#or like casual scenes that don’t have plot significance but build the characters

[chryblossomjjk]

…

[emeraldspiral]

Thinking about how in the comics when Sniper dies it doesn’t really get that big of a reaction from the rest of the team. Like, when it happens everyone’s shocked and Demo holds him up for a bit, but they don’t really dwell on it. Medic looks a little sad before he starts operating on him, but the whole thing isn’t framed in a really dramatic way like he’s super distraught and guilt stricken and desperate to save him. It’s not like in the deleted MtM concept where he’s trying to save Heavy and says that in his “darkest moment” he almost gave up when Heavy flatlined. Nobody mentions it when Medic initially revives the team, even though they all think he was a willing accomplice to Sniper’s murder and have no idea he’s still alive. It’s implied that Sniper and Spy bumped into each other off-panel and planned for Sniper to back Spy up when he went after the Classic Sniper, which means it wasn’t deemed important by the writers that we see how Spy reacts to seeing his dead teammate walking around alive and well. When the rest of the team see him the only reactions are Pauling’s disgust at another naked “professional” showing up on the battlefield and Soldier just casually saying “Hello naked Sniper”. The only times Sniper’s death and Medic’s “betrayal” are ever brought up on-screen by other characters are when Medic is talking to Demo. This isn’t to suggest that no one cares about Sniper, but rather that the writers were trying to be economical and not repeat the same information over and over by showing everyone’s reactions to Sniper’s death, Medic’s involvement, or Sniper’s resurrection. The conversation with Demo is basically meant as a stand-in for how everyone presumably reacted; mild surprise, followed by calm acceptance.

This makes sense because Sniper doesn’t really have anyone he’s that close to who would naturally have a strong, dramatic reaction to his death. He has no established best friend, romantic partner, or secret parent who’d be devastated if something happened to him. Sniper’s only strong emotional connection was to his parents, so the scene where he meets them in heaven was the only one where his death really meant something to someone.

By contrast you have Scout’s death which would obviously have a strong effect on his father, so naturally it’s framed as a big deal with a heart-wrenching reaction from Spy.

And then there’s Heavy’s reaction to Medic’s death. It’s huge. Not only in terms of how big the reaction is from Heavy, but how much gravitas it’s given by the story. Sniper’s death lasts the longest but has very little impact on the rest of the story or characters. Scout’s moment is big, but very brief. Medic’s death had significant build-up across multiple issues and served as the catalyst to the climactic battle with the story’s main antagonist and his resurrection directly leads to the end of that battle and the ensuing denouement.

So, when Sniper dies it’s not really important to show how it affects his teammates, it’s only the closure it brings to his own arc with his parents that matters. When Scout dies, it obviously matters to Spy because that’s his baby boy. But when Medic dies it's not only important to show that it matters to Heavy, it’s a major plot-point because it matters to Heavy. It’s the entire reason we care about two guys who have never met before duking it out as the story’s central climactic battle.

[hopeymchope]

An overview of the “Danganronpa S: Ultimate Summer Camp” AU

There are some interesting divergences from the other timelines within the reality of Danganronpa S — and I don’t just mean the obvious main plot in which the characters are about to graduate when they attend a VR summer camp. Some of this stuff is backstory that is only explained via specific character scenes you can get on Friendship squares. Some of it is just some throwaway dialogue casually referenced between unrelated characters. Some of it is blatantly stated during story cut scenes. And some of it is changes to the characters which... I can’t help but wonder if it’s caused by this writing team not “getting” the characters right, or if these are intentional deviations. 

So - without any significant spoilers - I’m going to run down 10 most noteworthy aspects of this new Danganronpa universe as revealed through “Development” mode and the progressively unlocked story chapters.

1) The casts of DR1, DR2, and DRV3 are graduating from Hope’s Peak concurrently in this reality. Ultimate Talent Development Plan portrayed them as classes 78, 77-B, and 79 respectively, but in DRS, they are all the same age and are simply in separate classrooms within the same year. (Which number class of Hope’s Peak are they in this reality? That’s... not specified as far as I’ve seen.)

2) Monokuma is a robot created by Junko, of course. He is not controlled directly by her as he was in DR1, however; he operates independently here, just as he did in UTDP and V3. And we learn that Hope’s Peak has let the little bastard run amok on campus for three straight years because they consider his presence/influence to be part of how Junko is developing her talents. *facepalm*

3) Usami is a robot (implied to have been created by Gekkogahara, althought she’s never named) to serve Hope’s Peak’s students... who the Monokuma robot forcibly converted into “Monomi” immediately on her first goddamn day of service. Because of COURSE he did.

Not even Kazuichi and Miu’s combined power can restore her Usami-ness.

4) Maki Harukawa is legitimately dual-talented here! Her “cover story” talent from the main V3 canon and from UTDP is now a legit, confirmed talent she has in addition to her secret one. She doesn’t fully understand why she has it or necessarily want to have it, but she still demonstrates that talent whether she intends to or not. 

5) Some of the playthroughs you have to do on the “Development” board game are absolutely non-canon, even within this AU. Specfiically: Izuru Kamakura, Usami, and Junko Enoshima. Do you have to complete playthroughs with them in order to reach the end of the canon story? Yes. Does anything you see in their cut scenes or Friendship Square scenes actually count as canon within that story? Absolutely not. These characters are definitively established in the main storyline to NOT be present within the Neo World Program. Funnily enough, however, some of these characters do share events with each other that can be encountered in either characters’ playthroughs... so I guess they share a bubble sub-universe?

*WAVES HANDS FRANTICALLY* THIS IS NOT REALLY HAPPENING. IGNOOOOOOORE THIIIIIIIIIIIS!

6)  As was the case with Ultimate Talent Development Plan, there are some story threads that run across multiple character playthroughs in the “Development” board game, so you can gradually build a more complete picture of what goes down during everybody’s time in the Neo World PRogram. I always liked that aspect of UTDP, and it’s cool to see it here once more. You can gradually piece together the story of various characters putting on a play, the mystery of the photos Mahiru doesn’t remember, These include the the characters putting on a play of “Momotaro,” the mystery of the photos that Mahiru doesn’t remember taking, the odd rivalry between Masaru and Gundham, and more.

7) Much weirder, there are some cut scenes/dialogue that are DIRECT FOLLOW-UPS to scenes from Ultimate Talent Development Plan! Even though this clearly isn’t the same AU as UTDP! For example: Hagakure has a scene where he’s talking about “Atua” and recommending that a character go to Angie to sacrifice some blood for Atua. Given that he shares no scenes with Angie in the entire game, this makes no sense unless you take into account the scenes from UTDP where Angie convinced him to believe in Atua. Furthermore, Tenko actually references this dialogue exchange from UTDP at one point. And Kaede seems to be doing her best to befriend Izuru Kamukura in a way that harkens back to their interactions in UTDP. As I said, it’s all kind of weird.

Tsumiki has sacrificed enough already, but thanks.

8) If you’re wondering “Does character x still have that one part of their backstory/personality that some fans didn’t like/wanted them to get over in the DRS universe?” Sorry, but the answer is almost universally YES. All the kids from Ultra Despair Girls still have the same experiences, they all still despise adults, and they remain determined to never grow up, and they remain completely worshipful of Monaca. The culprit of V3′s third chapter is exactly the same as they ever were, so if you didn’t like the reveals about that person’s nature? Sorry; it’s exactly the same here. 

There is ONE exception to this: The mastermind to DRV3, who has a secret side that is kept merely ambiguous throughout any given run on the “Development” board. This might be a world where they aren’t psychotic.

9) If you’re wondering “Is there a Despair plot in this universe?” the answer is “Yes.” The Despair plot isn’t unveiled until the final chapter that you can only unlock after completing Development mode with all 62 characters, though, so I’m not going to really get into it here. Suffice to say that it’s not the same one seen in UTDP, further cementing that this is a separate universe in spite of the references I mentioned under point #7 above. (And as I already stated elsewhere: Don’t start the last chapter without building up a strong team of characters in the Despair Tower. You’ll regret it if you don’t.)

10) Sadly, some characters seem to be more squarely fixated on one specific aspect of their character than ever before. A big example here is Toko Fukawa/Genocide(r).  Toko and her alter ego are more obsessed with Togami than ever before (which is really saying something). The characters are very near to graduation in this game, and yet Toko is still silently following Togami around like it’s Chapter 2 of DR1, constantly stalking him from the sidelines. The fixation is even more noticeable in Genocide Jack’s scenes, though, because almost ALL of them are centered around her non-stop obsession with her “White Knight.” She had a much broader range of behaviors within DR1, UDG, or UTDP, but the DRS universe pretty much narrows her down to being a Togami simp and little else. 

(...................... And this is just my two cents, but I legitimately suspect this is the current writing team desperately trying to insist that Toko and Jack/Syo are absolutely, completely straight. :-/)

She’s only got one thing on her mind now, and it’s not even murder.

Questions Without Answers:

- It is completely unclear what the Monokubs’ role within Hope’s Peak is. Who constructed them? Why? It is often referenced that they are supposedly “Monokuma’s children” (...so did Monokuma build them?), and for that reason, many of the students inherently distrust them. But they also are directly working in the interest of Hope’s Peak to serve the intention of this incarnation of the Neo World Program  (...did Hope’s Peak staff build them?), so for that reason, many students have befriended them. Ultimately, the latter group is correct; they are genuinely trying to be helpful through most of the story But we still never learn where they came from or why they behave how they do.

- Shirokuma and Kurokuma are here because...... why, exactly? Who built them (...Junko, I presume? Unless it was Monaca doing it for “Big Sis”?)  and for what purpose? I mean, Monokuma is already here. And Junkuro, too. Is there anything that Shirokuma and Kurokuma need to contribute? 

[margarethx]

I feel like one of the reasons why Sam and Bucky work with each other so well as a duo in is the fact that they are at the same (or almost the same) level of importance when it comes to the MCU. They are in a similar position as characters.

Let me explain...

----- ------- -----

Before tfatws Sam Wilson was a character from the background. He is important for the overall storyline, but he’s not at the front of any movie. Even in ca:tws he was less relevant to the plot than e.g. Natasha. He’s necessary and there is a significant reason he’s there at all, but at the end of the day it’s a Steve Rogers’ movie. Not Sam’s. And even if calling Sam a sidekick is most of the time insulting - at least within the MCU - he kind of is a sidekick. That’s the role he has in the narrative. There’s a main hero (Steve) and a guy who follows his lead to help (Sam). Of course Sam has his own life and issues that have nothing to do with Steve, but we don’t even know them at this point. And here we’re looking at Sam through the lense of the Captain America movies.

Almost every scene with Sam before tfatws was connected to Steve. Sam joined the fight in ca:tws to help Steve. He was in AoU, because Steve invited him to Stark’s party. He was in Civil War, because Steve asked him to join the Avengers and he wanted to help Steve with finding Bucky... Similarly, Sam had his own opinions in Civil War, but we only hear them when it’s relevant to Steve’s story. (When Sam and Rhodey argue about the Accords they stand behind Steve, because the scene is about him making the decision.)  Even in Ant-Man, where there is no Steve at all, Sam mentions him after Scott left. Etc, etc. You get the picture.

And the same goes for Bucky.

We only see him in ca:tfa where his story is intertwined with Steve’s. When Steve gets his ass kicked before he got the serum. Or when they go to the Expo. Or when they fight during the war. Even when Bucky is saved by Steve it’s less about him being finally free and more about Steve finding his friend again. In ca:tws their meeting is told mostly from Steve’s perspective. It’s a film about Steve facing the Winter Soldier not the other way round. And later viewers don’t see Bucky’s life as a fugative untill the moment he becomes important to Steve’s storyline again in Civil War. And so on and so forth. It goes like that basically from Bucky’s first appearance in the MCU to the last scenes of Endgame.

When Steve and Bucky are fighting on the same side Bucky’s role could also be described as: “a sidekick”. Just like Sam’s.

----- ------- -----

And I honestly believe that this is the reason why pairing Sam and Bucky together makes so much sense. Even if you put aside the obvious chemistry between the characters and their actors it just works for them to join forces in multiple scenes.

Both of them walked in Steve’s shadow before they got their own show. Not because they’re less interesting as characters or because Steve’s storyline is better, but because Steve is one of the main heroes in the entire MCU while Sam and Bucky were always orbiting around him in a way. And we, as the viewers, learnt very little about them outside of the stuff that was important for their relationships with Cap.

Why do we know about Sam losing Riley? Because Steve also lost someone who fell to their death. Why do we see Bucky killing Stark’s parents? Because it’s a movie about Steve’s conflict with Tony (mostly) and it’s just one of many things that makes the conflict worse. I’m not implying it’s unfair to the characters or something (even though I’d love to see them having more sceentime in general)... It’s just the role they serve in a story, because someone has to be in that position for the narrative to flow. You cannot make every character “the main one”. That wouldn’t really work.

----- ------- -----

But then... When Sam and Bucky are together we suddenly see much more about both of them outside of their connection with Steve. It’s almost like destiny how they always end up in close proximity. They seem to naturally gravitate towards each other ever since they’ve met. And it looks like taking them away from a big, important character (Steve) makes them shine brighter. Most of the little moments they shared became iconic at some point when they were just allowed to exist together.

And again... I’m not saying that I don’t enjoy seeing their interactions with Steve, because I do. Especially Sam’s. But it very often feels like they interact with each other because it’s important for the progression of the plot. When Steve talks with Sam it’s often about their next mission, or how Sam helps him with something, or to show that Steve has difficulties with adjusting to the modern world. And when Steve talks with Bucky (at least after ca:tfa) I always feel like there should be a narrator’s voice talking over a scene, telling me: “see? they were friends in the past, before the war... this is important! pay attention”.

Meanwhile, when Sam and Bucky interact, some scenes just... happen for no purpose. Like they interact, because they want to, not because the script told them to. There’s absolutely no plot-related reason for showing Sam and Bucky sitting in that tiny car in Germany. Or for showing them standing together in Infinity War when Thanos attacks.

What the two of them have is completely different from what they had with Steve in the past.

----- ------- -----

To be honest, it always bothered me a little how Steve never really did anything for Sam (freeing him from prison where Sam landed for helping Steve doesn’t count). It’s always Sam making Steve feel better and standing by his side. So it’s a very glaring contrast, when we got to see a whole separate montage where Bucky visits Sam and helps him fix the boat that was important to his family. Or when he casually throws a shield with him for practice, asks Sam if he’s okay, and brings him a new super-hero suit even though Sam never even asked for these favours or suggested that he needs Bucky’s help.

And I know that some people won’t like what I’m about to say, but Steve and Bucky really don’t act like they are particularly close to each other most of the time (especially after their first movie). I believe that they were friends before everything went to shit, but after ca:tws? Not really. They cling to that label, because of their shared story and because Steve cannot let go of the past, but they just... don’t act like they are friends anymore. It’s like they both changed too much and don’t know how to deal with that. So they don’t. It’s like Steve is only attached to some past version of Bucky that no longer exists and the new Bucky doesn’t fully match his expectations. Sam on the other hand has no expectations at all. He builds his relationship with Bucky from the fresh foundations. The creators don’t need to bring back some shared memories from 70 years ago to prove that these two have a strong connection. They just show them doing stuff together. The argument about The Big Three? Petty revange over a car seat? Discussing music tastes? Having “sleepovers” and giving each other slightly mean, but harmless nicknames? Discussing mental health? Having staring contests? Watching goddamn sunsets? That’s what people who are close to each other do.

