be with Christine no matter what lengths he goes through. He falls down a terribly dark path and sets himself up for utter doom but in MoM what did he learn or grow from? How different is the Dr.Strange from the end of the film to the Dr.Strange from the beginning of the film? How big of a threat did they want to paint Dr.Strange to be when the villain was Wanda? Which oh my gosh...i love Wanda but they just did her wrong. Did Sam Raimi even do his homework with Wandavision??? My dude totally ruined her character arc. She mind-controlled an entire town, realized the gravity of her mistakes, and came to terms with the consequences. When the people of Westview turned on her, she didn't grin and bear it, she understood just how badly she fucked up. She was grieving and let herself fall deep into her own pain. But she learns to live with it and becomes all the more powerful for it. MoM shows us the contrary. Here she isn't over it. Here she shows no remorse for some reason even though she spent all of Wandavision trying to live with a guilty conscience. It was a cheap take at wanting to make her a villain. It was just not it.

Then there was the horror aspect of it all. I don't care much for horror and I can appreciate it but for a movie about superheroes, wizards, and witches, it fell flat. Of course it being an MCU film, the graphics were great but jumpscares and cheesy horror one-liners just didn't do it for me.

okay, I'm not all bitter. The cast was great. Both Benedicts were incredible as always. Xochitl was amazing even though I still don't feel like we got to know her character all too well. America Chavez still feels rather unknown to me. Not to mention we got the Fantastic 4 and the X-Men finally thrown into the MCU. It was brief, so incredibly brief, but I hope that it's not a cheap take to get our hopes up high.

All in all the film could have been much worse but it held the potential to be much better. Hopefully i don't anger any insane Marvel fans because I too am an insane Marvel fan and I was just heavily disappointed with the movie.

Anywho time for me to sleep..

[todayimgonnaplay]

Today I'm Gonna Play: Red Dead Redemption 2

To be honest, I'm a GTA fan (yes I'm also excited for 6). I had 0 intention of ever playing the Red Dead series as I'm not into the Wild West, but I copped it on a whim a few years ago. Did this game change my mind about the setting? Let's find out. Spoiler: It kind of did.

This game is massive. Like REALLY massive. Both in the game world, mechanics and even the storage space. There's so much to do that you could either get excited by it all and want to try everything out, or get overwhelmed. I initially felt the former and then the latter after the novelty wore out, which made me focus on story mode after the first 10 hours of my playthrough or so. I also went on and off with this game due to performance issues but got it fixed down the lane. But anyways, this world is definitely a lot more alive than I expected. The biggest feature that got me was that you could interact with NPCs. Greet them, antagonize them, defuse the situation or rile it up even more.. I can't think of any other game that does that. And what surprised me even more were the random events. I enjoyed doing them in GTA V since a couple of the dialogue were just absolutely nuts, but RDR 2 takes it up a notch in a different way. Your actions ACTUALLY have consequences. I've had NPCs remember me for saving them, or see their life turned around (didn't experiment with being a jerk to them) which made them feel like real people. I've been in situations where it was too late to get to them, and all I was left with was a brutal, grim silence and a sense of mourning. I still remember when I was crossing by a mountain during the night, and came across a man being attacked by a wolf from afar. He was screaming in a foreign language (assuming Spanish), and I tried to aim at the wolf, but I was too late. That moment has been haunting me since then. Another great aspect is probably the elephant in the room, the story. Admittedly with my lack of interest in this kind of setting, I wasn't too hooked in the beginning. Didn't care much about the characters or even the protagonist. I'm so happy to say I was proven wrong by the second half when everything started to pick up. I don't think I've seen a better protagonist than Arthur Morgan, nor did I realize the significance of his journey and how much of an impact he can make around him based on what you do. Rockstar somehow managed to create an anti-hero so ruthless (in terms of what he does) yet so emotional. He's a great example of being imperfect, but yet tries to be better with any means possible. Arthur is one of those protagonists that I would remember for a long time, like a friend. However, I do have some nitpicks about the game. As detailed and impressive this game is, it does have some complex controls. For PC players, playing this on keyboard would be an absolute nightmare with the amount of actions in this game (but if you do play this on keyboard comfortably, hats off to you!). It seems like a game that's better designed for controllers. Even apart from multiple controls, there were times where the controls themselves were a little rough. Many times I've accidentally knocked over someone simply because the game couldn't stop me in time, or I take about 5 seconds to try to do something specific with my horse because I'm not lined up properly to trigger the action. It's a bit of a weird downgrade from previous Rockstar games.

And although this game enourages you to take it slow, there were times where I just really wanted to get to my destination asap. As much as the game is beautiful, it does give a bit of a sensory overload at times. In cases like this you would normally use fast travel, but this is only restricted to travelling from your camp (which is your base). So if you're in the middle of nowhere and far from your camp, good luck.

Nevertheless, this was the type of game that had me thinking a lot after playing. I also admittedly cried for an entire week, and no game or piece of media in general has made me cry for that long. I think it's worth trying it out even if cowboys or that particular time period are not your thing. You might end up liking it, or not. And they're both okay.

[amaranthineoceans]

Everything Weird About Deltarune!

Spoiler Warning for Undertale and Both Chapters of Deltarune! Really! I Literally Go Through Everything I Can Remember About Them!

This is a long post so get comfortable. Also note that my brain doesn't process thoughts into words very well so some of these might not be worded in the best way. :)

Deltarune. The first teaser chapter was released on October 31, 2018, and it came out of nowhere. We've all gone through this, but I'll try and go through every single painstaking detail I can remember. Feel free to reblog and add/correct things.

The weirdness begins right off the bat. The title is an anagram of UNDERTALE. We all know Toby likes to use anagrams when he wants to indirectly tell us when things are related, so it's no surprise that when you go to download DELTARUNE, it warns you that the game is designed for people who have played UNDERTALE. You think, "Cool, so it's a sequel? Or maybe a prequel? A different perspective of UNDERTALE perhaps?" You were wrong; so terribly, terribly wrong! I'll elaborate on this later.

Before you download the application, the terms of service that you must agree to beforehand reads simply and plainly, "You accept everything that will happen from now on." This detail was kinda brushed off in the beginning, because, hey, it's Toby Fox. He does weird stuff all the time. But even in the first chapter, it's apparent that the concept of choice, or more accurately, the lack of it, is a very present theme in the game. I would like to remind you that Toby has announced that there will be one ending in the game. One. I'll elaborate on this later.

The program (as in, what the game is called in your files) is named SURVEY PROGRAM. Why not just call it Deltarune like it is when you download chapter two?

The game launches you, without a title screen, without any setting adjustment options, straight into a reference to the theme of the entire franchise: the lack of choice. A strange formless voice guides you through "making a vessel", with what we know now as a fountain in the background. You have the option to make some very disturbing choices in this character creator, such as making its favorite flavor "pain" or expressing your feelings about it with options such as "fear" and "disgust." You name your "creation," tell the formless voice your name (which is different from your vessel's name) and watch as said formless voice muses over your name at an agonizing pace. It thanks you for your time and tells you that your wonderful creation, (cue music cutout and background removal) will now be discarded. "No one can choose who they are in this world." The screen slowly turns white as the voice says, "Your... name... is..."

It gets weirder. The next scene appears from the whiteness and showcases Toriel calling "Kris" out of bed. Kris' area of the room is very bare in contrast to the other side, which we later discover is Asriel's.

It's Toriel. Why is Toriel here?

Kris is kind of an anagram of Frisk (the protagonist of UNDERTALE) but without the F. I highly doubt this is a coincidence.

Speaking with Noelle is the only reason you can proceed (see what i did there?) while finding a partner in the classroom. This means you can't go through the 1st chapter without knowing who she is. Is it because of the Snowgrave route?

Ralsei is just suspicious to me. There's no way he was just waiting in that castle his whole life alone without some mental toil. So either he's insane or he wasn't alone the whole time. What happened? Is it related to how he can close his eyes and see what Susie is going through when she's apart from the party? Was he just watching everything? Is he related to the formless voice?

Susie's icon is the only one without color in the Dark World.

Jevil's fight is more difficult than Sans'.

Your actions have little consequence in the first chapter. If you choose to go genocide, the only difference in the ending is being run out of the kingdom, and this doesn't carry over to the next chapter. Again, lack of choice, people.

If at the end of chapter one, you walk around town, it's mentioned (notably by Noelle) that you're usually not this talkative. If you go to the hospital and speak with the receptionist, they mention that you used to play the piano in the corner. If you decide to attempt to play the said piano, an out-of-key bash can be heard and the receptionist comments on how you used to play beautifully. If you try this in chapter two, the result is the same. All this is confirmation that Kris is acting noticeably weird.

When you leave the Dark World and walk around town, you can find Sans. He "pretends" to recognize you, and if you tell him you recognize him, he tells you it's funny, considering that you two have never met before. He winks. I'm pretty sure he knows that the player is there.

The mention of Papyrus in both games, but the purposeful lack of him. Like he's avoiding you.

If you go upstairs while inside Asgore's flower shop, there are flowers in glass cases resembling his SOUL collection in UNDERTALE. There's a red flower.

You can't enter the church.

The clock in the storage closet shows a different time than all the others in the school.

If you go all the way south in town and into the woods, the music stops and you come across a rusty, double door is in a hill covered in crass. It's locked. If you go this way in chapter two, however, you watch a cutscene where you and susie happen to find Monster Kid from UNDERTALE (or someone resembling them) and an owl kid in front of the door. The owl kid is pressuring Monster Kid to (presumably) break inside, telling them that they don't want to be a wimp like Kris. Does this imply that Kris is connected to this strange door somehow?

The ending. You know what I'm talking about.

Did Kris actually rip out the SOUL (I say "the" because I'm not entirely sure it's Kris') and knife because they wanted to eat the pie? Did they only eat the pie because Toriel caught them?

Why did they look at the player? Are they sick of being controlled? Is that why they freaked out after the Spamton fight? (later)

Anyway, now we're at chapter two.

DELTARUNE Chapter Two was released on September 17th, 2021. 17. Entry Number 17. Sound familiar?

Asriel's part of the room is different from the last chapter. I don't think this means anything sinister, but I think it means Kris notices different things about the room as the story progresses. My theory is that it will become more sinister in each chapter.

Ralsei getting super excited to see Susie and Kris after a day. As in he has separation anxiety and it breaks my heart. not anything suspicious but it makes me sad so it's on the list.

Kris and Susie's rooms. Ralsei REALLY doesn't want them to leave. Seriously get this boy a therapist. Or a stuffed animal. SOMETHING.

Kris having to gather everything from the storage closet so that people appear in the Dark World????? Why??????????????? They had to do the same thing for the computer lab too.

The golden door. I don't trust it.

How/why the heck did Noelle and Berdley go into the Computer Lab Dark World? I don't see either of them just walking into pulsing void doors without Susie.

Apparently the knight has been gone for a bit and can corrupt people's minds? The king in the first chapter doesn't seem like he can be redeemed but Queen just seems,,, not bad, but a little crazy. I wonder what happened.

Then again, name ONE person in this franchise without trauma.

Spamton.

Horror doesn't bother me. Spamton? Spamton bothers me.

SPAMTON. ENOUGH SAID.

A Kromer is a type of hat invented in the '70s. Nobody named Mike is associated with it, that I can find.

SPAMPTON. HOW DO I EVEN DESCRIBE IT.

HIS SONG IS THE ONLY ONE WITH WORDS.

The way he asks Kris is they want to be a heart on a chain their whole life. Like, dude, no wonder they were screaming after the fight.

WHERE DID THE YELLOW HEART COME FROM. YELLOW MEANS JUSTICE. WHY DOES JUSTICE APPLY.

Kris screaming after the fight and the player not being able to hear it. Don't you dare tell me that's just how the game is designed. There are sound effects characters make throughout the game. None that I can think of apply to Kris, apart from when they rip their soul out.

Ralsei brushing off the Spamton fight. Either that's his coping mechanism or he was trying to shut Susie and Kris up to protect them from... something. I'll touch on that in a minute.

According to Queen, DETERMINATION is a key factor in creating a fountain.

Also according to Queen, Kris, Noelle, and Susie all have DETERMINATION SOULS.

Ralsei freaking out about Berdley making a fountain implies that he may also have DETERMINATION. Why I'm bringing all this up will make sense soon.

How was Noelle able to cast Snowgrave... a spell that she, according to her, didn't know?

The Snowgrave route is so twisted.

You manipulate Noelle into killing Berdley and then, when you get back to the computer lab and investigate his corpse, the text box says that he doesn't seem to be awake. As if you're in denial?

Burgerpants recognizes you. Not Kris. As in the player.

The ending. I don't think I need to describe it. Kris is very methodical without the SOUL. (I say "the" because, again, I'm not 100% convinced it's theirs.) I'm saying this about how they left clues that someone broke into the This proves that they are NOT a mindless, vengeful husk.

HOW DID THEY MAKE THE FOUNTAIN WITHOUT THE SOUL INSIDE OF THEM. DID THEY FEED THE SOUL TO IT AFTERWARDS? IS THAT WHAT THAT WAS?

Another point I would like to make is my theory that Ralsei knows much more than he would have us believe. I might put this into a different post because I have yet to gather my points into a coherent bullet point list, so keep an eye out for that.

Anyway apart from Toriel and Susie being VERY heavy sleepers, I think I've gone through everything. I have a few theories.

1. Kris is possessed by the player and figured out that they could make a fountain from Queen and related to Spamton freaking out about freedom. They then decided to make a fountain going by the logic that "this would tick the player off." This is one of my top theories that assumes that the SOUL is theirs.

And 2. Kris is possessed by both the player and the knight. I think the formless voice at the very beginning of the game is the knight, and they somehow needed the player to possess someone with DETERMINATION. If so, then why Kris? We know from Queen that Noelle and Susie, and maybe even Berdley also have DETERMINATION. The most plausible thing I can think of is the fact that human souls are stronger than monster ones.

I do think that the popular theory (about the one that suggests that the Dark Word is nothing but a figment of a child's imagination, and the events that occur in said Dark World are simply children playing with toys) has been thoroughly dashed due to Berdley's murder in the genocide route of the second chapter. Unless he's not dead. Regardless, how the events (or lack thereof) that occur in the second chapter play through the next will be interesting, especially considering Toby's announcement about how there will be one ending to the game. So either Berdley isn't dead, or he will be.

Aaaand I think that's it! Sorry for the long post; let me know your thoughts and if I missed anything!

[actualbird]

Oh god!

I really love the poly headcanons they are so sweet.... (or don't but that's part of it and i think the tot boys+MC deserve all the love the world has to give).

But, liking it or not, our 4 beloved boys are kinda complicated (that's what makes them perfect). Plus I never thought about how people get in poly relationships. So i was thinking, how do you think they all get into a polyrelationship together?

(I really have no idea of how that would happen)

hi, two anons!! im glad you guys liked my nxx team polycule stuff!! i'll answer these in one go, my "headcanon" (in quotes because i think this kinda turned into a character analysis/minific of sorts HAHA) being what first anon asked, How They Get Together.

heads up, wc of this is 1.9k words long so buckle up for a bit of a read jfsjdfkjbf

because first anon, youre right!!! the boys are stupendously complicated which i love so so much but canon has also shown us clearly that each of the boys' quirks and habits and tendencies causes a lot of (mostly played for laughs) friction. the bickering, the backhanded insults, the "im the best one here" preening contests. theyre all SOOOO RIDICULOUS and it is hilarious but yep! the boys r complex!! and that means this beautiful ship, imo, has a lot of phases to get to the actual romantic relationship bit.

how they get together, in my opinion, starts because of mc.

not in the sense that she matchmakes them all, but like.

phase 1 of the nxx team polycule is this:

through being in love with her (which we all know the boys 100% are), each of the boys come to terms with their own flaws and weaknesses. it's very apparent to me in all the story thus far that these boys are flawed as hell, it's very compelling but even more compelling to me is how all of them also do intense mental gymnastics to Not Confront Those Flaws. like, marius is a dickbag always teasing and toeing the line of insincerity, vyn is a controlling mf who always tries to sway situations to his benefit, artem is so repressed to the point that he has genuine trouble with emotions, luke is a self sacrificial bastard and also a huge hypocrite about how no, actually, hes the only one that should be hiding his pain and being dishonest, no dishonesty from other people!! in the beginning of the story, all the boys have their flaws and seem to have just kinda...not addressed how those flaws are harming them and the people around them.

and then mc rolls around and they all fall in love with her. and she sees those flaws and she doesnt let them slide. she challenges the boys in her own ways to see another side of the situation, to acknowledge what theyre doing. she doesnt want to get rid of flaws, thats impossible and also not cool. she just has this beautiful hope for like, all of humanity, that goodness can prevail with the right work. so when she sees her beloved nxx boys, she believes that for them as well.

which leads to phase 2 of the nxx team polycule:

the boys, more aware of themselves, become more aware of each other.

they werent Unaware of the others of course. it's just that they didnt like...truly connect on a personal level just yet. they saw the other teammembers with their emotional armor and flaws and saw a wall that wasnt worth looking past.

but after mc makes them realize that hey, flaws arent the end of the world actually, it's alright and the person behind them may just be worth it, the boys like. end up understanding the others. A LOT OF THIS BIT IS UNINTENTIONAL, ON THEIR PARTS KJDSBFS. like they stumble into understanding each other by accident, they didnt plan it, but over the course of nxx investigations, it's inevitable that they end up seeing the depths of the others. i delve into this a little bit in my fanfic "filler eps of the lost gold" where the boys are just going thru their actions and then trip over another boy's fears or desires and through that, gain a deeper understanding mutually.

and with understanding, sometimes, comes trust.

phase 3 of the nxx team polycule goes like this:

everybody in this team, whether they like it or not, whether they know it or not, has a heart that wants to give love so desperately.

marius lives in a world full of snakes so he cant have his heart on his sleeve for his own protection. vyn wants to be seen as perfect and the heart is inherently messy so he holds it back. artem for a very very long time was focused on work and success and achievement that he neglected his heart. and luke has been giving love all his life in a sense but in a way thats hidden.

all these tendencies that are brought upon their life circumstances results in this: they want to love honestly but they havent been able to do this

until mc. and all of them want to push back whatever fears or patterns their life has instilled in them because they see her and see somebody so unwaveringly good that all their hearts begin giving love to her to make her happy and to make themselves happy as well.

but heres the thing. the boys dont just see mc. by this point, they have connected and understood and come to trust each other as well, and the consequence of that is that They Can See Each Other Now Too, Truly.

and heres the thing. all of the boys are unwaveringly good as well.

one by one, each of the boys realize that what they feel for the other boys in the team starts to...change. yeah theyre all friends, they pick on each other a lot of the time, but the bedrock of the relationship is solid and strong now. but when marius is with luke, marius sees a light inside of luke so bright that he seems unaware that he gives off. when artem is with vyn, artem sees a goodness inside of vyn that hesitates to make itself obvious and known because vyn is scared of getting hurt thanks to it. all of them see the other and their goodness and, unbidden, their hearts want to give love to each other as well.

and because theyre all a bit stupid in their own way theyre like, huh, weird! wonder why this feeling is so familiar! and yet i cant seem to name it...and then they all independently compare these feeling with the feelings they have for mc, a feeling they do know the name of, and theyre like.

WAIT.

THESE FEELINGS ARE...VERY BASICALLY EXACTLY WHAT I FEEL FOR MC.

which only means one thing: theyve fallen in love with everybody else

marius: //goes to his studio to Think and sees that a bunch of his recent art actually had little crumbs of these feelings already, etched into the brushstrokes and scenes. has an emotional crisis about it

vyn: //records a 1 hour long entry in his audio diary to examine and gain control of his feelings but by the end of the hour all he knows is that he wants to hold these people and be held by them

artem: //quite literally just bluescreens, artem.exe has stopped working, sits at his study and slowly, slowly, thunks his head down onto his desk, valiantly trying to ignore the fast pulse of his heart

luke: //manically vents about it to peanut who, by virtue of being a bird, doesnt get it. just keeps talking at peanut to get a grasp of it all and then lies down on the floor, overwhelmed

mc, sitting in her apartment watching some netflix: ...why do i inexplicably feel as if something very, very important has just happened?

phase 4 of the nxx team polycule is basically:

pining: extreme difficulty level

because pining is already hard when ur pining for one person. what more for an additional 3 more people. and those additional 3 more people are pining back.

and all these boys are SOOOO OBVIOUS with their romantic feelings, in their own special way. the way they show their affection to mc starts to bleed into their interactions with the others and everybody can CLEARLY SEE WHAT IS GOING ON, LOL, but also all the boys are too chickenshit to confront it, because if they confront it, what will even happen??? being in love with each other, all of them, thats going to be such a complicated fucking relationship, holy shit. it's 2030, yeah, being a polyamorous group relationship isnt completely unheard of, but sue them, theyre scared.