And that’s why these two simply... work.

It’s not just implied or explained in a flashback. “Look, viewer. They are friends. I know they don’t act like they are, but trust me. They went for a dinner a decade ago... offscreen.” Sam and Bucky even refused to call themselves friends! They’re a couple of guys (allegedly). And yet I still know they like each other very much from the way they interact, speak about each other, or look at each other.

And I really think that one of the main reason’s why it works like that is because they’re both equally crucial (or irrelevant at times) for the story. Both are just as (un)necessary for the plot to move on. Sometimes they are very important and sometimes the plot would easily work without them. ca:tws could’ve happen without Sam. Civil War could’ve technically happen without Bucky if they put more emphasis on the Accords. There were both certainly unnecessary in Infinity War or Endgame. But there’s no way the events in tfatws would’ve happen without both of them being there together. Sam might’ve never taken the shield and become Captain America if it wasn’t for Bucky. Bucky would’ve spent countless years trying and failing to make amends and never finding peace if it wasn’t for Sam. The fandom likes to focus on only Bucky, but you wouldn’t get this much content about him if there was no Sam to share the story with him.

Because they just fit together perfectly.

----- ------- -----

Last disclaimer (because I really don’t want people to get the wrong impression): I actually like Steve. And I like Samsteve (romantically or platonically). Platonic Stevebucky is alright too. But it just kind of... pales in comparison when you see what Sam and Bucky have. Most MCU relationships pale in comparison if I’m being honest.

[generallypo]

in all sincerity, kim dokja makes me happy and he deserves to be so too :^(

incoherent yelling and sobbing under the cut. these fEELINGS will not be contained aaauuunnghhh. 

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anyway i binge-read all 500+ chapters of ORV this week and i honest to god feel bad for this -- completely! fictional! aghhhh -- guy. in case you haven’t figured it out, the following is some spoilerly shit

i went in expecting a fun, brainless power trip fantasy for dudes with an isekai addiction. instead, it turns out ORV is actually a gigantic, self-deprecating prank on the entire genre itself. kdj plays more into the sad -- if high-functioning-- clown trope than the sexy, edgy, chuuni bastard type i was prepared to laugh at. there were -- gasp! -- female characters with personalities! parents (aka ADULTS who act like ADULTS) who actually survive and feature prominently! adorable children! a real sexy, edgy bastard! a power trio with amazing fashion! sexual tension and bickering! friendship! life and death bonding! 

*breathes in deeply* fouND FAMILYYYYYYY.

like, yeah, the plot around the first few arcs seems a little aimless, but the buildup is worth. the world-building is pretty decent. there’s discernible effort put into the fight scenes, and i can appreciate that. but -- but! what i stayed for were the characters -- namely, the fantastic OT3 of KDJ, HSY, and YJH -- who come together despite their initial rivalries and end up saving each other’s asses, like, every other day. granted, the other characters don’t get as much focus, and they do fall into certain character tropes.. 

but a trope done well is nothing i would gripe about. every significant character in ORV has a coherent, and more importantly, respectful take on their respective trope. maybe it’s because sing-shong is actually a married couple, but all the interactions between even minor characters are a convincing blend of awkward rambling, suggestive humor, sharp remarks, and casual banter. in other words, this cast of mostly working adults (plus a teen and two kids) talks like working adults. the relationships built throughout the story are, frankly, some of most realistic of its genre. sing-shong has managed to craft a dynamic that undoubtedly brims with fluffy fondness all around, but also drips with sarcastic tension, with unspoken urgency, with a wariness that softens into sincerity over the course of many, many chapters. it’s the kind of progression that makes even stock characters read like more than just the 2-bit villain or comrade or love interest. here, we have relationships both straightforward and not, strained or otherwise, romantically-oriented as well as decidedly the opposite -- and then numerous others scattered along the spectrum with the freedom to shift either way. 

it’s also an interesting point of note that our MC kdj actually does not end up with a stated romantic partner, much less a conventional heteroromantic harem. he gets teased about that fact from time to time, but it’s with less of the sleazy shonen locker room humor one would expect and more of the good-natured ribbing you’d find among friends or that one especially nosy auntie at the yearly family reunion. kdj is a grown ass man. in the background, i applaud his maturity, and he handles all the prodding like a champ. 

so instead of finding and fulfilling his horny, he builds himself a wealth of loving family. yeah, there are beautiful men and women around him. yeah, they unequivocally adore him. but they’re also adults, and they have priorities, too -- which are not so much finding a way to bang kdj’s brains out and more so simply keeping the damn guy alive. this is truly not ‘oblivious mc with his thirsty, sex kitten harem’. it just so happens that a guy proves himself to be unflinchingly gentle and capable in an apocalyptic setting despite his broken self-esteem, and lots of people find that attractive, romantically and platonically. 

it.. kinda makes sense? he’s a hard worker, thoughtful, and good with kids. kdj is the kind of guy you know would make a reliable partner, and anybody with eyes can plainly see and appreciate that. 

and it’s not that our MC’s a total brick wall. in fact, it’s likely the opposite, and he’s just too darned repressed to admit it. from what has been implied, kdj does indeed recognize and accept love, or at least a primitive concept of it. i like to imagine that the kind of love that he ends up seeking out simply manifests itself more easily as acceptance and safety, as warmth and a home of people to return to every day. even better, the people who surround him know this, and they give him exactly that. it’s refreshing, and honestly, really sweet.

(as a side note, i really, really do appreciate the cosmic bi energy radiating off of kdj, who canonically earns the title of being loved by all and is all but in name married to yjh and hsy. he also respects women and small children and honestly anyone who isn’t total scum to him or his family. i respect that.)

but the happy stuff aside, you know it it just ain’t ORV without the generous screaming dollop of angst. admittedly, there’s self-sacrifice, injury, lonesome wandering, more sacrifice, some epic fighting, reunion and confrontation. all of it is a lot to digest, sure, but never does it feel entirely hopeless, or truly, truly heart-clenching. ORV, up until the final act, is a mostly light read. you relax in your chair, thinking that nothing beyond this point can disturb you. 

yeah fucking right.

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and then the beginning of the end arrives. when the squad finally break through to their ‘ending’, the scene that kind of breaks me is the reveal of the Most Ancient Dream. it ties so much thematically into the little tidbits that we get of kdj’s past, and it though it feels like almost a joke that the source of the goddamn apocalypse is a kid with bruises smeared across his skinny ass body -- it’s such a pathetic picture that it’s kinda poetic, actually. you’re left mystified but somewhat convinced, like a math problem explained halfway through. this.. child.. is a villain somehow, isn’t he?

and then 999th turn uriel speaks up, and she. just. hugs him. 

[[You are this universe’s most powerless existence, aren’t you.]] 

that. that gets me. kdj’s reaction immediately upon this revelation? absolute murder. seeing him essentially self-destruct upon realizing that all these people he’s surrounded himself with -- some who continuously proclaim their loyalty and affection for him throughout their journey, some who suffered eons of war and loss and trauma because of his existence -- not only forgive his younger self but smother him with unconditional acceptance and love is stifling, is too vulnerable and exposed and he simply can’t cope -- it’s so telling of his true mentality, of his crippling insecurity and crumpled sense of self-worth. kim dokja is a liar, through and through, so much that he fails, or perhaps refuses, to comprehend the veracity of others’ kindness and love towards himself. 

by some miracle, the events at the end of the world somehow resolve.. or so it seems. there is a departing train, a liberated team of ex-gods, and a child rousing from his slumber. in the aftermath, i am left shaking. somehow, despite the ending having been (happily?) reached, there’s still another chapter ahead. what is this witchcraft?

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and then ah, yes -- the epilogue arc. i teetered on the edge of being critical for a little bit there -- is that display of deus ex machina, of sad, self-sacrificing nobility a bit too egregious to be acceptable? is this some wild last let-me-yank-this-outta-my-ass plot twist to drag out the chapter count? i sincerely thought that the arc before it would have been the finale. i was wrong. thank god.

anyways, as an answer to the above: no, and no. i stake my firm claim on the belief that the epilogue arc was meticulously planned out well in advance of its release, confusing and time-warpy as it is. i liked it. tremendously. even if it entirely invalidates all of kdj’s supposed development (”haha lol yeah sure i won’t sacrifice myself or anything anymore guys don’t worry about me” -- KDJ, at some point because he’s a lying rat bastard). actually, our beloved MC disappears for a large chunk of this arc, and i think it’s great. in his absence, the other characters not only go absolutely fucking nuts, but they have to figure out this new problem on their own, even if the lure of peaceful complacency in the newly saved Korea might convince them otherwise. 

and then the whole time paradox thing comes around. yjh goes to space, hsy saves the only life she can, and kdj grows up. the crew waits, holding onto their hope even if it bleeds them dry. sing-shong does a damn good job of illustrating their fraying calm, their lurking madness, the unseen but pervasive depression that seeps in from kdj’s absence. the kids lose their father, lhs and jhw lose their reliable leader figure, ysa loses a best friend and confidant, lsk -- as distant as she pretends to be from her son -- loses her only child. and then there’s hsy and yjh , who are essentially bereft of the other half of their existences. their pain is palpable, is grounded in the hopeless, gnawing frustration of an utterly meaningless victory. emotionally, ORV hits all the right -- if agonizing -- beats.

however, a story can’t sustain itself just through its pathos. i’m happy to say that ORV doesn’t drop the ball after the first milestone, and after all the hurt, the characters do leap straight back into action. even better, the plot holes actually do get patches, and the poetic cycle of writer, protagonist, and reader comes full circle by making use of all those supposedly throwaway characters from the myriad world lines. 

at the end of the road, there is a distinct sense of unity, of a delicate but undeniable cohesion to the world lines and their origins. sing-shong lets us guess a little here at the finish, but there’s just enough information to feel hopeful. maybe there never had been a definite start -- or finish -- to the story of kdj company, and... that’s okay. everybody ends up where they were meant to be, where they fought and struggled to reach. it’s.. almost like a happily ever after, if we’re allowed to dream of that.

------

now, i realize, this was all an orchestrated maneuver.

i’ll take it.

to me, all of this work sounds like someone put some serious thought into this behemoth of a plot. it cements the entire original premise of the story. it suggests -- but never explicitly confirms! -- the possibility that breaking free of the cycle is possible through the exact same system that sustains it. it’s terribly interesting -- and inspirational! with all the dramatic revelations and life-threatening scenarios  and the cast’s resigned acceptance of them that essentially make up ORV’s entire mood, there’s still that last hint of rebellious and righteous anger that lights up the whole damn nebula. it’s like the kdj company blasting away at the heavens just to yell into the nether: we’re not looking for the happy end, but the free one. stay alive.

it’s subtle, and yet it’s such an emotional gut punch. i came away with the most ruinous, frustrating, bittersweet sense of longing in ages. i pined. for these fictional darlings. god, i am weak.

so. yeah. ORV is pretty good. flawed, but ambitious and impressively thought out.  i’m stoked that the webtoon is making pretty good progress, even if it’ll take an eternity and a half to meet that monstrous chapter count. i’m still gonna follow it. hell yeah. 

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(by the way the idea that secretive plotter and co are literally gonna take care of and raise baby kdj and spoil him and be the best friggin family a kid could ever want does things to me. protect him. he’s suffered too much. let at least one worldline’s version of him know happiness. and actually, aLL OF THEM DESERVE DOMESTIC BLISS TOGETHER IN A BIG OL MANSION WITH SUN AND FRESH AIR AND TENDER FAMILY MOMENTS UGH)

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and there you have it, folks. you made it to the end. in the far, far distance, i’m cheering you on and crying my eyes out in gratitude. thanks for tuning in!

[senadimell]

The Mysterious Benedict Society as an adaption

So far, The Mysterious Benedict Society adaption feels very faithful to the books. There are definitely changes (Constance, for instance, has been aged up, and likely has a different background. This is understandable. It would be nigh impossible to portray her as she is in the books in live action format--for example, none of the kids in the book suspect she’s a toddler, let alone two years old). However, most changes have all felt reasonable and add to plot and pacing.

I especially enjoy the additions: showing the adult side of the team, for example, or Ms. Perumal’s growing concern about Reynie’s whereabouts, or the girls’ nighttime conversations. Some changes are more extreme. The Mr. Curtain of the books is clearly a villain. He’s condescending and rude, and the only people who like him are bullies. Mr. Curtain of the show is much smoother. It’s easy to see how he’s managed to influence people. Similarly, the L.I.V.E. curriculum is much less obnoxious in the show (not just memorizing nonsense by rote), and as a result, the school’s students seem less stupid and cruel. You can see why they enjoy attendance.

I’m particularly pleased that Number Two’s weirdness has been amplified. Mr. Benedict’s found family is delightfully strange, and I love watching their unusual rhythms. It will be easy to believe when (or if) it’s revealed that the women have been legally adopted into Mr. Benedict’s family.

Similarly, I love how they intensified the quirky feel of the setting and characters. Of course Number Two built a house in the woods in a day because she has a woodworking hobby. Of course there’s secret tunnels and drawers and compartments in Mr. Benedict’s house. Of course Milligan’s disguises and mannerisms are wackily memorable instead of just matter-of-fact. The books themselves have a stylized feel at times (they kind of remind me of Lemony Snickett’s A Series of Unfortunate Events, though with none of the grimness).

I love the overall aesthetic. When I first read the books, they didn’t strike me as being set in the past, but the vaguely vintage feeling works excellently. (I was also a fully grown adult before I realized that the Incredibles wasn’t set in the present, so...) The color schemes, costumes, and sets have distinctive feelings and coordinate well. The effect is stylized rather than naturalistic, which is appropriate and amplifies the tone of the scenes. The bright colors and rough textures of the wooded hideout and its inhabitants’ costumes contrast nicely with the clean lines of tL.I.V.E.’s vintage-pastel interior and sleek exterior.

I also enjoyed the way they did Kate’s flashback as rough home footage. Similarly, I enjoyed the way they showed four kids solving problems on the same screen, how they illustrated Reynie’s thought process with overlaid sketches of the problems, and the way words show up on the screen during the tests for emphasis. The combination of animations, showing multiple things at once, and creative angles for emphasis did a great job conveying the feeling of the tests. (Unfortunately, I lack the vocabulary to describe the techniques they used here).

There’s two things I didn’t enjoy. The first was killing Sticky’s parents to make him an orphan. It mattered in the books that he felt rejected by his own parents. Making it his aunt and uncle who (seemingly) care more about money and fame than the child they’re raising feels a little too much like the wicked stepmother trope. I don’t know why the showmakers decided that Of Course They’re All Orphans, because while most of the book characters are orphans, Sticky isn’t, which serves to show that you can feel rejected and hurt by your parents even when you’ve got an ordinary, non-abusive nuclear family. It’s about feeling isolated, whether or not you’re technically alone.

Secondly, all the wheelchairs have been removed from the adaption. I’m not sure why this was done. Sticky’s mother has bad arthritis and requires a wheelchair. In the books, this was done without fanfare; it was as normal as anything else to oil Ms. Washington’s wheelchair in damp weather, or load and unload it from cars in later books. She was more of a background character, so it didn’t affect the plot, but the casual background representation was a welcome contrast to many books that assume being disabled is strange and uncommon, and that disabilities only exist when they’re plot-significant. The aunt who replaced Ms. Washington used no mobility aids, which disappoints me, especially as the woman she replaces in the books is ultimately shown to be a flawed but loving parent who’s dedicated to making up for her mistakes.