but mc (who i forgot to mention already knows of the boys' romantic feelings for her, shes just hasnt made a move yet on any of them because SHES IN LOVE WITH ALL OF THEM AS WELL and shes been trying to figure out how the hell to make that work, she cant bear to choose just one of them, she'd be heartbroken over leaving the rest of them behind) sees that the nxx investigation team is now all pining for each other FULLY and she kinda wants to laugh when she realizes whats going on because like, what are the chances? that this would happen? that they all found each other and their feelings fell into just the right place for nobody to be left behind?

theyre all scared, she can tell. and she is as well, she wont lie.

but shes always had a belief that goodness can prevail with the right work.

and love is one of the greatest goods out there.

phase 5 of the nxx team polycule:

It's Time For Communication, Baby!!!!!

the exact scenes of how this happens is a bit vague to me. it could go two ways: mc going to each of the boys independently to talk about feelings, hers about everybodys and his about everybodys as well. OR they have a fucking meeting about it all together and artem literally schedules it in his google calendar, or something.

either way, they like, actually talk about this. starts casual, maybe over a chill date, maybe over dinner at a nice restaurant, maybe over a walk in the park as the sun is starting to set. but where ever it happens, the end result is the same: a heart is laid out bare and it is taken in gentle, grateful hands.

marius: OKAY, NOW THAT THE FEELINGS ARE OUT OF THE WAY, CAN I PLEASE KISS ONE OR ALL OF YOU, PLEASE, IVE BEEN WANTING TO KISS U GUYS FOR FOREVER

vyn, laughing fondly: has anybody ever told you patience is a virtue? we quite literally just talked it all out.

marius: //needy whining noises

artem, embarrassed: ive...never kissed anybody before

luke, embarrassed but trying to play it Cool: ....same here

mc: kissing is great, you two will love it!

marius: awesome, awesome, so is ANYBODY going to give me a go ahead or WHAT????

phase 6 of the nxx team polycule:

i dont want to say it's happily ever after, once they all get together. thats not really realistic.

they all have their quirks and tendencies and habits. and those will inevitable clash against each other. theyll have their arguments, theyll get upset, theyll sulk and be angry, sometimes. but also...

theyll see each other smile and feel like their love shining so brightly. theyll reach out for another's hand and be held in such a way that makes them think that their heart is in a safe place. theyll love each other and theyll put in the work to continue loving each other. because goodness will prevail.

and they all see each other as the most good people in the world.

so whatever happens, theyll get through it together.

[aminiatureworld]

Damocles

Characters: Zhongli, fm!reader

Word Count: 3,211

Warnings: Hanahaki disease – depictions of a fictional illness with symptoms mimicking tuberculosis, mentions of coughing up blood, talking a lot about death

Premise: In which the reader thinks Zhongli doesn’t reciprocate their feelings, and fears the consequences.

Author’s Note: Ngl, I don’t think I’ve ever really heard about this trope before, except maybe in passing. So if it’s a little weird that’s why.

I ended up taking the story in a bit of a macabre direction. Hopefully not too melodramatic, but I kinda like how it turned out.

Zhongli

“Thank you for telling me, but I’m afraid I cannot return your feelings. I’m sorry to be a disappointment.”

 In truth you couldn’t decide whether or not you had expected your feelings to be returned. You and Zhongli had been friends for years now, and you had grown closer to him than you had to most of your previous friends and acquaintances. Indeed, you had grown closer to him than you had to many of the people you’d been in previous relationships in. You called upon him in some form almost every day, whether it be to discuss something of importance or simply bask in his presence. When there was something new you found about, whether it be a story in a book or a particularly funky looking shell, you almost immediately sought out Zhongli to share your find with.

For Zhongli’s part, he also liked to share experiences with you. At the very least you couldn’t say that your friendship was one sided. He often would be the one to walk up to you on the street, a new brand of tea written down on a piece of paper in his pocket, or a location where one could find particularly beautiful glaze lilies on his lips. He never seemed to mind when you peppered him with endless questions, or talked his ear off about your own day; something which you often asked if he found annoying. No, you were very sure that Zhongli wasn’t simply spending time with you out of pity.

In truth it was your friends who guessed the trajectory of your personal feelings before you did. Though you often found their poking and prodding intensely irritating, they had the common sense to keep the questions to a minimum – perhaps in hope their silence might guarantee that your affections would reveal themselves naturally one day. Now though you had to admit they had been right. You had fallen for Zhongli how long ago? It seemed so difficult to say when, so gradually had your feelings changed from viewing him as a confidante to viewing him as something more. Once you had finally come to terms with it you’d put off revealing your feelings as long as possible.

It wasn’t just the chance of rejection, something that would already cause emotions to run high. You had seen what sort of disease could ravage those who were unlucky in love. One of your own friends had suffered from such a disease, a fellow member of the Liyue Qixing had died from such a thing only a few months ago.

It was a terrible disease, everyone at least could agree about that. The origins of such an unfathomable sickness was much less understood. Most saw it as a curse from the gods, a punishment to the humans who would love a fellow mortal more than those who ruled above them, who gave their protection, their mercy, and their gifts to the people below. Others argued that it was simply a result of stress, for what heart could take the shock of a truly deep rejection. A rare parasite, a curse from malevolent demons, all these theories made little difference when it came to the actual disease. You were fairly sure anyways that people dying of it couldn’t care less why it happened, only that it was happening to them.

First came the coughing, easy enough to ignore in a land where the common cold truly lived up to its name. Then you couldn’t run as fast or as far as you had once, at least on the days were you weren’t fighting off crippling fatigue – the night sweats doing little to help you in your desperate need for rest. Then the fever set in, then the blood that stained the porcelain sink. By the time the first few petals would appear emaciation would already begin to claim your muscle mass and the precious body fat that kept you alive. Some people didn’t even get to the point of regurgitating fully formed flowers. Those people were usually considered lucky, for when one must deal with an incurable disease, well, surely it is better to go sooner rather than later.

You wouldn’t lie and say that wasn’t one of the reasons it took you so long to confess. After all, what you don’t know won’t kill you, right? You weren’t actually sure about that, but it sounded right in your mind, regardless of its actual veracity. However, as with most people in love, you’d found a growing recklessness inside you, paired with the sudden desperation for a happiness which you would certainly never obtain at this rate. So you’d made up your mind to tell him, deciding that perhaps the certainty would be better than the ever growing cloud of anxiety that surrounded your thoughts.

Now you’d been rejected. You had to admit that your first reaction was utter panic, the distinct feeling of having made a terrible sort of mistake. Oh sure, your feelings were undeniably hurt, but that was less important than the virtual death sentence you’d been handed. Why oh why had you decided to do this? The world seemed to swim in front of your for a moment, as simultaneously everything came into sharp focus and faded away into the recesses of your mind. What would you do now? There was nothing to do, you just had to wait for the inevitable, wait for the cold embrace of death to welcome you to its abode. You took deep breaths, trying to control yourself. Tears were forming in your eyes, but you knew that they weren’t from romantic distress. Ironically romance was the last thing in your mind right now.

“I, I see. Thank you for your honesty.”

It was all you could manage to make out. Turning around, head light from fear, you bolted down the streets of Liyue, desperate to be in your home, desperate to ignore the sword of Damocles that now hung dangerously low over your head.

 Zhongli watched you go, watched as you stumbled your way through the crowd that always packed the streets of Liyue in the daytime. He was fine, he was perfectly fine. He had seen it through, had done what he knew was right. There was no reason to regret. Surely the small stab of pain he felt was temporary, a pinprick compared to all that the ex-archon had suffered over the years.

Zhongli had suspected that a confession like this might’ve been on the horizon for quite some time now. Not that he was dreading it out of a personal inability to reciprocate. No, in his heart Zhongli already reciprocated your suspected feelings. He loved you, adored you even; within the stony heart that had atrophied over years of war, suffering, and personal duty, grew a love that Zhongli had not felt for a very long time. He cherished every moment with you, knowing that his long life would try to compress the memories that were so precious to them. Seeing you whenever he could, dragged out conversations as long as he possibly could, Zhongli was practically desperate for time with you. He was also intensely aware of how short that time would ultimately be.

How could Zhongli push the curse of loving an immortal being on you? For it truly was a curse, to both parties involved. His side was painful of course, the knowledge that your memory, you lifespan even, would slip through his fingers like grains of sand. He would always be wondering whether or not the two of you would be experiencing a “last”. Last visit to the sea, last time to climb up the Huaguang Stone Forest to watch the sunset together. Last, last, last. Always the shadow of death would hang over you, so palpable in Zhongli’s mind that he might almost reach out and grasp the gossamer veil that would eventually steal you away. Yes, it would be a truly painful experience. Not nearly as painful however as your own experience.

Zhongli had long ago come to the conclusion that mortals had no true concept of the passage of time. You were young now, the world was your oyster. Zhongli’s immortal status would be nothing more than a passing thought, an anomaly and nothing more. Then your 40th birthday would pass, then you 50th, then you 60th, 70th, 80th. By the time you reached the end of your life the difference between you and Zhongli would stretch out like a chasm between the two of you, something to never be reconciled, for the old rarely forgave the young for their youth. Not to mention the other scenario, the one that Zhongli would never allow the freedom to truly cloud his thoughts. Your death of old age would be a tragedy, the alternative a catastrophe.

He knew all this, had seen it time and time again. Zhongli was hardly the first immortal being to fall in love with a mortal, would not be the last. Adepti, archons, all walks of immortal life were drawn to humanity, drawn to the freedom that came with mortality. Humans did things because they died; they had no forcible tie to nature, no innate duty other than to themselves. Humans could be wicked or kind or cruel or merciful as they wished. To those who were chained by their destiny, well, there was something very anomalous in such a choice. Perhaps it was no surprise then that an immortal being would inevitable find themselves interacting with those supposedly below them. Perhaps it was no surprise that this often led to love.

All that being true, Zhongli still refused to give into his needless selfishness. He loved you, yes. Knowing that was enough. He wouldn’t push such a burden on you, wouldn’t cause you resentment or pain. It would be better if you thought that your feelings weren’t reciprocated, it would be less painful.

Nor would you have to worry about the curse to which many less lucky fell. Zhongli still loved you, still cherished you deeply. You would never have to worry about that, for archons and adepti do not move on from love the way humans do. Zhongli’s love for you would long outlast your lifespan, one which, the archon prayed, would be very long indeed.

Yes, everything had been handled well enough. Perhaps you would never wish to speak with him again, perhaps you would grow to resent him even, how quickly love can turn into hate. It didn’t matter though. Zhongli had shielded you from long, drawn-out suffering, and that was all that mattered. He should’ve been satisfied, should have felt relief. Instead however he only felt a great sadness pressing down, a sadness combined with the pain that accompanied a love that must never truly be realized.

 It had been nine days since you’d been rejected by Zhongli. Crossing off another square on the calendar which you had dug out of your old stationary you sighed. The nine days succeeding the encounter had been utter hell. At first you were convinced that the worst thing that could happen was the symptoms of the wretched illness showing up quickly, so convinced you were that the next day you would wake up with blood on your pillow. Soon however, you’d come to a completely different conclusion. There was nothing worse than waiting.

Every day was spent in the agony of anticipation, every day waiting for the coughing to begin, for the night sweats to begin ravaging your sleep, for the breathe to be stolen from your lungs. Yet every day you woke up with none of these things, though your fatigue was real enough.

You should have been relieved, should have been glad for the opportunity to live even a few more days. Yet instead of relief you only felt deep, unrelenting dread. You couldn’t bring yourself to do anything, so crippled were you by morbid anticipation.

Not that your thoughts were particularly worthwhile either. Perhaps it would be one thing if your ruminations had brought up something profound, something that you could write down in a book for your family or your friends. Though it still would be poor solace, well, at least it’d be something. But your thoughts had all turned to mush, replaced by a paranoia so strong it confined you to your bed most days.

You thought that the death sentence would in some way be freeing, that you might be able to recklessly throw yourself at all the things you had avoided out of fear for so long. Instead you found yourself depressed, waiting for an inevitable so terrifying you found yourself disconnecting from the people around you. What did it matter anyways? You’d be dead soon enough.

This gross neglect of your wellbeing was at least somewhat allayed by the routine that had been drilled into your body from so many years working for the Liyue Qixing. Though you didn’t go to work, something you were sure you were going to hear about eventually, you still dared to venture out to the market. At the very least you would eat your fill in good for before the end was nigh. No need to worry about your health after all. Besides, your definition of good food didn’t necessarily always align with completely unhealthy.

Walking through the familiar streets you stared at the people around you. How odd it was to see people so close you could touch them but so far they might as well have been in Inazuma. Was there anyone else here suffering like you were? Anyone who could understand the thoughts that now flooded your brain? You stared at the ground, trying not to think about it. You’d be confronted with these thoughts the minute you got home anyways. Might as well delay it a bit.

Turning to find the fishmonger you spied a familiar silhouette. Stopping in your tracks you stared unabashedly at Zhongli. The man seemed to be carrying himself much as ever, but the unapproachable atmosphere which he’d blanketed himself in seemed somewhat more prominent. Perhaps it was your imagination, he seemed to be talking to the butcher easily enough. Not that it was any of your business. Zhongli wasn’t any of your business anymore. It would be better if you could forget him, if you could erase this feeling in your heart that refused to go away. Even now Zhongli was beautiful. Even now you wished to run up to him, to hug him, to make pretend everything was right with the world. You couldn’t do that though. Just as you couldn’t forget him, you couldn’t love him. Not in the way you wanted. Turning away you trudged back home, good food utterly forgotten.

It was day eighteen since Zhongli had rejected you, and by now your emotions were running almost unbearably high. You’d sunk into an odd reverie of adrenaline, anxiety, and utter disbelief. What in the world was going on? This was a familiar illness to you, something that had almost claimed the life of your friend and had felled your coworker. You knew everything about symptoms, timeline, etc.; and what you knew was you were supposed to be falling ill ages ago. Eighteen days between the initial rejection and the beginning of symptoms? It was unheard of! You didn’t know what to think. Were the rumors about the gods true, had Zhongli imposed some divine protection on you for the sake of your friendship? Were you somehow a superhuman who had the white blood cell coding to defeat the bacteria that caused this disease? Why hadn’t your descent begun yet?

You lounged on the couch, having moved out of your bedroom on the thirteenth day, three days after the latest possible showing of symptoms. Though you still felt deeply afraid, you found that curiosity was a surprisingly good deterrent when it wanted to be. Your fears hadn’t disappeared, but mixed with them was a disbelief so great that you often found your thoughts drifting to questions of how rather than questions of when.

Of course your initial instinct had been to seek out Zhongli. Pride mixed with fear however had kept you firmly at home. Really what was the point in even seeking out the answer to your miraculous reprieve at this point? It wouldn’t really change the outcome. Instead you might as well enjoy this unexpected extension of your life. Besides, you didn’t want to tempt the fates a second time.

 Zhongli stood at the window of your first story apartment, a glaze lily in hand. He hadn’t meant to do this, but the urge refused to leave him.

He’d noticed you a few times at the market, face drawn, eyes empty. Zhongli wasn’t sure what exactly he was expecting, but certainly this wasn’t it. He knew you weren’t suffering from illness, your pace was strong, if slightly erratic, your general aura not that of the sick that Zhongli was all too familiar with. Why then did you look so terrible? The doubts that had plagued Zhongli began to rise again, jeering at the mistake he had made. He was supposed to protect you, right? Why then did you look as if you had experienced a total health collapse?

At first Zhongli tried to ignore it. You had not come to him for help, it was not his place to try and insert himself back in your life once more. The more he thought of you however, the more he found himself uneasy. He had to have some form of communication, some way to enquire about your health. At least one last time. If you explicitly rejected all forms of contact, well then Zhongli would leave. He would never defy your wishes in such a way. Until then however, he felt like he needed to ask.

The idea of walking up to your apartment and asking you was utterly off the table. Who knew how that might end? No, he wanted a subtler way. Glaze lilies had always been a favorite of yours, sneaking out into the evening to see them bloom even more so. He would simply leave one on your windowsill. If you took it, then he would enquire about your health. If you left it, well Zhongli would have his answer.

His hand trembled slightly as he stared at the windowsill, causing the gold ribbon tied around the lily to tremble slightly. At first Zhongli wanted only to give you the flower. He realized soon however that you might be confused, wondering if someone had not simply dropped a flower on your windowsill, or had the wind blown it there? The ribbon would hopefully clear things up. Even if it looked a little silly.

Slowly placing the flower down onto the open window Zhongli sighed. Turning around he did not dare spare a glance backwards. He would have his answer soon enough after all. Until then, well, there was no point in looking back.

 You exited from the kitchen, having finally felt the energy to make yourself that good food you’d been promising yourself. Going to look at the sunset you let out a soft gasp.

On your windowsill was a single glaze lily, wrapped in gold.

[danteinthedevildom]

Something I love about Obey Me is that, on the whole, for every trait a character has, they have another trait that actively counters it and thus makes them seem genuinely conflicting on a surface level, but wonderfully three dimensional on a deeper dive into their character.

E.g. People in the early-game sometimes think Diavolo comes across as a little two-faced, or that there’s something a little suspicious about him and the things he does - and I def. originally saw some theories (and when I first started playing, had some suspicions of my own) that he might end up being the real “villain” of the game. 

A lot of this stems from the fact that he seems genuinely friendly, open, and willing to spend time with the exchange students in casual, informal ways, but also has abilities and moments of power abuse that seem to completely diverge from the image of the smiling prince. 

Surely someone who does this is hiding something? Surely that carefree attitude is just a facade? It’s definitely the sort of twist you could expect with the character setup present in Diavolo.

But when you look at it, there’s a reason behind this duality that doesn’t actually fall into the usual tropes - and instead builds a much more interesting, well-rounded character. 

(Spoilers ahead, both for Lesson 16 and for the most recent Lessons, especially involving Diavolo’s childhood.)

For instance, how could he claim to see Lucifer as a friend when he has him bound by an Oath that puts an incredible power imbalance in their relationship, and stops him from speaking of it?

The answer is that he’s genuinely never had a friend in his entire long life that hasn’t had some form of reason to stay by his side. To Diavolo, the Oath was a way of ensuring Lucifer couldn’t leave - not a way of keeping control. He wanted Lucifer to be his friend, has been enamoured with him even since Lucifer was an angel, and took the opportunity to secure that friendship in the only way he knew how. 

Because Diavolo is pitifully lonely. Because Diavolo was raised in a way that left him incapable of making friends. Because Diavolo likely never would have been able to make a friend if he hadn’t tethered them to him. 

Does this make the Oath any better? No. He took advantage of a broken, freshly fallen angel, terrified of the fates of his siblings, and vowed him to silence and servitude in return for their lives. 

But does this mean that the Oath was inherently evil? No. At its core, the Oath was the act of a very lonely man realising he had a chance to secure the one thing he wanted more than anything. It was selfish, but not evil.

It does, however, show us the sort of extent Diavolo will go to get what he wants. He will leverage something over others if he thinks that’s what it takes. This is even reinforced by the truth of Barbatos’ servitude; that he treatened to refuse ascension to the throne if Barbatos didn’t stay. 

At the same time, it shows that what he wants, more often than not, is something harmless, if desperate. It’s often a desire for companionship that spurs him into dubious action. 

He’s very unlikely to abuse his power to genuinely hurt someone, but he may use his power in a way that has hurtful side effects.

Diavolo is aware that his actions had consequences, and feels guilt. He still isn’t confident that Lucifer and Barbatos genuinely want to stay with him or in his service, and he’s openly aware of the fact that Lucifer, at the very least, doesn’t see them being as close as he does. 

He doesn’t want to remove either of them from his service for fear that they really will leave him, but he’s aware that keeping them there potentially against their will isn’t conducive to healthy friendships. 

Diavolo has done dubious things for selfish reasons. This is undeniable. But those reasons are genuine and understandable, and something players can easily sympathise with. 

That’s the sort of thing you want for a well fleshed-out character; the ability to say “there was something inherently wrong in this action taken,” but also say “I can understand why he took the action, even if it was wrong”. 

I focused on Diavolo for this, but here’s another two points I can think of to further illustrate the point:

- Lucifer’s genuine love and care for his family constrasting against his prideful brutality and absolute loyalty to Diavolo above all else (e.g. how he can justify locking Belphie up in the attic. This was an act of love. The alternative was to hand Belphie over to Diavolo and let him face an unknown fate. By locking him up for the duration of the Exchange Programme, Lucifer was working to avoid being disloyal to Diavolo and being disloyal to his family. It was absolutely an imperfect solution. It absolutely had its flaws. It absolutely made things worse. But it was his way of keeping his youngest brother alive and allowing Diavolo’s dream to come to fruition. A dubious act founded in good intentions.)

- Satan’s kind thoughtfulness and amicable nature contrasting against his Wrath and how it affects his brothers (e.g., how he can switch between fretting over Beel’s mental health in one chat, to being so furious with him over his Gluttony that Beel actively goes into hiding in another. Satan is a character rife with stark dualities and his own frantic attempts to try and stitch together something whole. He’s not overly good at it. His Wrath often gets in the way. But he has spent his entire life trying to improve, to find himself, to come to terms with his creation; he is trying every day not to be the Satan that lashes out at the drop of a hat.)