The other person missing their wheelchair is Mr. Curtain, the villain. I’m also not sure why this was removed? It could be to avoid the Evil Disabled Villain trope, but in the book, I didn’t feel like his disabilities were treated as a moral flaw or an excuse for his villainy. He shares his narcolepsy with the unquestionably benevolent Mr. Benedict, so it didn’t feel like his condition was used to vilify him.

He and Mr. Benedict act cope with their condition differently: Mr. Benedict relies on trusted family members for support and chooses to sit on the floor and avoid positioning himself in tall places from which he could fall, whereas Mr. Curtain disguises his narcolepsy by wearing mirrored glasses and using a wheelchair that secures an upright posture, so that no one knows when he has an episode. He does use his wheelchair aggressively, banging through doors and zooming around and forcing people to jog and keep up, but it felt like his use of mobility aids grew naturally from his character.

The books also include a scene where he shocks the children by leaving his wheelchair to chase them. They assumed that using a wheelchair=completely unable to walk, a common view in US society. Importantly, I didn’t feel like the scene was framed as particularly deceptive, like he was lying to them by using a wheelchair when he could walk. Rather, it fit into a pattern of Mr. Curtain managing assumptions and expectations: he doesn’t want people to take advantage of his weaknesses, yet wants to hold a few cards close to his chest. He doesn’t have to lie to people, just let them see and hear and assume what they will.

I don’t use a wheelchair or have narcolepsy, so I’m not in a position to say whether or not the books have good representation. Maybe the fact that Mr. Curtain is evil, and also zooms around and bangs through doors, is uncomfortable. Maybe the fact that his nefarious devices are wheelchair-accessible and in fact designed around his chair sends the wrong message. Maybe using mobility aids to conceal a disability sends a bad message, or maybe it would be better if the good guy was the one to use a wheelchair to cope with his disability. I don’t know. I do know that Mr. Benedict’s condition is played for laughs in both the book and show, and that might be uncomfortable. I do think it’s worth noting that Mr. Benedict’s narcolepsy is seen less and less as funny as the books go on, and grows to be seen as an endearing quality that emphasizes how much he loves people, since his attacks usually underscore with strong emotions and convey worry for his loved ones or joy at their company.

My own sense is that both approaches to narcolepsy make sense, and neither is shown to be inherently faulty. Rather, it’s Mr. Curtain’s character that’s to blame for his villainy--his arrogance, condescension, and mistrust. Both characters feel well-developed and consistent, and their disability is only one part of them. Their disability is colorful, but it’s colorful in the same way as the main characters (Sticky’s anxiety and memory, Kate’s gusto, eye for measurement, and bucket, Constance’s precociousness, etc).

As for why Mr. Curtain’s wheelchair was cut, I’m not sure. Maybe the show writers just didn’t want to deal with the ramifications of depicting a villain in a wheelchair, and decided to cut it altogether (a lazy reason, I think). Alternatively, it seems like they’re depicting narcolepsy without cataplexy, eliminating the need for a wheelchair (a better reason).

On the other hand, Mr. Curtain’s attitude and mannerisms bear the least resemblance to his book counterpart of all the show’s characters. They’re incorporating some backstory from the other books to build a secondary plotline, and I’m not sure how it’s going to play out. From what we’ve seen of him so far, S. Q. Pedalian is also drastically different (shy, cloistered, and openly acknowledged as Mr. Curtain’s son, instead of the gregarious, bumbling, misfit Executive of the books). The TV dynamic between him and Mr. Curtain is largely unrevealed as of yet. Since these changes constitute departures from the book, I’m not sure how the future story’s going to play out around them, and what that reveals about why the wheelchair was cut when it was so characteristic of Mr. Curtain’s mannerisms while other things (like Mr. Benedict’s use of plaid) were included.

Still, it does disappoint me that two wheelchairs were erased, and no one in the show uses one, not even background students. 

Overall, though, apart from the orphan and wheelchair situation, I’m very pleased with this adaption and think that the pacing works wonderfully. It’s a near-ideal format for a video adaption (I think animation would be best, but this is a close second).

[bookofmirth]

How exactly did SJM derive the name Morrigan right from the Irish goddess Morrigu with the hints of "speaker of truth" and "queen" with her, put her in the Night Court, and still manage not to make Mor's powers clear? She has an entire mythology to derive the character, the backstory, the theology from... how do you manage to make her the most divisive character identity wise still? Don't mind me, I just keep getting pissed at this habit of SJM's that seems to show only with the ACOTAR series where she dangles something in front of the readers like she's testing waters with both herself and her readers (the way serial fiction usually works), and then not deliver after building up all the expectation. I know, it's been so long since WAR came out that it's ridiculous to broach this topic again now, but I was rereading my notes on Morrígu and I just went back to those early days. I mean, she had "Dagdan" in WAR, right? Another Irish connection, the god Dagda, who...literally owned a cauldron, coire ansic! And he was an intriguing character, far, far more than King Hybern who's just...a gimmick, really. Dagdan was playing mind games with Feyre, there was a spark in the plot--so much potential...Feyre-Lucien could have teamed up more (ugh, I've so many complaints about the "Lucien kneeling to Feyre the Cursebreaker" scene - it could have been so much more, Lucien knowingly undermining Ianthe...so delicious), they could have circled around Dagdan and Brannagh playing politics (Lucien) and mind-games (Feyre) - it could have led up to Dagdan, the daemati, manipulating the drab-villain Hybern, aiming for The Morrigan from the start like it was implied at the end of MAF. Not to be a Theorist but Morrigu could even have had a decent (maybe flimsy, because the witchcraft and magic thing isn't exactly Morrigu's sphere) connection to the Three-Faced Goddess of TOG too...

Just...ugh, crying over spilt milk, yes, but I'm just sad at the lost opportunities. Sorry for this rant in your poor inbox.

acotar is thousands of pages of "what if I did this cool thing and then never think about it again".

The potential is *chef's kiss* and a lot of it is squandered. So we fill in all the blanks that could have been. She writes 800 pages and still manages to have a mangled mess of a plot in acosf and just forget about a ton of potential that she dangled in front of the reader, all those things that you noticed, for what!!! For the ~aesthetic~ I guess???

It's... kind-of a good example of how people can write a lot without saying much. I am still convinced that that's why I am stuck in this cursed website. She set up something really great and we're all left wondering where the fuck the rest of it was. Sorry I'm thinking about this today but I literally just taught a lesson on concise writing and precise language and asdlkjaldsjad

I know, it's been so long since WAR came out that it's ridiculous to broach this topic again now,

No it's NOT ridiculous because everything from the series is still relevant, right? Even if it had come out 20 years ago, the mess that was acowar is still glaringly apparent. If anything, I'm thinking more and more about how much of a clusterfuck acowar was, even though I tried really hard to like it when it came out.

You sound like @rayonfrozenwings with your theories and notes though, the two of you would get along great. 😂

I'm curious how much of Morrigan's story is like the character from The Wicked and the Divine? Because she was one of my favorite characters in that graphic novel and she did have three forms and was just great. Unlikeable but I still would let her step on me. I haven't looked into the source for her name, partly because I don't want to accidentally stumble on something that will spoil me for a future book, and partly because I now realize that sjm never uses those references with any deeper meaning other than "heh, pin from my board on Pinterest was cool looking".

It does feel like she's testing the waters, but that's... not something to do in a revised, edited, and published work, call me crazy! I guess she really can do whatever the hell she wants because ToG was not like this.

It borders on slightly offensive, given how many cultures she casually takes from without thought about the significance of those references to the culture or religion or clothing or beliefs etc. It really became apparent in acowar (I probably have posts from 2017 complaining about it lol). I wish she would just stop and deal with what she has in the here and now.

[itsclydebitches]

RWBY Recaps: Volume 8 “Dark”

Welcome back, everyone! Can you believe it's been six weeks already? I can't. Something something the uncomfortable passage of time during a pandemic as emphasized by a web-series.

But we're here to talk about RWBY the fictional story, not RWBY the cultural icon. At least, we will in a moment. First, I'd like to acknowledge that shaky line between the two, growing blurrier with every volume. A sort of good news, bad news situation.

The bad news — to get that out of the way — is that we cannot easily separate RWBY from its authors and those authors have, sadly, been drawing a lot of negative attention as of late. This isn't anything new, not at all, but I think the unexpectedly long hiatus gave a lot of fans (myself included) the chance to think about Rooster Teeth's failings without getting distracted by their biggest and brightest production. There's a laundry list of problems here — everything from the behavior of voice actors to the quality of their merch — but as a sort of summary issue, I'd like to highlight the reviews that continue to pop up on websites like Glassdoor, detailing the toxic, sexist, crunch-obsessed environment that RT employees are forced to work in. A lot of these websites requires a login to read more than a page of reviews, but you can check out a Twitter thread about it here. 

Now, I want to be clear: I'm not bringing this up as a way to shame anyone enjoying RWBY. This isn't a simplistic claim of, "The authors are Problematic™ and therefore you can't like the stuff they produce." Nor is this meant to be a catch-all excuse for RWBY's problems. If it were, I'd have dropped these recaps years ago. I'm of the belief that audiences maintain the right to both praise and criticize the work they're given, regardless of the context in which that work was produced. At the end of the day, RT has presented RWBY as a finished product and, more than that, presents it as an excellent product, one worth both our emotional investment and our money (whether in the form of paying for a First account, or encouraging us to buy merch, attend cons, etc.) I'll continue to critique RWBY as needed, but I a) wanted fans to be at least peripherally aware of these issues and b) clarify that my use of "RT" in statements like, "I can't believe RT is screwing up this badly" is meant to be a broad, nebulas acknowledgement that someone in the company is screwing up, either creatively (doesn't have the skill to write a good scene) or morally (hasn't created an environment in which other creators are capable of crafting a good scene). The real, inner workings of such companies are mostly a secret to their audiences and thus it's near impossible for someone like me — random fan writing these for fun as a casual side hobby — to accurately point fingers. Hence, broad "RT." I just wanted to clarify that when I use this it's as a necessary placeholder for whoever is actually responsible, not a damnation of the overworked animator breaking down in a bathroom. Heavy stuff, but I thought it was necessary (or at least worthwhile) to acknowledge this issue as we head into the second half of the volume.

Now for the good news: RWBY has reached 100 episodes! For any who may not know, 100 is a pretty significant number in the TV world because, when talking about prime time programming, it guarantees syndicated reruns. Basically, networks don't want audiences to get burned out with a show — changing the channel when it comes on because ugh, I've seen this already, recently too — and 100 episodes allows for a roughly five month run without any repeats, making it very profitable. RWBY is obviously not a television show and doesn't benefit from any of this (hell, modern television doesn't benefit from this as much as it used to, not in the age of streaming), but the 100 episode threshold is still ingrained in American culture. Beyond just being a nice, rounded number, it is historically a measure of huge success and I can't imagine that RT isn't aware of that. Regardless of what we think of RWBY's current quality, this is one hell of a milestone and should be applauded.

All that being said... RWBY's quality is definitely still lacking lol.

Our 100th episode is titled "Dark" — keeping with the one word titles, then — and I'd like to emphasize that, as a 100th episode, it definitely delivers in terms of plot. There's plenty of action, important character beats, and at least one major reveal, everything we'd expect from a milestone and a Part II premiere. The animation also continues to be noteworthy for its beauty, as I found myself admiring many of the screenshots I took for this recap. There are certainly things to praise. The only problem (one we're all familiar with by now) is that these small successes are situated within a narrative that's otherwise falling apart. It's all good stuff... provided you ignore literally everything else surrounding it.

But let's dive into some examples. We open on Qrow starting, awoken by the thunder outside. Robyn has been watching him and makes a peppy comment about how none of them will be sleeping tonight, followed by a more serious, "Sounds bad out there." Yeah, it does sound bad, especially when they all know — thanks to Ruby's message back in Volume 7 — that this is due to Salem's arrival. I think a lot of the fandom has forgotten that little detail because people often discuss Qrow as if he is entirely ignorant of what is going on outside his cell. Even if we were to assume that he's forgotten all about the pesky Salem issue (the horror of Clover's death overriding everything else, perhaps) he still knows that Tyrian is running loose in a heat-less city with a creepy storm going on and, from his perspective, the Very Evil Ironwood is still running the show. So it's bad, which begs the question of why Qrow (and Robyn, for that matter) hasn't displayed an ounce of legitimate worry for everyone he knows out there. Thus far, their interactions have centered entirely around Qrow's misplaced blame and Robyn's terrible attempts to lighten the mood, despite the fact that a war is raging right beyond that wall. It's another example of RWBY's inability to manage tone properly, to say nothing of balancing the multiple concerns any one character should be trying to juggle. Just as it rankles that Ruby and Yang don't seem to care about what has happened to their uncle, Qrow likewise doesn't seem to care about what might be happening to his nieces. When did we reach a point where these relationships are so broken that someone can be arrested/chucked into a deadly battle and the others just... ignore that?

So Robyn's otherwise innocuous comment immediately reminds me of how badly the narrative has treated these conflicts and, sadly, things don't improve much from here. We are thankfully spared more of Robyn's jokes when Qrow realizes that what he's hearing can't be thunder. A second later, Cinder blasts through the wall — called it! — and Qrow instinctively transforms. 

The only downside to this moment is that the whole ceiling falls down on Qrow and the others because APPARENTLY these cells don't have tops on them. Seriously. As far as I can recall we don't see the stone breaking through the forcefield somehow and this looks pretty open to me.

If it is... you're telling me these crazy powerful fighters who practice landing strategies and leap tall buildings in a single bound —

— can't just hop over this mildly high electric fence to get out? Qrow can't just fly away?

We're, like, two minutes in, folks.

We transfer to Nora's perspective as she wakes up, seeing Klein giving her the IV. He tells her not to worry, that "you and your friend are going to be just fine." What friend? Penny? Klein went upstairs prior to Weiss hugging Whitley or Penny crash landing outside. I had thought them bursting through the door with another unconscious friend was the first time he learned what the big bang outside was, but apparently not.

Penny is, obviously, a mess. While I now understand the choice to make her blood such an eye-catching color when that's crucial to the Hound's hunt, I still think it looks strange visually. Like someone has taken a copy of RWBY and painted over it. It doesn't look like it fits the art style. More than that, it implies some rather complicated things about Penny's humanity, especially in a volume focused around her being a "real girl." Real enough for Maiden powers, but with obviously inhuman blood that isn't even referred to as "bleeding." Penny "leaks" instead.

Toss in the fact that she's literally an android who is made up of tech — recall the running gags about her being heavy, or it hurts to fist-bump her, to say nothing of keeping things like multiple blades inside her body — yet Klein says that her "basic anatomy" is the same and he can "stitch up that wound."

I'm sorry, what? Whatever Penny looks like on the inside, it's not going to resemble a human woman's anatomy, and Klein might be able to stitch the outer layer of skin she's got, but that won't do anything to fix whatever metal bits have been broken underneath. Penny isn't a human-robot hybrid, she's a robot with an aura. Penny has knives in her back, rockets in her feet, and a super computer behind her eyes. When our clip introduced that Klein would be the one to help Penny, my initial reaction was, "Seriously? He's a butler and a doctor and an engineer?" But RWBY didn't even try to get away with a Super Klein explanation, they just waved away Penny's very obvious, inhuman anatomy. Yeah, I'm sure "stitching up" an android wound is just like giving Nora her IV. I hope the surgical sutures he used are extra strong!