The game isn’t always perfect at showing these characteristics in equal measure, but sometimes that’s the point. 

It’s why, for instance, some people write Satan to be a heartless, Wrath-filled asshole, and others write him as a harmless bookworm with a knack for academia; the truth is that he’s both, and a key part of his characterisation is finding balance between the contrasting sides. 

On the other hand, it’s why some people completely look over Beel as very two dimensional when he truthfully isn’t. He’s a naturally quiet demon, content for others to see him as a jock with a love of food and nothing more. But in that quiet, he hides a demon struggling with survivor’s guilt who is secretly hurt by how simple people think he really is, and has such a strong love for his family that he puts them before anything else. His characterisation isn’t finding a balance in his contrast, but finding the contrast to begin with.

That’s the point of a three dimensional character. You’re meant to be able to debate about them, and understand them while disagreeing with them. You’re meant to be able to view them from different angles and see something new each time. That’s half the fun of them - that’s what makes them interesting.

I won’t lie and say the game’s great at this all the time, because sometimes it is really, genuinely not, and sometimes even Solmare have a tendency to forget some of the deeper aspects of their characters for the surface-level stuff. 

But for what is there? There’s so much interesting craft at work in the characters, and it makes taking a closer look at each of them - and how different players view them - so, so enjoyable. 

[emblemxeno]

JP vs. Localization in Fire Emblem Fates: Revelation

(Okay, for real this time lol)

Again, here’s a link to my sources post.

Fortunately, this route follows suit in terms of good localization quality after Conquest. It’s the shortest out of all the posts, since I don’t really have a lot to talk about. Mostly subtle line changes, references and a few key points of information that were cut out. I also went through Hidden Truths and Heirs of Fate to see if I could add stuff from those on here, but there were no big problems that I found.

Once again, the main part of this post will all be put under the cut. If a chapter isn’t covered, it means I didn’t think there were any differences worth talking about.

I’ll use localized names for characters and locations, unless I feel the need to do otherwise.

I’ll be using she/her when referring to Corrin in this post. (I flipped a coin to decide the gender lol)

Also, note that after Chapter 14, the translation of this route on Fateswartable ends, so I mostly relied on the English patch done by Serenes at that point forward. (I also used PegasusKnight.com as a reference to fall back on if I needed it)

Chapter 7

-A minor gripe I have with localization. The JP version compares Touma (Valla) to hell constantly. To jump ahead a bit, I believe in the JP versions of the End of All Sky/Land/Below tracks are even called The End of All Roads Heaven/Earth/Hell. The Vallites are also often called demons in the JP version, and Anankos himself is known as the ‘Invisible Demon Dragon’.

Another cool thing I just thought of too, is a connection to a popular Japanese short story. Zelda fans might be familiar with the story, “The Spider’s Thread”, which inspired the Ancient Cistern dungeon in Skyward Sword.

The beginning of the story has Buddha walking through paradise (heaven), before coming across a pond. The pond is filled with crystal clear water, and covered with water lilies/lotuses. As Buddha gazes further into the pond, he begins to see the depths of hell.

Sound familiar? “Azura is walking through Hoshido, before coming across a lake. The lake is filled with crystal clear water, and when she gazes into the lake she sees the fallen kingdom of her birth. Valla, the kingdom associated with water lilies/lotuses in the game, has been turned into hell itself.”

This association loses its meaning a bit when the comparisons to hell are a bit toned down, as well as when the Buddhist inspirations were kind of supplanted in favor of Greek renames. It’s not supremely important to the plot as a whole, but it’s something interesting I wanted to bring up.

-In the JP version, while explaining what happened in Valla, Azura eventually says “Using the art of manipulating people’s souls, he (Hydra/Anankos) made the people kill each other.” This bit of the people killing each other was cut in localization.

Chapter 12

-In the JP version, when Corrin asks Flora if she knows anything about dragons, Flora says “Sorry, I don’t know…The ancestral dragon of the Ice Clan has already perished and isn’t part of the legend. I don’t know what role it plays, sorry…” Localization makes her response “I'm sorry, but I can't think of anything... They've been gone so long that we don't even have tales of dragons in the Ice Tribe. I'm sorry I couldn't be of more assistance...”

So, the JP version explicitly says the Ice Dragon is dead (I believe Fates’ second artbook mentioned this as well), whereas the localization only says the First Dragons have been gone for a long time.

Chapter 16

-There’s not really much of a problem that I have with what Ryoma says about Corrin “having leadership qualities at a young age” but I wanted to do comparisons regardless cuz the word choice might lead one to different conclusions. In localization, Ryoma says this:

Ryoma: Huh... So she told us the same thing... I don't think it's in Corrin's nature to lie. And there's a leadership quality about her that just attracts followers. I remember being jealous of her as a child, in fact. Even at such a young age, she displayed the characteristics of a ruler. Silly to be jealous of her, right?

In the JP version, Ryoma says this:

Ryoma: Oh... So, she told you the same thing. …Corrin isn’t one to tell lies. She’s been like that since childhood. She’s always genuine and honest... She has this mysterious appeal that draws people to her. Seeing my younger sister with the qualities of being a ruler... Honestly, it makes me feel envious. …What a ridiculous thing to say, right?

Again, I don’t necessarily have a problem with how it was localized, but some might. The localization version might have people think that Corrin somehow was a fantastic leader at such a young age, but JP is more clear that it was about the qualities she had at a young age that would be valuable as a leader.

Chapter 19

-A minor gripe. In the localization, Azura says that Anankos uses his magic to send Vallites to Nohr and Hoshido to stir up conflict. In the JP version, she says he uses magic, along with the help of a body of water. That’s why whenever you fight Vallites outside of Valla proper, there’s a body of water nearby; Hoshido’s lake (and the ponds shown in Hinoka’s CQ battle which are in the capital) for Chapter 5, the sea for BR chapter 11, the burning falls for BR chapter 21, and the city for Rev chapter 13. Similarly, the consequences of being a victim to the curse are described as “turning into sea foam” in the JP version. Localization as a whole kind of toned down how much water has an influence on the story.

Chapter 23

-Probably the pettiest gripe I have lol. As Arete is fading away from Azura’s arms, Azura has a different reaction in localization and Japanese. In localization, Azura says “Mother? Mother!” while a voice clip of her in-battle pain cries plays. In the JP, she says  “*Sob... Sob*…! Mother... Mother...!”, while a voice clip of her crying plays. Her crying voice clip I don’t recall hearing anywhere else.

This is one of the few times in the you get to see Azura express a heavy and heartfelt emotion, since her rough childhood caused her to remain guarded and stoic around everyone. The equivalents to this scene in other routes is her death scene in Birthright, and her crying with Corrin over Ryoma’s death in Conquest; a normally unflinching and aloof character breaking down is a rarity, and indicates that the cause of it is something to take note of for the character as a whole. Localization softened this aspect, and I take issue with it, despite it probably seeming trivial to most other people.

Chapter 24

-When Corrin is questioning the phantom Mikoto, an exchange happens. In localization, part of it goes like this:

Corrin: But this can't be... Are you truly my mother?

Mikoto: I am. Even as a puppet of Anankos, my spirit at least remains my own.

Corrin: I... I believe you.

In the JP version, it goes like this:

Corrin: It can’t be... …Are you really my mother?

Mikoto: Yes... I became an Invisible servant, controlled by the Invisible King... Even so, I am your mother.

Corrin:  …………

Again, a minor thing that I don’t personally have issue with, but replacing Corrin’s silence with an admittance of belief could make some believe she has “reverted” back to being too naïve.

Chapter 26

-While Gunter is relaying his past, an exchange happens. In localization, it goes like this:

Gunter: I ask myself that, every day. I cannot understand the minds of royals. To you all, we commoners are little more than pawns in your schemes... Or weeds to be killed on a whim.

Corrin: That's not true...

Xander: Is that how people view the royalty?

Ryoma: Such an impression would easily breed powerful resentment...

In the JP version, Corrin, Xander and Ryoma don’t say anything. They just remain silent.

Endgame

-Not a major problem so much as a general thing about the game, but I can think of like... at least three memes that Treehouse inserted into the localization. Now I like memes, but there is no better way to date your media nowadays. One of them was Kana’s “That’s dragon for I love you” which tbh, is kind of cute and isn’t the most well known meme so I guess I can let it slide. Another is Felicia saying “I had one job!” when she messes up in the dining hall, which isn’t that big of a deal since the dining hall is very optional.

The last one I can think of is why I put this specific grievance here, and it’s during Corrin’s speech before facing Anankos.

Corrin: We won't back down! This is my... This is our destiny! Ready your weapons! Fight for your friends! With the Seal of Flames... With the Fire Emblem on our side! We fight for our world!!

Yeah, she says “Fight for your friends” which is everyone’s favorite Ike line from Brawl. Now, this isn’t even a totally inaccurate translation either, but it kind of just... makes the moment funny for the player when it’s supposed to be commanding and serious I guess.

But yeah, not the most important issue by far, but something I’d thought to mention. Hell, it’s not even that bad compared to how they made Peri’s, Effie’s and Hisame’s quirks into exaggerated and tired jokes. And the Beruka-Saizo support. Never forget.

-When Azura and Corrin are by the lake and discuss the latter’s plans to rule, Corrin says this in localization:

Corrin: I'm going to make Valla a wonderful place! In honor of the true last king and for Queen Arete. And everyone who fought... I promise to make them all proud.

In the JP version, she says this:

Corrin: I’ll make the Invisible Kingdom (Valla) into a great land. For the previous monarch, Queen Shenmei (Arete)… And for all of my allies who fought beside me. I promise.

So, JP version only mentions Arete as the reigning monarch of Valla. Which makes sense, cuz unless there was some wild “keeping the bloodline pure” shenanigans in Valla, Arete being the Queen keeps in line with what we know about the rest of Valla’s history. Arete was royalty from birth, as was her sister Mikoto. Arete is the one who passed down Lost in Thoughts and the pendant to Azura.  

[anarchy2021]

PSA Day! (Rp etiquette)

{ID: A person standing next to a flipchart. They're thin, and have medium-length brown hair, pale skin, and dark brown ears. The ears are angled horizontally. They're wearing thin-rimmed glasses, and their expression reads as confident. Their hair is partially tied up in a bun. They also have a long tail the same brown as their ears, with brown fur the same color as their hair on the end. They're wearing black trousers, a black waistcoat with a white shirt underneath. Additionally, a black overcoat with gold edges is draped over their shoulders. The inner lining of the overcoat is red, and partially visible behind the person. They have their right hand on their hip, and with their left hand, they're holding a stick up to the flipchart, which reads "RP 101 :)". The 101 is underlined. END ID.}

Greetings! You may not recognize me (unless you were watching the debate perhaps, then, sup) as I admit I’ve been a bit…. Behind the scenes as it were (as secretary of VOID there is a lot of looking at the void, usual routine for me mhm mhm). Regardless, I’m Days (or Nights, either or) and for today’s PSA I’m here (along with some words from our recently freed from totally-not-prison president, Graphite, at a later date) to talk to you about roleplay! More specifically, rp etiquette and terms and how that relates to the DSMP and how it should be talked about. 

Now now, you might be wondering “oh but what is your experience?” Glad you asked! I’m a long term text rper with over 5 years of experience- and my main avenues of rp are rps similar in structure to that of the DSMP- long term improv driven sandboxes that also have important events planned ahead of time in some regard but are often player driven most of the time. Now, let’s get into it!

Head writers/admins

Let’s start off with a pretty hot topic regarding the server, which is the existence of a ‘head writer’ (usually in reference to Mr. Soot). Now, mainy take this as meaning quite literally a writer- like in a show, but, with what information we have I think it’s safe to say he’s not really that and more along the lines of an rp admin/head. The admin’s main purpose is to keep things structured and organized, as well as putting together the events they’re in charge of. This is pretty much how everyone treats the man anyways, BUT, while an admin is in charge of a lot they do NOT have the final say over everything, particularly in regards to the characters and their players. 

Players in an rp for the most part have full control over their characters (within reason and the confines of the rp setting) and an admin enforcing their will onto a character (such as enforcing certain backstory choices that don’t seem particularly wanted. For example, the fridge with c!Phil) is often frowned upon unless there is a good reason for it and discussed with the rper. 

It is also notable that just because there is an admin, that doesn’t mean they’re the sole writer/organizer/etc. It is not at all uncommon for specific subplots and or other important events to be headed by players involved in it in this type of rp. This can be seen in practice with how the Eggpire plotline was headed by BBH and the prison plotline was mainly written by Dream and Tommy. 

Summary:

- head writer/admins do not and should not control everything

- organise and structure events

- players might admin their own smaller plots within a rp

Narrative consequences

Now, another hot topic- especially in regards to character discourse (my abhorred personally). Narrative consequences. These are generally referred to when someone thinks a character is not getting the consequences for their actions in the story that they should, or (more rarely in my experience) when they feel a character is being punished too hard for their actions. While this is an understandable feeling to have, at the end of the day narrative consequences just aren’t much of a thing in roleplay, at least not to the same extent as a book or tv show. 

This is for one simple reason, consequences rely on the character’s actions and how they respond to others around them, if a character does not feel like it’s fit to react or if it angers their character- it is 100% within their right to respond accordingly. 

However, there is also an argument that can be made if a character responds to something in a way that doesn’t align with a character’s usual actions. For a personal example, one time in a rp I was playing a character who was intervening when another character was being hurt, however, my character was met with scorn from being somewhat aggressive regarding it- I felt that this was unfair as none of these character showed the same scrutiny to characters who did worse things, and none of these characters had been established as hypocrites. 

This grudge lasted the entire rp until my character died. This is a point where believing that the consequences to a character are unjust is more or less fair, but, a character simply not getting immediately smited or a character getting scorn is not automatically a point against the character, especially since an rper cannot reasonably make their fellow rpers react a certain way.  

Summary:

- narrative consequences are not the same in RP as in other mediums

- can't force characters to react, or force players to react in a way they don't feel is fit

- but can critique RP if things feel unfairly ooc/inconsistent

Retcons

Next up, retcons. What is a retcon? It’s short for retroactive continuity, in essence it’s when in a piece of media something is changed retroactively- such as a character’s personality, how an event occurred, etc. for an outsider audience perspective retcons are often looked upon unfavorably, as it’s changing something already established which can cause friction among those attached to certain ideas, but in reality retcons are both a neutral concept and fairly normal to occur in rps. 

Rps are (generally) not professional writing, they’re things made up on the fly with perhaps a base to work off of (and depending on the rp, not even that. However in the rps I’ve done we generally had character sheets and the like for backstories and all) and thus sometimes mistakes happen. One of the main causes for minor retcons is when details are confused or left out that would have realistically affected the situation or how characters would have responded to it, unless in severe cases these usually happen on the spot and don’t cause much of a fuss. 

Major retcons often fall along the lines of players and how they choose to present their character. This is especially common when a player is using a character for the first time or even if they’re just new to an rp in general, sometimes as we rp we simply decide to take things in a new direction and sometimes that direction may cause things already established to be retconned, even if not outright stated. 

A good example of this is the enderwalk with c!Ranboo, the enderwalk as it was first introduced is very different than it is portrayed now, likely as a result of Ranboo taking a new direction with his character since then. More widespread retcons may happen if people are unhappy with a certain plot thread, in this case an example would be the canon status of SBI, Wilbur used to push it but Techno (and later Phil) didn’t want it to be canon, so anything about it previously said has been soundly retconned. 

In my own case character retcons very often happen to me when I first use an oc, as the character takes a different shape than what I put on the paper in practice, even sometimes within the same rp (one of my first ocs was practically unrecognizable as the same character in the beginning of an rp as compared to even just a few weeks later).

So, retcons are fine and normal to occur, but, like I said- they’re neutral. A retcon can very well be done poorly and cause problems. This is mainly in issue with retcons made that affect highly established and built upon aspects without discussion with all those who’d be effected, this can cause confusion, plot holes and cause characters to be in a weird limbo if they don’t know how to have their character act without whatever was retconned. Major retcons need to be discussed in order to prevent these problems, and in some cases should be avoided entirely- instead it being better to work for a compromise and rework events rather than removing them. 

Summary:

- retcons are normal and neutral

- small retcons happened frequently in RP to help keep things going in an improv heavy medium. Usually unnoticeable

- large retcons tend to have with new players, or if the story is taking a new direction.

- large retcons require a lot of communication, and sometimes whould be avoided, instead working to compromise and rework the direction of the RP

Metagaming and godmodding

Metagaming and godmodding are two very important terms to know for rp etiquette and if you’ve done any rping you’ve probably seen these words thrown around in rules lists and such already. These are both ultimately negative things that should be avoided at all costs. What are they? Metagaming is when you use information that you know OOC and use it IC even though your character should not have that information. Godmodding is when a character is taken over by another person for one reason or another against the player’s will- such as having a character react to something without letting the actual rper do it. 

The former is a big issue when it comes to discussion of the DSMP and how people interact with it, mainly in the chat and donos. When you are trying to get a character to react to information that they shouldn’t have you are trying to get them to metagame, which is heavily frowned upon in an RP. This is also important to note in discussion, a character not responding to certain important events is not a mark against them if the character has no way of even knowing what was going on, or would not reasonably respond to it with the information they have. 

Summary:

- both frowned upon

- god modding is taking over someone elses character

- metagaming is using out of character information to do in character acting

- Meta gaming is relevant to DSMP particular in how it relates to donos and chats. Don't encourage meta-gaming

All of these factors are important to consider when discussing the DSMP and it’s narrative, it’s not going to function the same as other forms of media nor should it- as once you go in that direction you’re competing with the big boys over at tv and at that point things would fall apart. Improv and it’s unique variables is what makes the DSMP, and anything else like it, special and interesting to follow!

[the-badger-mole]

Let's say you're on the writing team for Avatar when it was just an idea Bryke had. They've stepped back, letting the writers do what they do best. While Bryke certainly offer suggestions, they don't try shoehorning in their ideas.

What aspects of canon would you change and keep the same??

Would you have elements of a one-sided Kat@@ng, with Aang learning to let Katara go, or not have it at all??

If you were to write Aang as a character you actually liked, how would you do it??

Oh! I like this ask. Bet! Get a snack, because this is a long one.

In Book 1, I would keep Aang pretty much the same, but I would frame certain things he did the way they should have been framed. Like his whole deal on Kyoshi, leaving Katara to do all the work so he could flirt. That would have much more of an impact on his friendship with her. Subtle at first, but it would be the first blow against Kataang. Katara would gradually over the course of that first season have to confront the fact that she's pinned all her hopes of ending the war on a child. I think that making her face that reality would open the door to more conversations about how he felt about what the world expected him to do, and that would in turn lead to Katara helping Aang to face what happened at the siege on the NWT, and what he was being trained to do honestly.

Book 2 would be where Aang is confronted with his duty as the Avatar and what "ending the war" would mean. By this point, he knows in no uncertain terms that he's expected to kill Ozai at the very least, and his crisis of conscience happens here, and this is where he would start trying to figure out alternatives. At the same time, the people he's meeting talk to Aang and his friends honestly about what they've experienced in the war- famine; disease; loss of homes; seeing loved ones suffer and die brutally.

It all has an effect on Aang, and makes him cling tighter to Katara. Katara interprets it as platonic and doubles down on mothering Aang, even trying to shield him from the worst of the realities of the war as much as she can. When Aang tells his friends once again that he isn't sure if he can kill Ozai, someone snaps at him- Sokka I think- and tells him how the war has affected all of his friends personally, and that they don't have the luxury of feeling bad about Ozai dying, and what did Aang really think the army they were trying to gather was going to do on the battlefield, have a tickle fight (yeah...this feels like a Sokka moment). Here is where Aang finds out about Kya, I think.

Aang still goes to (the much less racist version of) Guru Pathik, and still fails to let go of his attachment to Katara. Zuko and Katara still have that moment in the caves. I haven't decided if Zuko still turns on them- on the one hand, I do think him joining the Gaang here could work. on the other hand, I think he needed to go home and see how much it doesn't fit him anymore. I could go either way. Aang still gets shot by the lightning and Katara still saves him.

As Aang and his friends travel through the Fire Nation, they spend more time with the poorest citizens. They find out how much they've suffered because of the war, and how much they also want it to end. Katara's stint as the Painted Lady lasts much longer, and she becomes a sort of urban legend, which may or may not get back to Caldera. If Zuko is on their side at this point, they start planting the seeds of rebellion on the promise of ending the war (none of the FN citizens know who he is of course). The Footloose episode doesn't happen. It's stupid and adds nothing. Instead, there's more focus on the propaganda and fear the FN leaders are spreading and finding out that there's already a rebellion brewing among certain pockets of the people. Piando plays a much bigger role in this season. He knows who they are, and helps connect them with a growing resistance movement.