In an effort to not entirely drag this episode, I do appreciate that Whitley is allowed an "ugh" moment about the non-blood covering his shirt without anyone calling him out on it. That felt like the sort of thing the show would usually try to make a character feel guilty about and I'm glad that, for once, he was just allowed to be frustrated without comment.

Then the power goes out and May calls, which raises questions about what state the CCTS is in and when scrolls are available to our protagonists vs. when they're not. But whatever. She's checking in because she just "saw another bombing run light up the Kingdom" and —

Wait. Bombing? Salem is bombing the city? I know we've seen explosions in the sky, but I'd always just attributed that to evil aesthetic. Why does this dialogue sound like it's from a World War II film and not a fantasy sci-fi show about literal monsters launching a ground attack?

May looks pretty against the sky though. I like her hair color against that purple.

I'm admittedly grasping at positives here because we finally return to her "You have to choose" ultimatum and — surprise! — May has pulled back completely. Ruby says that once they've helped Penny, "We'll...we'll do something!" which is once again her avoiding making a decision. Ruby still refuses to choose, instead falling back on generic, optimistic pep talks. They'll figure out how to stop Salem later. They'll think about the impact of telling the world later. They'll choose who to help later. Ruby keeps pushing these problems into the future where, she hopes, a perfect, magical solution will have appeared for her to latch onto. When that continues to not happen, others pressuring her to actually do something and stop waiting for perfection — Ironwood, Yang, May — she panics and continues stalling for time. Wait an episode and the narrative supports her in this.

Because initially May was forcing Ruby to decide. Now, May enables her desire to keep putting things off. "Don't beat yourself up, kid. At this point, I don't know how much is left to be done." That's the exact opposite of what May believed last episode, that there was still so much work and good to do for the people of Mantle. This is precisely what the show did with Yang and Ren's scenes too, having people call Ruby out... but then return to a message of, 'Don't worry, you're actually doing just fine' before Ruby is forced to actually change.

None of which even touches on May calling her "kid" in this moment. That continues to be a convenient way of absolving Ruby of any responsibility. When she wants to steal airships or Amity Tower, she's an adult everyone should listen to, the leader of this war. When the story wants to absolve her of previously mentioned flaws, she becomes a kid who shouldn't "beat herself up." I said years ago that RWBY couldn't continue to let the group be both children and adults simultaneously, yet here we are.

So that was a thoroughly disappointing scene. Ruby gets her moment to look sad and defeated, listing "the grimm, the crater, Nora, Penny" as problems she doesn't know how to solve. Note that 'Immortal witch attacking the city I've helped trap here' isn't included in that list. Ruby is still ignoring Salem herself and no one in the group is picking up where May left off, challenging her to do more than wring her hands over things others are already trying to take care of: Ironwood is fighting the grimm, May has gone off to help the crater, Klein is patching up Nora and Penny. Ruby, as one flawed individual, should not be expected to come up with a solution to everything, but she does need to stop acting like she can come up with a solution to everything when it matters most (office scene) and rejecting others' solutions when they ask for her help (Ironwood, May).

If it feels like I'm dragging the flawed, traumatized teenager too much, it's not in an effort to ignore those aspects of her identity. Rather, it's because she's also the licensed huntress who wrested control from a world leader and violently demanded she be put in charge of this battle. Ruby, by her own actions, is now responsible for dealing with these problems, or admitting she was wrong and letting others take the lead, without purposefully derailing their plans. She doesn't get to suddenly go, "I don't know," cry a little, and get sympathetic pats.

But of course that's precisely what happens, courtesy of Weiss.

During this whole scene I kept wondering why no one was celebrating Nora waking up, especially when Ruby outright mentions her. Have they just not noticed given all the Penny drama? Because Nora absolutely woke up.

Aaaand went back to sleep, I guess. What was the point of that POV shot? No worries though, she'll wake up again in a minute.

Willow arrives and announces that they can fix the power (and Penny) using the generator at the edge of the property. I'm convinced RT doesn't actually know what a generator is because the characters are acting like it's some super special device that only richy-rich could possibly have. Whitley says that it's the SDC executives who have their "own power supply" and that it's "extremely unfair." Now, don't get me wrong, a good generator powering large portions of your house can run you 30k+, but you can also get one that plugs into your extension cord and powers your fridge for a couple hundred. There's absolutely a class issue here, just not the one Whitley and Weiss seem to be commenting on. They make a generator sound like the sort of device that only a politician-CEO could possible have and it's weird.

Likely, it sounds weird because it's a choppy way of getting Whitley to bring up the wealth disparity so he can then go, 'That's right! We're crazy rich with a company housing tons of ships! We can use those to evacuate Mantle.' Awkwardness aside, I do like that the Schnee wealth is being used for good purposes, but... evacuate where? To the city currently under attack by a giant whale? In a RWBY that wasn't determined to demonize Ironwood, this would have been a great plot point during the office scene instead, with Weiss offering her services to Ironwood, even if the group decides that a continued evacuation still isn't possible.

Instead, we get it here from Whitley. Do I need to point out the obvious? That Whitley is the MVP of this episode? He's done more good in an HOUR than the group has managed in a year. Give this kid some training and make him a huntsmen instead.

We're given a (very pretty!) shot of the shattered moon because it wouldn't be RWBY if we weren't continually reminded that gods once wiped out humanity before destroying part of a celestial body... and absolutely no one talks about that lol.

Blake's coat might not make any sense for her color scheme, but it does make her easy to spot as she and Ruby run across the grounds. Oh my god, they're actually doing something together! It only took eight years. They even get a lovely talk where Blake admits how much she looks up to Ruby, despite her being younger, and once again I'm struck at how much more I would have loved this scene if it had appeared elsewhere in the series. It is, indeed, as sweet and emotional as all the RWBY GIF-ers are claiming... provided you overlook that this is the exact opposite of what Ruby needs to hear right now. She doesn't need to hear that she's more mature and reliable than her elders when she's functioning under a "We don't need adults" mentality. She doesn't need to hear that not knowing what to do is totally fine, not when that led to her turning on Ironwood, despite not knowing how to stop Salem. She doesn't need to hear that "doing something" — doing anything — is a strength, because Ruby keeps avoiding the big problems for smaller ones she's comfortable with, like standing by Penny's bedside instead of deciding between Mantle and Atlas. Blake's speech is heartfelt, but it's a speech that suits a Beacon days Ruby who is having some doubts about her leadership skills, not the girl whose impulsive — and now lack of — actions is having world-wide repercussions. Everyone is babying Ruby to a staggering degree. It's like if we had a med show where the doctor is standing by the bedside of a coding patient, fretting between two treatments. 'Don't worry,' their colleague says, patting their shoulder. 'I've always looked up to you. You'll do something when you're ready' and then they continue to watch the patient, you know, die.

Also: who does Ruby look up to? Everyone talks about how much they depend on and trust Ruby, but who does Ruby look to for guidance? A number of her problems stem from the fact that she has rejected the advice of everyone who has tried to help her improve: Qrow, Ozpin, Ironwood, even Yang. Ruby is presented as the pinnacle of what to strive for in a leader, rather than a leader who has only been doing this for two years and still has a great deal to learn.

Anyway, they get the generator on and the Hound shows up.

I am begging RT to just make RWBY a horror story. All their best scenes the last three years have been horror I am bEGGING —

Anyway, while Ruby waits to be eaten we cut to Willow and Klein, the former of which is reaching for her bottle, pulling back, reaching again, all while her hand shakes. This is good. This is what we should have gotten with Qrow. Which isn't to say that their (or anyone's) addiction should be identical, but rather that this is a far more engaging and complex look at addiction than what our birb got. Willow tells us that she doesn't drink in the dark despite bringing the bottle with her; tries to resist drinking when she's scared and ultimately fails. Qrow just decided to stop drinking after decades of addiction, seemingly for no reason, and that was that. Why is a side character we only met this volume written better than one of the main cast?

Blake manages to call Weiss about the Hound and she asks if Whitley can handle the airships without her. I mean, I assume so given that Weiss is looking at the bookshelves while Whitley does all the work lol. He makes a teasing comment about how he can if she can handle that grimm and she comments that they still need to work on his "attitude."

No they don't. Weiss stuck a weapon in her kid brother's face. Whitley made a joke. Even if Weiss' comment is likewise meant to be read as teasing, it's clear that we've bypassed any meaningful conversation between them. That hug was supposed to be a Fix Everything moment even though, as I've laid out elsewhere, it didn't even come close.

We cut back to Ruby getting thrown through a wall into the backyard and the Hound creepily coming after her. She's freaked out by this clearly abnormal grimm and Blake is weirdly... not? "It's just a grimm. Just focus!" Uh, it's obviously not. Have we reached the traumatized, sleep-deprived point where the group is sinking into full-blown denial? I wouldn't be surprised. They've been awake for like... 40+ hours.

Because the Hound knocks Ruby out with a single hit. Just, bam, she's down. "Focusing" is not the solution here.

Weiss calls to warn the others about the grimm, telling them to stick together. Willow (understandably) starts freaking out and flees the room (classic horror trope!). Klein is left alone when Penny wakes up with red eyes. Oh no!

Don't worry. You know nothing meaningful happens.

She shoves Klein before (somehow?) resisting the hack, her Maiden powers going wild in the process. Just when it looks as if Penny might cause some serious damage, Nora wakes up, takes her hand, and says, I kid you not:

"Hey... no one is going to make you do anything you don't want to do... It's just a part of you. Don't forget about the rest."

Okay. I want to re-emphasize that I love hopeful, uplifting, victory-won-through-the-power-of-love stories. Istg I'm not dead inside, it's just that RWBY does this so badly. I mean, what is this? It has similarities to the character shouting, 'No! Resist!' to their mind-controlled ally, but this is not presented as a desperate, last-ditch effort by Nora. She just speaks like this is the most obvious truth in the world. If you don't want to have your mind taken over... just don't! It's that simple. The problem definitely isn't that Watts has changed her coding and has implemented a command she can't override, it's that Penny has forgotten about the "rest" of her personhood.

And this works. Granted, not for long, but we leave Nora having successfully calmed Penny down and until her eyes unexpectedly go red again scenes later, we're left assuming that this is a permanent solution. That, imo anyway, is taking the Power of Love too far, overriding the basic reality of Penny being hacked. It’s not a personal failing she must overcome, it’s an external attack. I would have rather had Nora react to the scars she saw on her arm, or have a moment with Klein, or get some love from the group. Not a wakes up, falls asleep, wakes up again to save Penny with a Ruby level 'Just ignore reality' pep-talk, then back to sleep again.

So Penny isn't attacking her allies, or mistakenly hurting her allies with wild Maiden powers. Not that the group doesn't have enough to deal with, but still. Weiss arrives to help with the Hound and attempts a new summon, only to fail when two minor grimm burrow up into her glyphs. I really enjoyed that moment, both for the wing visual and the knowledge that Weiss' glyphs can fail if you break them somehow (which makes sense). Also, I just like that she failed in general? Weiss is, as per usual now, about to demonstrate just how OP she is compared to the rest of the team, so it was nice to see her faltering here.

The Hound tries to make off with Ruby and Blake does an excellent job of keeping it tethered. Ruby finally wakes, only to realize that the grimm is actually after Penny since it's staring at her power up through the window, no longer trying to escape. Moments like this remind me that there's someone on RT's writing team that knows what they're doing, at least some of the time. The assumption that the Hound is after Ruby as a SEW, the surprise that it's actually Penny, realizing it holds up because Ruby is covered in Penny's blood and Blake is not... that's all nice, tight plotting. More of that please!

The Hound drops her and Ruby's aura shatters when she hits the ground. I want everyone to remember this moment as an example of how strong the Hound is. The group may be tired, but unlike YJR they've been sitting around in the Schnee manor for a number of hours, regaining strength. We saw the Hound hit Ruby twice — once through the wall and once to knock her out — and then she falls from a not very high distance for a huntress, yet her aura is toast. That's the level of power and skill the Hound possesses. Decimating YJR, knocking Oscar out, same for Ruby, avoiding Blake and Weiss' hits, soon to treat Penny like a ragdoll. Just remember all this for the episode's end.

Blake tells Weiss she'll take care of Ruby, you go help the others. Yay breaking up the duos more! Bad timing though as the new acid-spitting grimm pops out of the ground and Blake is now left alone to face it.

Weiss re-enters the mansion, knowing the Hound is somewhere nearby, but not where. Suddenly, Willow's voice sounds through her scroll with an, "Above you!" which... doesn't keep Weiss from getting hit lol. But it's the thought that counts! Willow has accessed the cameras she's set up throughout the manor, watching the Hound's movements, and I have to say, that is a WAY better use of her separation from Klein than I thought we were getting. I legit thought they'd have Willow run away in a panic, meet the Hound, die, and then Weiss could be sad about losing her mom.

It does say something about RWBY's writing that this was my knee-jerk theory, as well as my surprise when we got something way better.

The Hound runs off, uninterested in Weiss, and she asks Willow to keep tabs on it. It heads for Whitley next (also covered in Penny's blood) and very creepily stalks him in the office with a, "I know you're here." Whitley is seconds away from being Hound chow before one of Weiss' boars pin it against the wall. He runs, then runs BACK to finish deploying the airships, before finally escaping assumed death. Goddamn this boy is pulling his weight.

I assume all these ships are automated then? I hope someone takes a moment to call May. Otherwise it's going to be super weird for the Mantle citizens if a fleet of SDC ships just show up and hover there...

I don't entirely understand how Weiss saved him though. She's nowhere to be seen when Whitley leaves and he runs a fair distance before he and Willow encounter Weiss again. We know her summons don't have to keep right next to her, but are they capable of rudimentary thought, attacking an enemy — and an enemy only — despite Weiss being a couple corridors down and unable to see the current battlefield? I don't know. In another series I'd theorize that this was a deliberate hint, a way to clue us into the fact that Willow, someone who we currently know almost nothing about, had training in the past and summoned the boar herself. Weiss and Winter certainly didn't get that hereditary skill from Jacques. Hell, we might still get that, Weiss reacting with confusion next episode when Whitley thanks her for the boar, but I doubt it. That scene with Ruby and the Hound aside, the show isn't this good at laying groundwork and then following up on it.

Case in point: Weiss says, "I didn't forget you" to Whitley after he gets away from the Hound, the moment trying to harken back to her promise to Willow. Key word is "trying." Because she absolutely forgot him! Weiss threatened and ignored Whitley until he proved his usefulness. I also shouldn't need to point out that, "Don't forget your brother" does not mean, "Don't let your brother die a horrible death by abnormal grimm." Weiss acts like her saving him is a fulfillment of her promise, rather than just the most basic of human decency. And also, you know, her job.

So that part is frustrating. The entire Schnee dynamic is a mess, from Weiss making a joke of her father's arrest, to Willow (presumably) fixing their relationship by putting a hand on her daughter's shoulder. Okay.

Then Weiss cuts off the Hound by summoning a giant wall of ice. My brain, every time this happens:

YOU COULD HAVE FIXED THE HOLE IN MANTLE'S WALL.

Moving on, Blake's fight against the acid... thing has some great choreography, including Blake using her semblance which we haven't seen in AGES. 