Aang is still hung up on Katara, and still hasn't told them that he can't enter the AS or why. On the DoBS, he figures it won't matter since neither he nor Ozai can use firebending anyway. He keeps it too himself, and lies to his friends about being prepared to kill Ozai (well...not so much lying as telling them he's going to do what he has to and letting them assume). He still kisses Katara. They still lose this battle. The adults still sacrifice themselves for the kids to getaway.

When they get to the Air Temple, things get heated with Aang and Katara. Aang tries to run off and go play immediately, but this time, Katara lets him have it. She reminds him that she just lost her father again because he and so many other people surrendered to give them the chance to escape. She lays into him about his laziness and disregard for the people around him and tells him that he needs to shape up, or he'd get everyone killed. She becomes a lot stricter with his training at this point. Not cruel, but she's a lot less likely to tell Toph or Zuko to go easy on him, and she raises her expectations for his waterbending.

Aang gets his feelings hurt and he goes off by himself deep into the temple. He finds writings on AN culture and philosophy and actually begins learning about his people. He learns about airbending techniques he never learned. Some of it is clearly meant for battle. Aang learns that his people's views on the sanctity of life and killing aren't as black and white as he'd believed. This is also where he gets a hint of energy bending.

The Firebending Masters, Boiling Rock, and TSR still happen. Mai does not rescue Zuko and Co- that was something that never made sense to me. But then, most of Mai's characterization after CoD makes no sense to me. She's a character that needs a redo, too.

Katara and Zuko get closer during this time. Same as they do in the show. It's not quite yet a crush on either of their sides, but a lot more focus is given to the development of their friendship. They quickly become each other's go-to person in the group for support and to just hang out. Aang sees this and does not like it. It also makes his reaction to the play make a lot more sense, because he's already starting to suspect there's something between them. He confronts Katara about his feelings for her, her feelings for Zuko, and the kiss they never talk about. Katara says she doesn't really know how she feels about any of it, and she doesn't think this is the time or place to talk about it. Aang kisses her again. It's bad. Katara probably hit him this time. They don't talk alone again.

Aang is once again confronted with the expectation that he's going to kill Ozai. He has to this time, because Ozai is going to be at the height of his power, and won't hesitate to cancel Aang's subscription to Life. His friends finally realize he never actually intended to kill Ozai on DoBS, and demand to know what his plan is now. He still hasn't got one. He still hasn't told his friends about the AN philosophy scrolls he found at the air temple. He still insists that he can't in good conscience kill Ozai. Then his friends point out that millions more people will die if he doesn't. Aang goes off, gets kidnapped by the lionturtle and has the conversation with the past Avatars. They tell him he not only should kill Ozai, but he also has to let Katara go so he can use the Avatar State. Aang doesn't want to do either. Then the lionturtle gives him another way. Energy bending

The lionturle's way has consequences, though, and Aang is informed upfront that energy bending would bind him to whoever he used it on, and that it's influence was corrupting. If Aang wasn't careful, he could become as big a threat to the balance of the world as any Fire Lord had ever been. Aang doesn't understand that warning. He chooses energy bending and goes off to face Ozai.

It does not go well. There is no Rock of Destiny to magically give Aang access to the AS. There is just hyperpowered Ozai- with his decades of experience bending, and Aang, whose firebending is also strengthened, but who can't control his power as well as his opponent. He tries some of the battle techniques he read about in his scrolls. He hasn't got them down either, and some of them just feed Ozai's flames, but he manages to trap Ozai in a ball of air and suffocate him and the fire. He doesn't kill Ozai. He just leaves him disoriented long enough to energy bend him. Battle's over.

Aang brings Ozai back to Caldera, expecting to be hailed as a hero. He isn't at first, but then Iroh, Hakoda and other older and wiser people agree that it's better that Ozai gets to stand trial for his crimes. He ends up being sentenced to die anyway. Aang is furious, and then he discovers that some of his anger is Ozai's. He's bound to Ozai and now Aang has to work really hard not to let that bit of Ozai influence his personality. It's difficult, because Aang is genuinely angry enough that he can't tell what's his feelings and what is Ozai. Aang is now dealing with the fact that despite being the Avatar, people aren't willing to take him seriously, and won't not kill Ozai. He also has still not gotten over his crush on Katara and can't control the AS. On top of that Katara tells him that she doesn't feel the same way about him, and later he finds out that she's fallen for Zuko. Hard. Stupid hard. Like, they've already decided to get married in a few years, hard.

It's a bad time to be Aang. Book 3 would end with him being overwhelmed by his hurt, disappointment, and anger. Roku comes to him and suggests that he go back to Guru Pathik and learn from him. And so the last scene is Aang slipping away without telling anyone he's leaving. Toph may or may not join him. IDK.

[samdeancass]

CandyFloss

Requested by Destiel's kiddo on Quotev.

Pairing: Jack x female!reader

Genre: Fluff, tiny bit of angst.

Characters: Jack, Y/N,

A/N: Y/N is Crowleys daughter.

Description: Jack and Y/N are visiting an amusement park, where he has his first taste of candyfloss.

Jack had been through a very hard time lately with his father taking his powers and Dean being possessed by Michael. He was becoming overwhelmed with grief and anger; he hardly left his room and was struggling to come to terms with his new way of living: being human.

You had tried everything to coax him out of his room and you were beginning to feel hopeless. You knew that a demon shouldn’t feel so strongly for another being, but Jack brought out the best of you. He made you want to be good.

After your father’s passing; sacrificing himself for the sake of the world, you felt anger that you had never experienced before. You wanted to follow in your father’s footsteps, you wanted to be able to save the world, but still have people in the palm of your hands that you could control. You completely changed when you witnessed your fathers death, and the Winchesters could sense it. The brothers and you had become really close thanks to your father. It broke them inside seeing you so broken.

All of the anger and frustration melted away though when you set your eyes on Jack for the first time. You stood still when he knocked Sam and Dean down, completely unfazed by the situation. He stood up and cocked his head to the side in confusion before running off into the surrounding forest.

It’s safe to say that Jack had helped you through the worst time in your long life, he gave you something to hope for, somebody to love. He made you happy and has helped you become the hero that you wanted to be. Just like there are bad angels, there are good demons.

Now it was time for you to help Jack through this terrible time. Jack was always fascinated with human enjoyment and always wanted to try new things, especially candyfloss. Castiel had once told Jack that when he was human, he tasted candyfloss and that it tasted like flavoured clouds, soft and sweet. Jack had mentioned it nearly everyday since, so you decided to find somewhere that would both be fun and have candyfloss.

After about a hour of searching, you managed to find a nearby amusement Park and you knew that it was the perfect thing to cheer Jack up. You ran towards his room and knocked on the door, waiting for a response. When you didn’t get one, you slowly opened the door and entered the room, making sure to close it behind you.

You noticed a figure lying down on the bed in front of you and suddenly felt very sad. All of the human emotions where still very new to you so you felt each emotion very deeply. You walked over and sat on the side of the bed, running your hand through Jack’s hair.

“Hey, you. How are you today?” You listened for a reply but got nothing. Sighing you walked over to the other side of the bed to face Jack and switched the bedside lamp on. “C’mon, Jack. We need to get you out of this room. It’s really not good for you to be by yourself.” Again, nothing. You stood up and slowly walked towards the door. “Alright then, Jack. I suppose we won’t go to the amusement park and taste some candyfloss.”

Jack’s head lifted up off the pillow with his eyes full of excitement and wonder. “I want to go. Please, can we go?” A large smile erupted onto your face and you turned around, nodding your head. Jack leaped off the bed and ran towards you, engulfing you into a hug.

You took a car from the bunkers garage and started the drive to the park about 10 minutes after telling Jack. He was bouncing up and down in his seat, a large, excited smile taking center stage on his face. He stared in wonder at the large rides as you pulled into the parking lot. You switched off the engine and sat in the car for a little while, just staring at the wonder before you.

“Shall we go inside, Jack?” He nodded his head and you both got out of the car, making your way towards the entrance, hand in hand. Once you paid the entrance tickets, Jack immediately wanted to find the candyfloss stall and made it his first mission.

After what seemed like forever, you finally found the stall and bought two. Jack licked his lips when the vendor handed him the sweet treat and immediately delved in. His eyes went wide as the first piece went onto his tongue, the sweet taste taking over his senses. You smiled at Jack, happy to finally see him happy.

“Y/N, Castiel was right. This does taste like clouds!” You laughed at your boyfriends excitement and took his hand to guide him along the twisting paths of the park.

Each ride that Jack spotted, he wanted to go on and of course, he pulled you with him. The bumper cars were his favourite, he loved riding around and bumping into different people without having any consequences. Although, he did like winning prizes at the stalls. The smile on his face when he realised he won was absolutely precious.

When it was time to head back you wanted to go on one more ride: the Ferris Wheel. You and Jack handed the vendor your ticket and sat down on the seats. The sun was beginning to set, which made for a very stunning view. As the wheel began to move, you and Jack stared at each other and smiled. Today was the best day the both of you had had in a long time and you could see the difference in Jack already. His shoulders were no longer slumped and he was very relaxed. When the wheel reached the top, it stopped for a little while for you to enjoy the view.

You looked out of the window and sighed at the beautiful surroundings that faced back at you. “Thank you, Y/N.” You turned back around to Jack who was staring at you with a sincere but happy expression. “There’s no need to thank me, Jack. I am helping you through your hard time, just like you helped me through mine. It hurts me to see you upset, Jack. I had to try some way of making you happy, and this way worked.”

Jack took your hands in his and kissed the top of yours before leaning in and placing his lips on yours in a sweet, simple kiss. You stayed like this for a few seconds before breaking away. “I love you, Y/N.” You stared at him in shock. You didn’t even know that Jack knew what love was. You stayed silent in shock for a few seconds before replying. “I love you to, Jack.” You both embraced in another kiss until it was time to get off.

You stepped off hand in hand and made your way towards the car to head back to the bunker. The ride home was filled with smiles and hand holding, gestures that would have made you feel sick a few years ago. Jack had changed you for the better and you never wanted to let him go.

Once you arrived at the bunker, you and Jack headed straight to your room. You both lay down on the bed and held each other in your arms. After a little while, you heard soft snores coming from Jack. You looked up and smiled seeing that he was asleep with a small smirk on his face.

It meant the world to you for Jack to be happy and you were going to spend every moment trying to make that happen. He was the most important thing in your life and he deserved all the happiness in the world.

Tags: @akshi8278 @stellastyless

[hyperbali]

Agatha Harkness Was Right, And Here’s Why

Alright. Finally had to sit down and write my way out of this quiet, internal temper tantrum, and a few people were interested in seeing what I had to say, so I present to you:

Agatha Harkness Was Right, And Here’s Why

Disclaimer: MASSIVE spoilers for the entirety of WandaVision, and I am not nice about it.

I’ll start off by saying that, for all its foibles, WandaVision was genuinely a good example of a property within the MCU/Disney umbrella that stepped out of the usual ‘good guys fight bad guys action extravaganza’ in a way that pushed the envelope. The pseudo-horror aspect of the first few episodes is something I would really love to see engaged with on a more thoughtful basis in future projects.

I would say that it proved to be more than a vehicle to promote toys, but… well…

Yeah. Anyway.

I’ll assume that you watched WandaVision if you’re reading this, but quick recap: In the aftermath of ‘the Blip,’ Wanda is left broken and alone with no one in her corner. Her biggest mentor willingly abandoned his team to get his own ‘happy’ ending (do not get me started on Steve, that’s a document in and of itself), her other biggest mentor is probably off enjoying his family while ignoring the incredibly racist killing spree he’s been on for the past five years, and her lover is dead. When she goes to claim the body, she’s told nuh-uh, that’s government property, please leave.

So she goes to a plot of land in the middle of some nowhere town in New Jersey, which Vision apparently bought despite the fact they were living a pretty decently comfortable life in Scotland, where she looks at the deed that Vision drew a heart on and wrote ‘To Grow Old In’. Very sweet. Kind of weird, considering nothing of this caliber had ever been suggested for either of their characters and they’d been actively running from specifically the U.S. authorities? But sweet.

She has a breakdown and, in her grief, contains the entire town of Westview and all 3,892 of the people in it in her own personal paradise, where nothing bad ever happens beyond sitcom hijinks, no one dies, and every problem is tied up and neatly dealt with by the end of an ‘episode’. Except we learn that this is only paradise to Wanda, who apparently shares the aspect of having to relate everything to her favourite pop culture with Tony, because everyone else in Westview is more or less being psychologically tortured by the incredible amount of pain she’s in, forced to be puppeted actors to make her happy.

Bear in mind, Westview might have been bigger at some point - we have no idea how many people survived the Blip, or how many have been brought back to life within the past few weeks of the current setting. Either way, this is a town that has already dealt with a lot of trauma being dragged into yet another awful, much more specific kind of emotional damage, thanks to ‘the heroes’. Nice.

Agatha Harkness, a witch who’s been up to who-knows-what in the 340 years since she drained the coven that tried to kill her for getting a little too ambitious into jerky, feels the massive expenditure of magical power and decides to investigate. All the while, she carefully uses her own magic to try and peek into Wanda’s psyche, her motivations, all while keeping up appearances and not letting slip that anything is amiss.

I’ll point out that she’s no saint here, either - she specifically keeps one Westview resident at her mercy, and knows what’s happening to the rest of them, but doesn’t attempt to stop it. I’ll chalk that up to her pragmatism; their ‘sacrifice’ was fine to her as long as she could figure out how Wanda could have done something so unheard of in terms of power.

What we come to learn over the course of the show is that, given everything that happened, Wanda didn’t mean to take over an entire town and tool it into her own personal slice of heaven. She very quickly became aware of it; we know that she knows it’s her own personal bubble as soon as episode three, when she’s confronting Monica about how the latter could possibly know about Ultron. Wanda is made further aware of how much damage this is inflicting on others in episode five, when Vision himself tells her that these people are scared. But still, she has everything handled! It’s okay! The outside world is worse, trust her!

Her handling of the question, ‘where are all the children of Westview,’ is one that bears some thinking - and, y’know, kind of more than a little concern. They’re allowed to walk around as part of the ‘Halloween special,’ but as Vision walks further and further out towards the edges of town where Wanda doesn’t have as much full control, people are just frozen in place, or conducting the same few seconds of action over and over. And fully aware of being trapped.

How are they being sustained? Eating, sleeping? If someone isn’t part of her storyline, is she just locking them down into a coma? What made Wanda decide that keeping the children ‘out of the way’ was somehow kinder than involving them, especially given her later argument that she’s been trying to keep the entire town safe and happy?

The fact of the matter is, she only actually starts to feel remorse for any of this after she’s confronted with the fact that, after weeks of being at her mercy, the townspeople of Westview would rather be dead than endure another moment of having to play nice for her enjoyment. She finally opens the ‘bubble’ to let them out - which leads to the ‘epic’ finale of three different entities trying to take down Wanda and her happy family: the S.W.O.R.D. military led by Hayward, the White Vision, and Agatha.

Winding back to how we got here: after Agatha uses her own trapped resident, Ralph Bohner (who, given his casting and the props in place during the last episode, I’m willing to bet is actually the missing witness protection person Jimmy was looking for) in an attempt to lure out Wanda’s reasoning - and fails - she’s pretty much done pretending. She tricks Wanda into her basement, nullifies her powers, and makes her face her own past to get to the truth of the matter.

Not going to lie, favourite moment of the show. Kathryn Hahn killed Agatha’s slightly-amused-slightly-irritated observations about Wanda’s coping mechanisms, and the whole arrangement was extremely meta. I would have paid real money dollars to see her do the same thing to the likes of Tony, Strange, and Loki. Hell, even just having her meet the rest of the Avengers? Augh. If wishes were fishes.

When Agatha comes to the conclusion that Wanda is the vaunted, nigh-indestructible force of nature that she’s literally spent her entire life reading about is the ultimate source of chaos magic and will likely bring about the end of the world, she’s pretty understandably taken aback. To that matter, the fact that Wanda… has very little control over any of it, and is using what she does understand to play housemaker? After how long Agatha has spent learning control, hiding in plain sight, just to be child’s play compared to what Wanda has at her fingertips? I’d be pretty pissed off, too!

The way that WandaVision handled both of the major ‘fights’ - Vision versus White Vision ending in philosophy, and Wanda ending up beating Agatha at her own game of deception - is excellent. A little grating that they had to go with the beat down angle before they got there, but this is MCU; punches and thrown cars had to get shoved in somewhere. And, given that this series very much played with the idea of grey morality, I was sort of hopeful that Agatha would end up in a not-quite stalemate arrangement with Wanda. She’s not as powerful as the Scarlet Witch, but she has the know-how that Wanda sorely lacks; in recompense for her own deeds, she would be able to teach what she knows while also kind of scheming on her own time.

Y’know, like what they did with rehabilitating Loki?

Except that Wanda, who has just gone through the entire rigamarole of coming to terms with the fact that she trapped thousands of people into a nightmare scenario against their will, rendering them helpless to her mercy… traps Agatha into a nightmare scenario against her will, rendering her helpless to Wanda’s mercy.

That moment actually shook me. Oh, my god. We’re supposed to still look at Wanda as a good guy after this?

This isn’t even covering the incredibly awful confrontation with her and Vision where she tries to gaslight him into believing that everything is A-OK, or the fact that the person she gets most violent with (apart from Agatha) is Monica Rambeau, a black woman who spends most of the show bending over backwards trying to say that what Wanda is doing is understandable, justified, and just needs a gentle touch to be dealt with.

That could be its own document, too - how Monica, much as she’s incredible and definitely looks to be a really exciting addition to the MCU roster, more or less gets used as the Good One to absolve and enable Wanda’s actions. One of her last lines to Wanda, after seeing how the people of Westview (rightfully) look at Wanda like she’s monstrous, is “they’ll never know what you sacrificed.”

Sacrificed what? The fake husband and fake kids she made out of her own compulsion to pretend that everything is okay? None of that would have existed if she’d been given the proper resources to actually cope with how much loss she’s had to deal with. None of that would have existed if she hadn’t caused this problem in the first place.

In the end, Wanda flies off in her fancy new gear before the FBI shows up, avoiding any real consequences to her actions - which has pretty much been the running theme of her character ever since she was introduced to the MCU in Age of Ultron. The worst kind of direct consequence she’s ever gotten was being grounded to her room for a while, then kept in the Raft for, like, maybe a day - and both times, she was broken out post-haste.

Meanwhile, she worsened the issues in Sokovia (which, I will say upfront, was Tony’s fault to begin with), unleashed the Hulk on Johannesburg, got a pretty significant amount of civilians killed as bystanders in Lagos (hey, how come Wanda keeps turning a lot of black people into casualties?), and stood back in Wakanda to let their people try to fight off Thanos from getting to Vision until it was clear that there was no other option than for her to get involved.

Great Power Comes With No Responsibility At All, Actually.

Wanda, in the several years she has maintained her identity as an Avenger, has proven time and time again that she takes on innumerable risks without any full understanding of what they mean, allows others to take on the brunt of the fallout for her, and looks sad until she’s forgiven and moves on to the next problem. She has no business casually throwing around the kind of power that being the Scarlet Witch entails, not until she’s actually made any kind of headway into making reparations for what she’s done and tried, really tried, to get a handle on what she’s capable of.

Which she’s apparently doing in the last post-credits scene, astral reading the literal Book of the Damned on her lonesome in the mountains, but… without anyone to guide her, or give her any kind of boundary?

[I ran out of images I could post, but you know exactly what image I am referring to here]

Agatha Harkness was right. And that should terrify everybody that has to deal with Wanda in the future.

(P.S. Do we know if she actually even killed that dog? We never see her holding anything but a blanket, and characters go in and out of that show all the time. Granted, she wasn’t great with the cicada-turned-bird... hmm.)

Additional Notes:

“Well, you’re a Tony Stan, of course you think Wanda’s a villain”

I like Tony because he’s such an awful mess, and the narrative isn’t exactly kind about telling him what a piece of shit he can be! He reaped a lot of problems, created practically half the villains in the MCU, and ended up dying a martyred hero. Thanks to being the tent pole by which this franchise hoisted itself into a cultural powerhouse, he will always be their golden savior. If you want to read about how he’s the true villain of this entire affair, feel free to look up any number of takedown pieces about him that are out there. He’s a dick. I will never “uwu sad baby who did nothing wrong ever 🥺” him the way people do about Wanda.

“Why are you so pressed about this”

Because something as good in concept as WandaVision could and should have been about anyone other than the whitewashed, antisemitic take on Wanda Maximoff that MCU brought upon us. They put crucifixes on her wall in Civil War, for fuck’s sake!

“Weren’t you mad about them not including Aaron Taylor-Johnson”

At this point, I am almost kind of relieved the real Pietro wasn’t resurrected for this, because god knows they probably would have killed him all over again just to inflict that much more pain on his sister.

“Anything else you’d like to tell us, turbo nerd”

This was literally itching at me all weekend to write, so it’s more or less just to get it off my chest. If you powered your way through it, uh… thanks? Sorry if I yucked your yums, but I tried to be as clear with the disclaimer as I could. 🤷‍♂️