I really like the fight itself, just not what Blake is shouting the whole time. "I need you, Ruby! We all need you!" This has really gotten ridiculous. Ruby is presented as everyone's sole savior despite failing time and time again. It's not that I don't think Blake as a character should have faith in her leader, it's that I don't think the writers should be crafting a story where everyone puts their unshakable hopes in an untrained, disloyal, impulsive 17 year old. I mean, Ruby is currently unconscious, yet Blake is acting like if she doesn't wake up — she, as an individual, if Ruby Rose does not re-join this fight — then all is lost. If Ruby doesn't save them, no one can. Which is, of course, absurd on numerous levels. Blake doesn't need the passed out, aura-less Ruby right now, she needs the still very healthy Weiss pulling out multiple summons and an ice wall! Use your scroll and call for backup again.

But of course, Ruby wakes up and kills the new, terrifying grimm with a single hit. It's a preview of what's to come with the Hound and it's just as ridiculous here as it will be there.

Speaking of the Hound, am I the only one who thought this was... cute?

I can't possibly be the only one. That head-tilt is exactly what my dogs do and my brain instinctively went, "Aww, puppy!"

Murderous puppy.

The Hound realizes none of the Schnees are who it's looking for and runs off. Penny, meanwhile, has been fully taken over because, well, that's just what's convenient now. She resists long enough keep Amity up, then succumbs, then resists to apologize to Ruby, then succumbs, then resists because Nora asked her to, then succumbs once it's time to knock her out. If RWBY was willing to commit to consequences, Penny would have been taken over and that was that. The characters would need to deal with whatever outcome happens as a result. Instead, the show very carefully avoids any of those pesky consequences by having Penny successfully resisting at key moments, despite no explanation of how she's managing that.

She shoves Klein again (Klein is having a Bad Time) and starts walking down the main steps. When Whitley wants to know where the hell she's going, Penny mechanically responds that she must "Open the vault, then self-destruct." I suppose the change Watts made was the self-destruct order? Ironwood obviously wants the vault open, though not necessarily Penny's death. Think what you will of his moral compass, she's a damn powerful ally — a research project, perhaps — and a Maiden to boot. At the very least, her death may give the powers to someone even worse.

God, please don't let them have brought Penny back and made her a Maiden just to kill her again.

The Hound arrives though and, as said, knocks Penny out. We're back to square one with her, then. Note though that this attack is near instantaneous. She grabs its hands one second, is hanging limply the next. Wow, the Hound sure is a terrifying antagonist!

Not for long.

"That's enough," Ruby says and one-shots it with her eyes.

Now, I want to talk for a moment about the implications of that line. "That's enough." Obviously Ruby is #done with this situation and emotionally unwilling to let the Hound kidnap Penny (congratulations, Nuts and Dolts shippers), but there's a meta reading here as well. Not intentional, but glaring to me nonetheless. Basically, the idea that the Hound has, from a plot perspective, done enough. It has served its singular purpose. It kidnapped Oscar and now it dies. Never-mind how insanely powerful we've established the Hound to be, never-mind how Ruby's eyes also work or don't work according to whether anything of actual import is on the line. From a plot perspective "that's enough" and the Hound can be disposed of instantly. It got Oscar and gave us an episode of filler creepiness. Move along now.

The idea behind Ruby's eyes isn't bad, but the execution absolutely is. RT has undermined a huge portion of the stakes by giving their protagonist an instant kill-shot that always works precisely when she needs it to. Starting with the Apathy, we have yet to get a moment where Ruby's eyes fail to save the day when she really needs them to, no matter how incredible the challenge. The Hound was very intentionally written to be a grimm outside of the group's current power level. It thinks, it talks, they literally can't touch it. This creates the expectation that the group will need to grow stronger — or at least become smarter — in order to surmount this new obstacle, yet Ruby's eyes undermine all of that. The group hasn't grown in years, the show just makes enemies weaker as needed (Ace Ops), or has Ruby pull out her eyes as a trump card. It wouldn't be that bad if we'd at least gotten a good battle out of it, one where the group gets close to defeating the Hound on their own, but needs Ruby's eyes to finish it off. Instead, she literally walks up without any aura, announces to the audience that this antagonist's time is up, and blasts it out a window.

Granted, Ruby's eyes don't completely finish it. The Hound pulls itself to its feet and we see this.

Yup, that's a guy and yup, those are silver eyes.

I would like to issue a formal apology to the "It's secretly Summer!" theorists in the fandom. I mean, I still think it would be ridiculous (and at this point highly improbable) that Ruby's dead mother has actually been a grimm mutant this whole time, just hanging out in Salem's realm while she waits for the plot to start before attacking the world, and then sends some no-name faunus dude after the group instead of their leader's mother for extra, emotional torture... but you all were definitely right about the “It's a person” part! I... don't know how I feel about this. Admittedly, it seems to be a logical continuation of the other grimm-human hybrids we've seen — namely Cinder and Salem herself — and it finally explains why Salem wants Ruby alive (even though it actually doesn't because WHY did she want more SEWs for Hound grimm when she wasn't even attacking back then? And already has all these other insanely powerful tools??), but at the same time, it feels like it's complicating a story that doesn't need further complications. The group fights monsters and has an immortal enemy. You don't need to add 'Some of those monsters are secretly human' to the mix.

It doesn't hurt that this twist is giving me Attack on Titan vibes, which, ew. A dark time in my fandom life, folks.

The Hound staggers a few steps before Whitley and Willow dump a suit of armor on it. That's all it takes to kill the most dangerous grimm we've ever seen: a single flash of silver eyes and some heavy metal. This also wreaks havoc with the implication that Salem wants SEWs alive because they create such powerful grimm. Obviously not. I mean yeah, normal huntsmen are going to have serious  problems, we’ve seen that this volume, but any other SEWs nearby will take a Hound out instantaneously. For a villain with so many other powerful abilities — immortality, magic, endless normal grimm, her nifty soup — Salem would be much better served just killing SEWs straight out. Clearly, creating Hounds isn't worth the effort.

The Hound leaves some bones behind and Ruby collapses to her knees, overcome with the knowledge that this was once a person. Again, uncomfortable Attack on Titan parallels.

We finish our premiere with Cinder clearing away rubble to reveal Watts. Honestly, I like that we ended on this because her rescue is hilarious. She just slings him over her shoulders like a sack of potatoes and blasts off with her magic fire feet. Fantastic.

Note though that with this scene we've seen almost everything from the clip and the trailer. What's to come in the rest of Volume 8? No idea. Outside of Winter leading the charge with the bomb, we got it all here.

Time to update the bingo board!

I'm crossing off "Introducing new grimm that are quickly abandoned." Between the Hound and acid-dude both falling to a single blast/cut from Ruby, we've more than earned this square.

It doesn't look as if we'll get another Watts-Jacques team-up now that he's left, but you never know.

Maria's got me worried. I feel like her Yoda fight against Neo is the one thing she'll be allowed to do this volume, but given that we didn't see anyone except Ruby's group this episode, we don't yet know whether the story is now ignoring her and Pietro, or if they'll re-appear in another episode like YJR.  

Qrow is free. Will he get a drink before trying to murder Ironwood? Perhaps.

Still no bingo :(

All in all, the episode was by no means horrible. I think there were lots of horrible parts, but also some legitimately well executed moments, fun action, and scenes that I can easily imagine as squee worthy if you lean back and squint. Everything is comparative and in the growing collection of bad RWBY episodes, this one isn't securing a top slot. Which doesn't mean I think it's good, just... not as bad as it could have been and primarily only bad due to long-running problems, not things this specific episode has done. That's my bar then, so low it has officially entered the underworld.

Still, RWBY is back and a part of me is eager to see where this volume takes us, for better or for worse.

Until next week! 💜

[Ko-Fi]

[michals]

(Ok this was supposed to be like, a couple of paragraphs but it turned into a freaking essay, so it’s under the cut haha)

On Klaus, Luther and addiction

So this is something I personally find to have a lot of great thematic potential for these two characters. The idea of Luther falling into the same trap that Klaus has for both similar and different reasons and Klaus dealing with Luther’s addictions while facing his own is such a great thru line for both of them. The show’s set them up with the building blocks for this plot point and it would be so easy for it to come into play this season, especially this season actually.

Luther’s build up to addiction is subtle but I think they’ve planted the seeds enough to make it into something. Him falling apart in The Day That Was and his first reaction is to turn to alcohol and drugs is pretty significant considering it’s obvious that he’s probably been very ‘straight edge’ his whole life, probably never having even drank before then. And he tells Klaus straight out that he wishes he was like him, that he didn’t care and that he could just ignore all his own feelings like he thinks Klaus does. (I’ll get into how the family deals with Klaus’s addiction in a minute.) He goes out and  does things under the influence he would never have done while sober, things that end up being self destructive (ie having sex that he seemed to really not want). But even then he’s gotten the idea that if he’s drinking/on something then he’s not thinking about all his shitty feelings.

Season two really sets it up because it’s not just one event but several. In the first ep at the bar he has a drink very casually, like he’s been doing it for years and not just because his life fell apart in the past how many months. The flask when he goes to Vanya’s is really telling firstly because he has a flask on him at all times at this point, that he uses it to get his courage up to go in the barn, and that he does it even when he’s driving. But it’s the nitrous scene that really cements it for me, again simply because he went from being basically a teetotaler to jumping at the first offer of heavy drugs. And he says he should’ve done this a long time ago. If I may get a little personal I know how easy it is to fall into this, the idea of ‘hey alcohol (or drugs) makes me feel better or at least I don’t think/care as much so why wouldn’t I do it?’. It’s such an easy slope to fall down and on the surface Luther has plenty of reasons to want to.

Now, Klaus: there’s plenty already been said about Klaus’s relationship with drugs and alcohol so I won’t get too wordy. Klaus is defined to us right away as a junkie and addict. Someone who uses substances to avoid dealing specifically with his powers and also his shitty upbringing. He plays very fast and loose with his own sobriety and even his mortality. Basically: he uses drugs to avoid thinking or feeling bad, or at least worse but he’s far, far past the point of entry into full blown dependence.

The scene between him and Luther in season 1 is a personal favorite just because it manages to deal with and establish a number of thematic ideas and the potential for how Luther and Klaus’s relationship can go from there. Luther, like the rest of the family, doesn’t understand Klaus’s addiction partially because they’ve all been estranged for 13 years and partially because Klaus doesn’t take it seriously and puts forth a very flippant persona, hell he doesn’t take anything that seriously. The world’s ending, they don’t have the time or inclination to humor Klaus’s story of chocolate pudding. Luther clearly misunderstands his addiction because yes, Klaus comes across as kind of happy and okay with himself but that’s because of the drugs. To Luther who’s been locked up with their asshole of a father Klaus seems to actually have a life of his own.

But Klaus doesn’t try too hard to walk that opinion back and here’s something I find important that tends to get left out when people point out that the family doesn’t take Klaus’s problems seriously: Klaus doesn’t talk about it or try and deal with it. Klaus really really doesn’t like dealing with things if he thinks he can avoid them. His powers, his childhood, Reginald, Ben, his cult – if he can run away from it or make a joke about it instead that’s what he’ll do. The one thing he ever really shows much initiative with is Dave. He’s self centered and I mean that in the most basic way – everything comes down to what he wants to do and he actually keeps his feelings close to the vest for the most part. Basically he doesn’t want to give the others an ‘in’ point to really address it (bonus they all heaps of problems of their own). And when he does get into it just the barest amount with Luther Luther’s high as fuck.

(Just to touch on Ben he kind of doesn’t count because firstly he can’t talk to anyone else and secondly he and Klaus have such a strained relationship especially regarding Klaus’s drug use that even if anyone else could hear him he probably wouldn’t be that supportive.)

So, actually getting into the whole season 3 thing: the siblings are about to face off with a whole lot of daddy and family issues in this time line and everyone’s got huge potential for emotional and mental shakedowns, but I think Luther’s gonna have the worst time of it. Don’t think I’m going to get into that BS of comparing traumas and saying anyone’s more ‘worthy’ of sympathy than any of the others, I’m saying specifically because it’s to do with Reginald not only rejecting him yet again and outright replacing him but that it’s not even ‘his’ Reginald so does that mean all the shit he put Luther through doesn’t count? I just see it as catalyst for a real breakdown for him.

Not to say this won’t mess with Klaus but Klaus hated Reginald long ago and has accepted that the guy was a douchebag and had no real love for his children, so personally I see his drug use as dealing with Reggie’s abuse but more so to deal with his powers. So yes, this’ll absolutely fuck with him but Luther’s the primo target here.

So what if we see Luther leaning even harder into drinking or even heavier things? Now he really has an excuse to because where’s he supposed to go from here? What’s he meant to do? He’s not the leader anymore, his family doesn’t always treat his trauma seriously (Klaus parallels there) nevermind he doesn’t even like to address it himself, he has no idea who he’s supposed to be and the one person who he thought actually cared about him not only doesn’t but never did and now he’ll never get back what he saw as his purpose in life. The whole Ben being alive thing is just icing on the cake. If he spirals in s3 it would make perfect sense because of all this and all the set up for it.

Klaus spiraled too at the end of s2 again becoming the fatalistic junkie he used to be, he’s gonna run from his problems again but it’s not just his powers this time. So he’s off the wagon but what if he notices Luther is too?

I can definitely see Luther trying to hide it from the others. He’s already given away too much of his weaknesses, he doesn’t want them to see their ‘leader’ continue to fall and I don’t think he’d want them to know he’s still that affected by Reginald. They want him to have dealt with it, like he seems to have at least a little in s2, if he’s completely fallen apart because of his dad again then that just makes him look pathetic. So he keeps his flask and finds excuses to get away with stumbling or slurring his words. But Klaus notices, because Klaus knows the signs.

In that scene in s1 Klaus very obviously doesn’t like seeing Luther like that or using drugs as an escape like he does. He’s self aware enough to know that this isn’t any way to live but is too pessimistic when it comes to himself. But, again, he tends to be pretty self centered. This is not a bad thing, this is a great character trait and it makes Klaus interesting. He does not know how to relate to his siblings on the whole, doesn’t know how to talk about his own traumas and addictions, so when he does hear them out it’s usually because he had was focusing on his own shit first. For instance: when he has the heart to heart with Allison in her kitchen he’s only there in the first place because he was falling apart because of Dave.

Luther having a problem will have to be something Klaus purposefully chooses to deal with because he’s worried about one of this siblings. And for obvious reasons Klaus is the perfect one to help him with it. He doesn’t want to see Luther like that but he doesn’t really have a leg to stand on if he wants him to stop. Hell, if Klaus won’t stop why should Luther? Klaus can’t use ‘do what I say not as I do’, partially because Luther has proven to have some self destructive/self harming tendencies and again, if it makes him feel okay or at least steady then why would he stop?

But Klaus stopping means that he’s going to have to confront his quite literal demons when it comes to his powers (I could go off on how much I don’t love that he was somehow sober for 3 years in the 60’s no problem but it didn’t seem to affect his powers at all but that’s another post). The number one thing he’s been running from his whole life, something the show hasn’t actually done a whole lot with. We knows he hates it, we knows he’s tortured by it, but we’ve seen no evidence that he’s ever really confronted it. He was traumatized by Reggie who did everything wrong so he went the opposite route.

But what if he has to stay sober for Luther’s sake? Even if he doesn’t want to help, even if he just enables it or joins him at first eventually he’d have to come the realization that he doesn’t like this, that he wouldn’t wish this kind of problem on someone he cares about. So he’s going to have to turn inward, he’s going to have to face up to both his addiction and his powers, maybe even finally try to tame and use his powers. And at some point he’d have to talk to Luther about it and stop hiding behind his glib façade.

So in the end we’d get to see Luther falling apart trying to deal with everything that he still very much needs to deal with and his subconscious tendency for self destruction, Klaus confronting his addictions, his own feelings and relationship to his siblings, and his powers and hell, maybe then we’ll actually get him using his powers to his/the group’s benefit.

[p5youllneverseeitcoming]

Persona 5 Strikers/Scramble

So! I finished the story of Persona 5 Strikers and I wanted to share my thoughts as I have soooo much to say but cannot share with my friends due to spoilers :’) I am currently playing on a New Game+ as, ya girl wants the Platinum Trophy :o

I will talk about some of the things that I really liked here (Spoiler free don’t worry) AND include spoilery things under the cut so I won’t ruin the experience for anyone else!

The Plot

Obviously this takes place after the original Persona 5 story finishes and as opposed to a whole year, you just get 1 month with the Phantom Thieves. I really liked exploring all the cities you travel to and the character interactions were so cute!! I really like the two new characters introduced (Sophia and Zenkichi Hasegawa). Both of them fit the story so well and their interactions with the other Thieves are honestly so good and pure! Also?? Their outfits? Amazing T_T It was such a nice change seeing everyone in casual outfits as opposed to their school uniforms!

I also loved the fact that you could choose to play with characters that get introduced late game like Haru for example straight away. I for one, always have her in my party as soon as she’s available so having her for the whole game was like a dream come true haha. I’ll talk about Sophia and Zenkichi a bit more under the cut but I will say that it’s so fun to play as them! I personally prefer Sophia more as she has healing skills which are always really useful and she uses yo-yo’s for her weapons which are so fun to use. Zenkichi uses a great sword which is very Final Fantasy of him and I am loving it. I love their Phantom Thief outfits! Sophia looks super cute in her floofy coat and boots and Zenkichi just looks so cool! His hat is goals, I want one T_T

The anime cutscenes in the game are also... Omg... I just can’t help but fangirl over how everyone looks... ESPECIALLY SOPHIA OML, she’s so... Bby... And of course, the dialogue options you can choose are so funny, then again what else can you expect from a game that had the option to say “you jelly?” to Ryuji.

I won’t spoil the main plot but this game works similarly to Persona 5 in the sense of, you still go into dungeons but these ones are a lot shorter and when you leave the dungeon, the days don’t actually move forward, only specific story points advance the days. So essentially if you wished, you can stay and grind for as long as you like!

The Gameplay

I won’t lie, as expected from a hack-and-slash it gets quite chaotic at first if you don’t fully know what’s going on but you get used to it pretty quickly! The game gives you tutorials whenever anything new appears and you get the hang of it pretty well by the first dungeon. You still only have 4 characters in your party and Akira must always be present but here you can actually run around as the other party members when the battles are over! Also? Morgana gets comical sound effects when he does things like jumping and running and I was LIVING for it.

The other thing that changed is, obviously it’s not turn based so if you were like me and wore the SP restoring accessories to get 7SP back each turn, you’re in for a last surprise! In this game you actually use your items quite a lot as there isn’t a limit to how much you can use as you access them mid battle by pausing. Later on you get specific skills that restore your SP after each battle or by performing All Out Attacks and 1 More’s so honestly, SP isn’t really a problem for regular battles. I mainly found it running out quickly when I was fighting some of the optional bosses but I always had SP restoring items so it was all good hehe.

You still do things like All Out Attacks and 1 More’s in this game but you also do something called ‘Showtime’ which is very similar to the ones introduced in Royal only in Strikers it’s for one character, you basically build up the showtime gauge as you battle enemies and, once activated, you deal significant damage to stronger enemies like bosses as well as all of the enemies in the area. The All Out Attacks also have their own little animation with your party posing and just looking really good!

Yusuke being so extra is honestly such a mood omg... Also Mona T_T So smol.

Every party member has their own special quirks such as Ann and Makoto applying Fire and Nuclear affinity respectively to their regular weapons, Morgana turning into the Mona car and so on. I personally always had Haru and Yusuke in my party and kept switching between the other Thieves to see what I like best. Personally, I really like having Morgana or Sophia as they’re really good healers, Morgana obviously having the more powerful skills such as Mediaharan and Salvation.

Also... The menus... Omg... If you thought the Persona 5 menu was stylish then you will LOVE the Strikers menus. They’re so stylish! And I love that all the Phantom Thieves are there too, it’s so cute T_T

The only thing I don’t like is the game doesn’t pause when your controller dies so uh... I may or may not have died during a boss battle when I was like 2 hits away from winning and then just... Stopped moving letting the boss hit me with a killing combo :)

To be honest though the party that I had pretty much all the time was:

But as I said, I liked to change Morgana and Sophia around every now and then.

The Music

Omg the music. Atlus really just said: Hey what if we made Persona 5 music again but like... More epic?

The song that plays right as soon as you have control of Joker is SO. GOOD. I legit had to pause for like 5 mins just to jam out. I don’t think it will come as much of a surprise but in my opinion, Persona 5 definitely has one of the best video game soundtracks, I absolutely love all the songs!

I will discuss some of the dungeon themes in the spoilers but I absolutely love the soundtrack for this game. Every dungeon theme is so fitting for said dungeon, I genuinely listen to them all the time, especially when doing my research for my essays!

The battle music is really energetic as opposed to the jazzy feel from the original Persona 5 soundtrack but it’s very fitting for the actual battle as you often fly all around the area instead of standing in one spot. I will say, Last Surprise made an excellent comeback despite being an already amazing song which is just, amazing, incredible, fantastic...

Other things

Well, I can’t go into detail due to spoilers but they deadass put a JoJo reference as well as a character in the game :’) The moment I saw them I was fangirling so hard!!! Also? The villain designs in this game??? Amazing. Beautiful. Very creative!

The Phantom Thieves interacting with each other is also really cute! I ESPECIALLY liked the fact that Morgana and Ryuji got along a lot better! They still had small fights here and there but they pretty much apologised to one another straight away which I really liked! Also? Ryuji protecting his friends, especially the girls? Amazing. Wonderful. Cannot help but stan.

Well, that concludes the non-spoiler section which.... Is kinda long haha, Below the cut I will talk about the spoilery things so I advise looking at it AFTER you finish the game!

The Plot

The plot of this game is really fun if you ask me. You travel around Japan defeating Monarchs in Jails AND you get to experience the joys of summer vacation with your friends and your new Persona dad. I really like the fact that you don’t advance time when you leave the Jails because this gives you the chance to grind as much as you want before tackling harder fights like some of the optional bosses. The boss designs themselves were so good! Especially Alice?! My God? She’s beautiful?? Look at her!

Persona 5 Strikers said you can be horny on main... Just this once o_o. She literally steps on Joker in the Jail which o_o Ma’am... Plz but she ALSO steps on her manager in the real world.

I really liked all the bosses in this game because they felt so... Real? Obviously I don’t agree with them for brainwashing people into worshipping them, but I really like how the game gave them backstories that showed why they strayed away from the right path. The fact that the Thieves tell them that they understand their struggles because they themselves went through the same thing (Like Ann and Yusuke) honestly made me appreciate the story that much more. I really liked Haru’s little arc in Sapporo because not only did she help Mariko Hyodo and show her that despite mistakes you can always stand up and start again, but she also got to have more screentime, like that cute fountain scene she has with Akira! ALSO? The Hee-Horde?! I was laughing for a solid 5 minutes when I saw it! It was so cute how Haru, Sophia, Ryuji and Yusuke were so into it while Futaba was just there like: ????

I think my favourite Jail out of all of them will definitely have to be the Kyoto one, a.k.a. the Jail controlled by Zenkichi’s daughter, Akane. Despite how short it is, you can learn so much about her. The overall aesthetic of the jail shows her love to the Phantom Thieves and in the actual Jail theme you can hear fragments of ‘Life Will Change’ and ‘Wake Up, Get Up, Get Out There’ which I think is absolutely amazing! The boss fight for this jail honestly took me 3 tries to beat as the first time, I died due to not fully getting how Shadow Joker worked, and the second time, I was about 2 hits from beating him but then... My controller died :’) By the time it turned back on I was already c-c-c-c-comboed to death so :’) This is also the jail where Zenkichi awakens to his Persona and honestly? I found the little segment where he has to sneak around in his usual everyday attire so cute, bless him, he really did adopt 7 teenagers, their cat and an AI daughter.

ALSO?! They deadass put Dio in this game? Like when I first saw Natsume’s shadow I was like: Hm looks kinda familiar...

BUT THEN?!

Needless to say I was fangirling pretty hard.

I liked Akira Konoe, very much vibing with his Power Ranger aesthetic however, I have to say, his boss fights was surprisingly... Easy? At least it felt easy to me which was kind of... Disappointing I suppose for him supposedly being “the final boss” HOWEVER, I very much liked how his calling card was delivered, and the fact that Zenkichi could finally get his revenge was very satisfying! 

Now, let’s talk about the end game, mainly the Abyss Jail.  I did NOT see it coming (haha) that it was Ichinose all along! As I’m currently replaying the game, the fact that she doesn’t want to look at Sophia despite specialising in AI technology should have been my first clue that something is not quite right here! 

When she forces Sophia to attack the Thieves, it honestly broke my heart. The fact that she recognised Joker and Skull... And she threw herself off the ledge just so she can’t hurt them anymore... Yo, I love her so much T_T That’s why her awakening to her Persona (her true Persona) was such a satisfying scene! Her Persona (Pandora) has a really cool design, I especially like the fact that she represents the Hope Arcana (as there was hope left at the bottom of Pandora’s box) and that Pandora herself kept the box-y design from her original “Persona” Pithos. I found it quite funny that all the skills Pithos has ended with a “?”. Anyway, the scene where she tells Ichinose all the things she learnt, and that Ichinose herself has a heart despite believing that she doesn’t for so long was so touching. It showed that Sophia deeply cares for her, despite the fact that she literally said she’s the reason so many people are getting mind controlled by EMMA. The ending scene with the two of them laughing and holding hands... My heart T_T

Now then, let’s talk about EMMA.

I. Loved. The. Final. Boss. Fight.

The fact that the game makes you use ALL the characters for the final fight! As I usually switched out characters here and there, my reserve party members weren’t severely under-levelled which made the fight pretty okay! I had quite... Strange groups I would say as I had Makoto and Zenkichi being a team, Morgana, Ann and Ryuji being a team, and Akira, Haru, Yusuke and Sophia being the final team. The final boss itself, has an absolutely beautiful design. I especially loved the angel like wings because it really showed that EMMA saw herself as a saviour. The cutscene that plays after with all the Thieves dealing the final blows before watching all the desires fall around them was honestly so pretty... Man, this game series is just so aesthetic!

When the credits rolled and all the photos started appearing I couldn’t help but start crying. It really felt like you were actually there, living through all the memories and the fact that Sophia called the photo of all of them together “Treasure”... T_T

The Gameplay

I already pretty much said all I wanted for the gameplay in the non-spoiler section but I will say, the Showtimes and the Master Skills each character learns are so good! I love that once you master all of them you’re bascially unstoppable, I especially love Haru’s and Akira’s as it allows them to deal damage even if they’re a safe distance away from the enemy. The fact that you can learn Bond skills that restore SP with every All Out Attack and One More is honestly so helpful because it saves you going back and forth between the real world but then again, by this point you probably have way too many HP and SP restoring items!

I really liked that Zenkichi has no weaknesses and uses Almighty damage but I find the whole Fury/HP consumption combination a bit weird. After a while you get used to it and obviously you don’t have to activate fury at all but as I said before, I prefer playing as Sophia. Although, I will say that gun wise, I think Zenkichi’s are a lot more fun to use than Sophia’s blasters, but then again that’s just my personal opinion!

The Music

As I said, the music was so fitting for each Jail, I absolutely love it.

The first Jail, you honestly can’t help but bop your head to the beat. It really gives you the impression that you’re in some kind of twisted theme park which really fit the overall aesthetic of the Jail. I loved the vibrant neon colour scheme in such a dark looking place.

The Okinawa Jail... My God that theme was so good. I can’t really explain it but the song really made you feel like you were... Alone, like the place was truly abandoned and forgotten. As soon as the violin started playing I couldn’t help but just stop and listen to it. The overall jail was just so... Creepy. The Shadows there resemebled the shadows you would usually find in the previous Persona games, just this black mass slithering around. I think it was very fitting that they put the Reaper in this Jail. 

As I mentioned before, the Kyoto Jail theme is my absolute favourite. The fact that it has elements of other Persona 5 songs due to Akane being a big Phantom Thieves fan was such a good choice! I love how when you take a closer look, you can see the Phantom Thieves logo on the lanterns and the fact that Shadow Akane herself made a Phantom Thief outfit for herself... Big mood. I loved how all the Thieves encouraged her to try and get along with her dad better AND that they taught Zenkichi how to cook just so he can make curry for her, especially when you remember just how much curry means to someone like Futaba. 

I really liked the remix of Rivers in a Desert, then again what did I expect from a Persona game? The battle music is ALWAYS amazing. I really liked how this played when you fight Konoe as it parallels when you fight Shido in the original, supposedly the final fight, only to find out that there is something MUCH bigger than them.

Other things

This post is already way too long and if you read all of this... Thank you so much. Sadly, I cannot share this with any of my friends as it’s spoilers so I hope you guys don’t mind me sharing this here! I would love to see your opinion of this game!!!

Also? Yusuke and Akira are now canonically dating and I think that’s beautiful

And then that scene later on

Why do you think we came here with Yusuke, Morgana?

TL;DR: I love this game

[bokunoheroanalysisforthefuture]

Horikoshi: This will probably not be super popular, but it’ll be fun!

Us: Oh, well that sounds nice!

Us, 290 chapters later: This Isn’t Fun Anymore Horikoshi

Horikoshi: :)

Anyways, welcome to the beginning of - hopefully - a long term and engaging project. I am basically aware of all of canon, and am up to date with the manga, but I haven’t actually read from the beginning of the series, and I’ve only watched the series up to the Deku v Todo fight in the sports festival. However, I’ve been curious as to how the manga portrays stuff that I’ve seen in anime gif form, and so I figured, hey, make this a project!

If you have questions or anything, the ask box is open for now. Meanwhile, I am going to head into the first chapter proper!

[No. 1 - Izuku Midoriya: Origin]

Wow, you’d almost think this kid would grow up to be a villain or something, with that kind of attitude, huh? No way that this kind of attitude would ever come to bite him in the ass and force him to reevaluate his entire character and kickstart his character development.

(Before you say anything, I like Katsuki as a character, but DAMN did he have to do a lot of growing up. I suppose when one is at the bottom, the only way to go is up… unless you have a pickaxe.)

One thing I actually noticed right away, and I dunno how much it’s used in other manga (seeing as I currently am not reading any other manga and the last ones I read were… a long while ago…) is the shape of the text boxes in order to convey emotion! It’s actually hella neat and a little detail I wouldn’t think about adding if I were in his position (not that I can draw all that well, but that’s not my point). You can practically hear the warbling in Izuku’s tone and the rougher edges in Katsuki’s!

(Also, question for the English sub while we’re at it, why the fuck does Katsuki sound like he’s a goddamned adult when he’s fourteen. What the fuck.)

Interesting little thing here, Katsuki not actually using his quirk here against Izuku; his hand is trailing smoke from his explosion, but it’s not a direct burn wound. Not that he should be doing this at all, but with the number of fics I see where Katsuki literally gives Izuku second or third degree burns, I think this is a reminder that canon Katsuki has some modicum of restraint, even this early.

Before I forget, hello winged kid who definitely has no plot significance whatsoever. No siree.

(If you are new to the manga/show and are reading this as among your first introductions to the fandom, first off, I am so sorry. Secondly, expect me to be… definitely making a lot of sarcastic quips to things in the future.)

Onto the second/third page, which is supposed to be a full spread, but is split up into two pages on the online reading site. RIP, but I will not complain about free access to the whole manga. 

Lookit this green bean. I love him so much. I can’t wait for him to suffer.

Izuku: wait, what?

Anyways, a few things to note:

Who the fuck is this guy? I looked into the wiki but he apparently doesn’t warrant a page or even a mention as one of the background faces of the series, but look at that fucking claw, man! And those boots and jets! He’s very obviously themed after a baseball catcher, so I’m going to guess that he has some kind of quirk that deals with either drawing projectiles to him, or perhaps in throwing projectiles… in either case, it’d be something like Snipe’s quirk, so maybe this is his less howdy-happy sibling.

Oh right, the chapter. The other heroes we see on the scene in this two-page spread are Death Arms, Air Jet, and Kamui Woods. 

Also, something I want to point out that I’m sure others have but just struck me while looking at this spread - multiple people are recording / taking pictures of this. I wonder if part of the reason for the villain industry to be as strong as it is is because the villains, even if they know they’ll lose, still get their own sort of fame in being in the news? That… might explain a lot about how there can be enough villains to even run an entire damn industry.

(Well, that and a lot of sociopolitical commentary on BNHA society, but we don’t need to get into that now. Maybe wait two hundred or so chapters first.)

Not gonna lie, I had to double take because I was like ‘wait, what is Ochako doing here?’ but then I realized it was just a random civilian; she doesn’t have those side bangs Ochako does. But now I almost wonder what sort of world we could have had, if they’d met a bit earlier.

Onto the fifth page (fourth is just a filler page, nothing on it), and we get treated to this gem:

Tag yourself I’m the guy who’s slackjawed because his kid is fucking glowing.

The first four examples of quirks shown in this flashback are the luminescence, telekinesis, ice, and that flame-headed(?) mutation. Of them, we actually see hints to the fact that quirks have drawbacks, as the girl with ice is drawn with the same frostbite backlash as Shouto, while the flame-headed kid is… well, I have no idea, but they do not look to be happy.

Also, I love the nod Hori does to the heroes of our era as silhouettes! This is just more evidence to me, along with the fact that the first quirked kid is born and presented in a modern hospital, that this series takes place sometime in the future. I… even calculated the years it could technically be, based on information we get in a few chapters, but I’ll save that for then.

Onto the sixth page! A nice shot of Kamui Woods getting into position, and man is that giant quirk unnerving.

What the fuck is with those feet, Hori. Those aren’t feet.

Next we see how the crowds are reacting, basically with no panic or concern. One guy is just casually letting his boss know he’ll be getting in late. And Backdraft! That is some serious water manipulation, but it seems like it has to be the water they’re in contact with? Also, is it just me or is that a portable pressure hose on their back?

And of course, Izuku being excited over hero stuff, as one does. He’s so babey faced, going back to current chapters after this is gonna be fucking wild.

Onto the seventh page, and here we are with the ‘you’re pure evil’ speech to someone who’s… just a robber. Seriously, dude? I get that you’re still fairly new to the scene (I think he might not be from a hero high school, but a late join program, but that’s another post), but like. You can’t just call random people ‘pure evil’ and correlate petty crime with like, actual mass murderers, or else people might start to see things in black and white and, you know, create the idea of ‘villainous people’ and so push even more innocents down the path of desperation and criminality.

Wait, sociopolitics later. Izuku being a hero fanboy now. Even able to utter Kamui’s attack call as he’s calling it out, with some seriously cool visual effects-

And on the eighth page, we have Mt. Lady crash the scene. Literally. She just fucking shows up outta nowhere and fucking leaps up and delivers a kick right to the villain’s chin, throwing him back through the train bridge wall and sending debris down to the ground below. Sure hope there weren’t civilians there!

Also, hello to that random guy on the roof watching this. I think in Smash they made that guy her manager or something.

I love how Izuku and the other guy are like ‘what the fuck’ while the press just shows up out of nowhere and is like. Hyperfocused on her. (I’ve heard some issues with the portrayal of media/reporters in the series, but since I have no experience with that sort of thing, I can’t say much on it.)

The last panel of this page shows that, fortunately, there were no civilians on that part of the street (even though it being rush hour and the huge crowds on the other side of the bridge should have suggested otherwise… but what do I know?)

With page nine, we get to see our first case of villain apprehension, which to note does not include any sort of quirk suppressors. Because those don’t exist. Otherwise Aizawa and the Eight Precepts’ erasure bullets would not be such huge deals to everyone. I mean yikes, though, the guy is fucking muzzled. And you can see the damage done by Mt. Lady in the background, both physical and emotional. Not to mention…

What the fuck is that face.

But yeah, this notes that performance in heroics determines not only what they’re paid by the government, but also how much fame they get. No way a system like this could backfire in any capacity, right? Right? (cough).

I love how Hori uses Izuku’s muttering habit as the border for the text bubble when the kid zones into his little world. Also, gigantification is noted to be a common and strong quirk, so we really should see more OCs with size altering quirks in fics in the future, you hear me? Honestly, with it being common, I would almost expect there to be entire buildings, or maybe even neighborhoods / blocks dedicated to catering to size shifters… wonder what those places look like.

Also aww, the guy saying good luck on the heroics dream to Izuku and Izuku just sparkling. What a cutie. Can’t wait for him to suffer. :D

Izuku: No seriously, what-

Anyways, I’m cutting off here since we then transition into the next ‘scene’ and this is a long chapter - 55 pages! Besides, this has already surpassed 1700 words, I don’t need to ramble on too long in one post. 

Lemme know what you think, and I’ll be back with more soon!

[mediaevalmusereads]

The Only Good Indians. By Stephen Graham Jones. New York: Little, Brown Books, 2017.

Rating: 3.5/5 stars

Genre: literary fiction, horror (?)

Part of a Series? No

Summary: The creeping horror of Paul Tremblay meets Tommy Orange’s There There in a dark novel of revenge, cultural identity, and the cost of breaking from tradition in this latest novel from the Jordan Peele of horror literature, Stephen Graham Jones. Seamlessly blending classic horror and a dramatic narrative with sharp social commentary, The Only Good Indians follows four American Indian men after a disturbing event from their youth puts them in a desperate struggle for their lives. Tracked by an entity bent on revenge, these childhood friends are helpless as the culture and traditions they left behind catch up to them in a violent, vengeful way.

***Full review under the cut.***

Content Warnings: blood, gore, animal death, violence

Overview: A friend who teaches horror fiction at the college level recommended this book to me, and I had fairly high expectations. I love a creepy novel, and I was looking forward to an Indigenous horror story that played with some of the tropes I was accustomed to seeing. Unfortunately for me, I had mixed feelings when I turned the final page. While some scenes were definitely evocative, and I liked some of the imagery, I ultimately wanted more of a sense of dread. I also found Jones’s prose style to be hit or miss (depending on the section), so as a result, this book is a 3-star read for me. Readers who enjoy horror, however, might like this a little more than I did. I’m admittedly a little picky when it comes to the genre.

Writing: Jones’s prose seemed to work really well for me at times and really hold me back at others. Especially towards the beginning, I personally found it hard to follow, in part because it felt like Jones was using a lot of slang I didn’t understand along with some unclear syntax here and there. There were also some sentences that felt like they were rambling, and while I think Jones was going for was a kind of laid-back style that imitates speech patterns, and that may work for some, it didn’t always work for me.

There were moments, however, when the laid-back style really set the mood of a particular scene. I think Jones’s rambling sentences and casual tone helped illustrate what life feels like for characters struggling not to become Native stereotypes, and I liked seeing the characters in their day-to-day lives (before the horror happens).

There were moments in these types of scenes, however, where I felt like Jones relied on a lot of telling over showing. Sometimes, Jones describes a character or object or event and then he’ll give a sentence or two of backstory or explain the significance of the thing, or else reference something that happens off-page or in the past, and it felt like I was being asked to absorb that significance right away so that the events in the moment had more meaning. I understand that a lot of these references are meant to evoke a kind of lived experience or “realistic” vibe, and overall, it wasn’t an overwhelming problem. I just happened to notice some sentences here and there.

Plot: This book primarily follows four friends as they are “hunted” down by a vengeful elk spirit (?). Without giving anything away, I will say that I didn’t quite feel an overwhelming sense of dread while reading, and I think it’s because I didn’t feel the psychological impact of the horror or past event. While characters were definitely affected by creepy images and phenomena, and there were probably some cultural implications that went over my head, I ultimately didn’t feel like the characters were mentally or psychologically affected by what happened in the past. Maybe I could say something about Lewis’ paranoia - and indeed, I think that was well done. But the others... not so much.

I also think the pacing felt a little off, and events didn’t really build on one another. While I did like reading about the characters’ everyday lives, it ultimately felt like I was reading literary fiction punctuated by a gory scene here and there. I’m picky about my horror, though, so this criticism might be personal preference. As a piece of literary fiction, this book would have absolutely worked for me. As horror, not so much.

Aside from that, there were moments where I thought characters ended up in situations or did certain things that weren’t wholly believable, and it made me think that Jones was writing them so plot things could happen. For example, in part two, Cass’s girlfriend, Jo, is hiding under the truck for some reason (did she see the elk spirit? We don’t actually know), and doesn’t come out when she hears Cass and Gabe fighting. She needs to be under the truck for something to happen (which I won’t spoil), and it just felt odd to me.

Characters: This book primarily follows 4 characters’ POV: Lewis (in part one), Gabe and Cass (part two), and Gabe’s daughter, Denorah (part 3). Personally, I found the character studies (rather than the horror plot) to be the best parts of this book.

Lewis is interesting in that he’s left the reservation and tried to make a life for himself with a white woman. I liked that he had his quirks - he liked to read trashy fantasy novels and worked on his motorcycle a lot - and I liked that his paranoia about the elk spirit created a kind of tension in the narrative. While reading his perspective, I wasn’t sure if the elk spirit was literal or something Lewis made up to symbolize his guilt, and I think Jones did a good job showing that Lewis’s paranoia made him think and act in strange ways.

Gabe and Cass are also well-developed in that they have their own lives on the reservation, but struggle to keep their head above water, so to speak. I appreciated getting a glimpse into what challenges they faced and how some of those challenges come from a clash between “traditional” and “modern/contemporary” culture. While I didn’t quite find Gabe and Cass as interesting as Lewis (in part because they barely remember the event from the past that triggers this whole “vengeful elk spirit” plot), they weren’t bad characters by any means. I liked Cass’s focus on horses and his plans for a future with Jo; and I also liked Gabe’s complicated relationship with his daughter.

Denorah was sympathetic in that she had some very clear goals for her life, and as a reader, I wanted very much for her to achieve those goals. She loves basketball, and readers can see that in the way she acts and thinks. But as much as I liked Denorah, I think her section (part 3) tended to drag out a little bit, perhaps because Denorah comes face-to-face with the elk spirit and the spirit’s vengeance felt a little misdirected. I also think the book as a whole ended somewhat abruptly; because the book ends with Denorah, I wanted a little more from her, like a commentary on the past and how she takes the pain of the past and uses it to move forward. Instead, it felt a little like a bunch of bad things happened at random, and there wasn’t much of a “lesson” (not that books need them, but I’m picky about my horror - I like the scary things to comment on something).

Supporting characters such as Lewis’s wife (Peta), Lewis’s coworker (Shaney), Cass’s girlfriend (Jo), etc. were likewise well-written and seemed complex. I don’t have much to say about them without giving away plot points, but I do think they served their purposes.

The elk spirit was... complicated. As a character, I didn’t really connect with her, despite Jones writing a couple of chapters from her POV. While I understand the desire for vengeance, I didn’t really feel it in my bones, so all the violence in the book that the spirit commits feels random and superficial. I think I would have connected with the spirit more if Jones had included more passages from her POV, getting us to empathize with her pain a little more or at least providing some kind of commentary on the rights of nature or something. But this might be personal preference, so take this criticism with a grain of salt.

TL;DR: Despite a lack of dread or suspense, The Only Good Indians is a welcome addition to the horror genre, using spooky, disturbing imagery to underline the struggle of four Blackfeet characters trying to make a life for themselves. While die-hard horror fans might find this book lacking, Jones’s novel will absolutely appeal to literary fiction readers, as the character studies are the strongest and most compelling parts of the book.

[zhilan]

I wanted to ask you what were your thought in Melby. Because tho I don’t really care about them, I do care about sapphic treatment in shows. And there are two options with Melby as for right now.

1) they actually plan to stick with the ship and it’s just straight out bad treatment and double standards compared to the straight couples. Or,

2) they are just kinda using it to fill the void and have a little bit of drama until they can have abimel progress. And don’t get me wrong, I’m ALL for gay drama, episode 306 was so funny to me, I love the dumb gay drama. Give me more. But if this is the case, it still feels a bit, I don’t know the proper word, but just a bit weird ? (Idk, just meh) that they use it as a way to fill the void while giving it zero effort. Does that make sense ?

Anyway, I just wanted to know your thoughts because I do feel they’re building abimel but right now their treatment of Melby just seems a but weird ? Especially cause we know that in ep 14 they are still together

Hii hi, yes, what you’re saying makes sense! And this is exactly why I like to think Abimel is the end goal here. Because Mel is one of the three leads, and so I have this expectation for her romantic relationships to have equal importance, focus and screen time as the other two. And right now, what we have with Melby, I can’t even go as far as saying it feels secondary to Hacy and Verachase — that’d be too generous. Melby feels like an afterthought at best, and that’s IF they’re even lucky enough to be given any thought at all.

To your question, if Abimel is indeed endgame then I don’t really feel like it’s necessary for the show to fully invest in Melby’s relationship — because if that’s the case, it automatically makes Melby temporary. And while I personally always prefer to have well-rounded side characters and whatnot, I also understand that sometimes when it isn’t essential to the plot, a lot of writers won’t bother, and I can also understand why they wouldn’t put in effort into something that won’t last, more than they need to for whatever purpose Melby might have, whether it’s a filler relationship or if it’s leading to become a source of conflict or roadblock for the main ship or something else. The bottomline in this scenario is that arguably, if we’re talking about the treatment of wlw relationships then they’re actually putting in a lot of time and energy into the one they’re supposed to: the main ship, Abimel. It’s pretty typical for shows in general to not really put a lot of focus on temporary ships.

I will say though — the writing for Melby has been awful regardless, which I think is what you’re most concerned about and I have to agree.. Filler or not, it’s so inconsistent, viewers always have to fill in the blanks because half the time we’re jumping from one significant point of their relationship to another. One minute they’re talking about being casual, we don’t see Ruby for five episodes save for one name drop, and the next time we meet her they seem to be in a serious relationship. We’ve also gone from them breaking up because Ruby wants nothing to do with witches and the magical world, to them being together without even so much as addressing that fact. As my friend has pointed out, Mel and Ruby have broken up maybe half the number of times that they’ve had episodes together. This relationship was established to be one-foot-out-the-door from the get go, and if you ask me that still hasn’t changed. It’s weird, it’s messy, it’s lazy writing. I mean come on, the best they could do for the one episode they’ve had her this season was give them a recycled version of Hacy plots & scenes. 

Which is why, I have to think they’re the filler. Because otherwise then, wtf. For one, as a filler I can forego the lack of screen time but they at least deserve consistency. Second, if this is endgame… is that really the best they can do for their wlw audience? I mean wlw ships often get zero development and get sidelined for het ships but this is a whole new level of bad especially for a show that likes to pride itself in its representation. And it’s not like they’re not capable of writing semi-decent wlw. Melko, Melda and Melkat. At this point, if they choose to go for Melby as endgame it’d almost feel like such a stab because it’s easily the most poorly written out of all of Mel’s canon relationships. And for me, it’s just kind of too late to fix it. The damage has been done, the crappy development is canon and unless Mel’s gonna cast another spell to rewrite history lol, nothing will change the fact that we can’t really undo the very non-existent build up for them. And I’m not saying this just because I ship Abimel. Even without Abimel, I’d still prefer they just introduce someone new that they’ll actually put effort into. It’s tiring to keep having to make do with whatever hole-filled plotlines writers give wlw relationships. 

But I mean yeah, we know Ruby’s still around so hopefully at the very least we can start seeing them write Melby better from this point forward. They still deserve that. 

[bakageta]

Okay idk if there's a certain number of items you're supposed to pick for these memes but I have a lot of them. 1, 2, 5, 7, 8, 9, 10, 14, 20, 29, 38!

I don’t think it matters how many you pick so long as it’s not all of them, lol.

1. Describe your comfort zone—a typical you-fic.

Anything with an element of fish-out-of-water. I love fish-out-of-water as a trope: characters learning about new situations, about each other, and coming to new understanding. The potential for it is why the Venom fandom got me writing again after 7 years, and almost all of my fics have some degree of it. It’s incredibly fun for me to write and to read, and I’ve yet to get tired of it. 

2. Is there a trope you’ve yet to try your hand at, but really want to?

There’s two: wingfic and bodyswap/roleswap. I’ve tried and gotten nowhere with a couple ideas in the Venom fandom, so I’m open to prompts or discussion!

5. Share one of your strengths.

Lately I’ve been really proud of my dialogue! I’m always very happy with the way it turns out.

7. Share a snippet from one of your favorite pieces of prose you’ve written and explain why you’re proud of it.

From You In Me In You:

Instead they move in concert through the steps of Eddie's morning. They take a warm, languid shower washing the sleep away and marvelling at the feeling of hot water sluicing over their body. After, Venom sheets the water from their skin and Eddie dresses them in his softest clothes. Their breakfast is bacon and way too many eggs. It eats some of their food raw and Eddie doesn’t do anything but smile and fill their blood with tasty neurotransmitters.

They spend the rest of their morning wandering by the piers, people watching. It’s a weekday and the crowds are as thin as they ever will be in a port city as large as San Francisco. Sunlight glimmers on the surface of the bay and the two of them spend hours wrapped in each other surrounded in turn by constant murmur of humanity.

It brings a new appreciation to both of them. These are the people he would have died for, and this is the world it had glimpsed from the top of the network building. The air isn’t quite as bogged down with exhaust as it is deeper in the city and it tastes good in their lungs as they inhale. They exhale heavily, satisfied.

This is from the last section of the fic. Eddie’s just woken up to Venom surviving the rocket explosion, perfectly aware that they’re there and that they’re aware of him. I wanted it to read like rolling over, finding your significant other still in bed, and realizing that neither of you have anything pressing to do. Peaceful and comfortable. By the end they both see the results of their efforts and know it was worth it. It came out exactly how I wanted it to.

8. Share a snippet from one of your favorite dialogue scenes you’ve written and explain why you’re proud of it.

From Sight Seeing:

“Hah, the great investigative reporter, Eddie Brock, at a loss for words.” Venom laughed aloud as they clambered out of the shadow of the building and onto the roof.

Shut up, asshole, Eddie grumbled. Before he could say anything else he noticed that there was a new sensation tickling across their surface as they stood on the quiet roof. Why is our skin tingling?

“We are in the open, in the light.” Venom casually turned to face the half-moon completely, and a wave of prickling sensation rolled over their face and chest as they moved. It felt to Eddie like the moment before something happened. Like the building tension of a suspense movie but without the release of a reveal or a jump scare.

But I’m not anxious about it; you’re not tense; we don’t feel exposed. He couldn’t think of any other reason they would feel so strangely. Why is our skin crawling?

“Crossed inputs,” Venom explained after a moment of thought. “I am not used to seeing light, and you are not used to feeling it.”

Feeling it? They felt light?

“I do not have eyes, Eddie,” Venom clarified, “but we do. Alone I cannot detect anything beyond the presence and intensity of light. What you feel is your brain’s interpretation of my sense of light.”

The whole point of this fic was to compare and contrast Eddie and Venom’s senses and this is the first bit in the fic where the differences come up. Eddie starts to realize just how alien Venom’s senses are and Venom realizes that they should explain and maybe even adjust how they interpret things. I’m proud of how well I explained the differences in their interpretation of light while keeping the banter interesting.

9. Which fic has been the hardest to write?

Good Things Ahead was definitely the one I had the most difficulty with. I had to get out of my comfort zone with multiple aspects of it because it was an exchange fic, and I had to do that on a time limit. I wasn’t very happy with it while I was writing it, but I’m pleased now with how it turned out.

10. Which fic has been the easiest to write?

Probably Runalong, probably because it was so very self indulgent. I remember being able to write it all in several sessions, picking it up and continuing it easily. It was a great flow.

14. What’s the worst writing advice you’ve ever come across?

Any advice that flat out tells you not to use certain words is bad advice. Also that post that went around telling writers to use words that had wildly varying connotations instead of certain ”overused” words.

20. Describe your perfect writing conditions.

Cool enough that I can comfortably wear a light jacket/sweater, either ambient noise if I’m outside or familiar music that I can tune it out if I’m inside, and snacks!

29. If you could write the sequel (or prequel) to any fic out there not written by yourself, which would you choose?

Assuming that I’d have permission, manage a similar style, and also manage to finish: I’d do the next fic in Vathara’s Blades of Blood series. There’s multiple plot threads I’d love to see continued and it’s ripe for more character interaction. Both of the written fics are exactly my kind of shit, and I would love more.

38. Talk about a review that made your day.

A comment on You In Me In You left by @shards-of-divinity 

I love all of your Venom stories. You have a unique way of writing them that's immediately recognizable as you and pleasant to read. ❤

I compare my writing/stats to other authors a lot. It’s something that I’ve been trying not to do and I’ve gotten better at not doing it lately. It means so much to me for someone to specifically say that my writing style is recognizable and pleasant to read, and it makes me feel seen as an author.

[p-and-p-admin]

Interview given to The Severus Snape and Hermione Granger Shipping Fan Group.  (sharing here Admin approved)

https://www.facebook.com/groups/199718373383293/

Hello Ciule and welcome to Behind the Quill, thank-you for sitting down with us for a chat.

SS/HG readers might be familiar with your stories “Awkward” and “Headmaster’s Wife”. 

Okay, let’s jump right in. What's the story behind your pen name? Well, I sort of took one of my real names, swirled the letters around in the air with my imaginary wand, and I ended up with this. Can’t begin to imagine where I got the idea from... ;-) Later on, I realized that Ciule is actually a name in Romania. I had no idea, but there are people out there carrying this name for real. I guess I’m #sorrynotsorry?   Which Harry Potter character do you identify with the most? To be quite frank: No one, really. This is more about the characters I like, than truly identifying with them. I can relate to parts of some of them, but not the whole package. Primarily, I write about Hermione, Voldemort and Severus, and the one common thread between those three is the search for knowledge. That’s a trait I can identify with, but I’m neither an evil bastard, a grumpy protector nor a fretting, intelligent activist. I am, however, a swot. If you had asked who I’d want to be, the answer is clear. I want to be Albus Dumbledore. Though I can’t agree with the things he did, I feel absolutely certain that he’s the one who has the most fun during the books. I want to have that twinkling fun in face of absolute chaos.   Do you have a favourite genre to read (not in fic, just in general)? Fantasy! Definitely fantasy. While growing up, I read ‘everything’ in every genre, and in my twenties, I decided I’d spend my time reading what I loved the most. So, fantasy it is. Do you have a favourite "classic" novel? You landed me in an existential crisis right there. I mean, there’s so many to choose from! ‘Wuthering Heights’, I think. It hurts so good. Or maybe ‘Rebecca’, at least, I loved that when I was younger. Or the fairly obscure ‘Lorna Doone.’ When I was a kid, I wanted to be a film director, shooting Lorna Doone into an epic film. Oh well, there might be a theme in this selection of books which reflects in my writing… At what age did you start writing? The creative process has gone on since forever. I’ve told myself thousands of stories in my head, but rarely written anything down. At the age of ten, I had a co-writing project with one of my friends. We created this secret room in her basement, and painstakingly wrote a ‘novel’. It was fun, though the writing ended as it became too cold down in the basement during winter. How did you get into writing fanfiction? In 2009, I became completely obsessed with a TV-show in the last episode. I was watching the entire series, casually enjoying the murder mystery, and in the last episode, the villain said: “I can do the math,” and I was literally gone. That obsession sparked writing my first fanfic stories. Those stories are still on FFnet, but they aren’t any good. *shrugs* What's the best theme you've ever come across in a fic? Is it a theme represented in your own works? Compromise. The world isn’t a perfect place, and will never be. You can, however, make it more to your liking. It may not be perfect, but if you play the cards you are dealt, you might improve something. In Robert Jordan’s “the Wheel of Time”-series, one of the characters goes through a test in a parallel universe of sorts, and she thinks: “The world was not what she wanted, not anywhere near it.” I loved that: trying your best to make things as you want them to be in the face of dangers and difficulties.   And then there’s time travel! I love messing with time, and there are so many great Time-travelling fics. Plus, I have to say I have a certain love for the villains...   What fandoms are you involved in other than Harry Potter? Currently, I’m not writing for any other fandoms. I read Star Wars, GoT, POTO and LOTR, and in the past I read Smallville. Though it’s more of a type of ship for me, because I only read Reylo, SanSan, Erik/ Christine, Lex/Lana and ….drum roll… the extremely small and quite oddball ship of Eowyn/ Grìma Wormtongue. If you’ve never tried the last one, go search for the fantastic stories by auri_mynonys. If you could make one change to canon, what would it be? Do you have a favourite piece of fanon? One change: duh, that’s easy, isn’t it? Severus lives. Or, maybe Dumbledore acting more rational, not keeping so many secrets. Maybe telling McGonagall that Severus is on the Order’s side… (Interviewer is laughing - ”NOT so easy”) I do write Voldemort wins AUs, but I wouldn’t want canon Voldemort to win. I prefer him to be more sane than in canon. My absolute favourite piece of fanon has to be the Black library. I thought it was canon, but it’s not. This is a thing that really, really should exist in canon! Do you listen to music when you write or do you prefer quiet? I’m very much inspired by music, and sometimes I listen as I write, but not always. Some fics are heavily inspired by music, such as ‘Absence’ and the last epilogue to ‘The Manipulation of Time and Matter’. What are your favourite fanfictions of all time? Definitely ‘Two Steps from Hell,’ by the amazing Ssserpensssotia, but that’s a Volmione. This was such a wild ride, I felt like I was on the edge of my seat, holding my breath the entire time. Those twists and turns were so unpredictable and … Well, I’m in awe. The SS/HG fandom is so massive, there’s a plethora of great stories out there. The unfinished ‘Self-Slain Gods on Strange Altars’ is a wonderful story by scumblackentropy, and I love Slytherpoufs stories, especially the wip ‘Ghosts’, but also ‘Angels to Fly’. And then there’s the one that got away - it means, I can’t find it. In this story, Severus watches the thestrals, befriending one of them, I think, but they’re unpredictable and maybe even dangerous. He’s heartbroken, and knows how it all will go down, having bitterly accepted his role. It made me cry. And then there’s the works by Aurette, and lena1987, Subversa, Kittenshift… Are you a plotter or a pantser? How does that affect your writing process? I need (strike that: want) to draft the entire story before I post, to have some idea on how it goes. That makes it easier to write, but if it’s a long story, I’m happy as long as I know the general direction. This year, I finished a story that was on an unintended hiatus for two years, and I think part of my problem on getting back into writing it up was a too vague idea for the ending.   What is your writing genre of choice? Uh. I don’t know? Basically, you could argue that I’m a porn writer, or at least it’s fuelled by sexual tension and angst. So, romance or drama, bordering on erotica might be correct. To be frank, I haven’t really thought about categories after I started posting on AO3. Which of your stories are you most proud of? Why? Hard to say. I might go with “the Manipulation of Time and Matter,” because I think it’s the best plot I’ve created. Besides, I managed to write Hermione having a relationship with both Severus and Voldemort in the same fic. My favourite “clean” SSHG would be the short story ‘Grimmauld’. Did it unfold as you imagined it or did you find the unexpected cropped up as you wrote? What did you learn from writing it? In Grimmauld, the house became a character. That was unexpected, and not something I had planned from the beginning. So the lesson would be “don’t start posting until you know what’s going to happen.” Or else, this story might have turned out very much different. I had to throw in a little made-up lore on how you set blood wards on a house too to make it sentient. That proved to be a quite chilling piece of magic.   How personal is the story to you, and do you think that made it harder or easier to write? I love old houses. Exploring abandoned houses, going inside to see what remains of furniture, tapestries and everything is so exciting. (It can also be dangerous, but that’s another matter). Such houses makes me feel .. nostalgic, plus I get those nice little shivers down your spine that is a little like a horror story. So, I wanted to use Grimmauld as a setting to explore that in a fic, to really dig into the aching loneliness of a lost house. The story came very quickly to me, so I guess that helped me.   What books or authors have influenced you? How do you think that shows in your writing? Big question there. Hmm, I think … it’s hard to say. I’m a reader, really, and I couldn’t easily pick apart any influences. Though I have to say that one of the things I enjoyed when reading ‘Two Steps From Hell’ was the attention to magic. I think it’s important to include spells, rituals and the use of magic in my fics, because that’s what sets it apart from a Muggle AU, for example. That’s an important part of the world-building.   Do people in your everyday life know you write fanfiction? My significant other knows. I didn’t tell him, but he found out for himself, probably by spying on me. When he told me, I almost couldn’t stop laughing, because he… erm, he said he had thought about reenacting a scene in my PWP ‘Twenty Points to Gryffindor’, where Severus shouts the title as he… well… you get the gist. If he had done that, I’d have had a heart attack. I would literally be dead. Instead, I laughed non stop for an hour.   How true for you is the notion of "writing for yourself"? Haha, so true. You spend all those hours in front of your laptop - and if I wasn't motivated by doing it for myself, I can’t even see how I’d force myself through all those hours. It’s fun, though. I do this because I love it.   How important is it for you to interact with your audience? How do you engage with them? Just at the point of publishing? Through social media? Very important. I'm on the publishing sites (visible interaction is why I prefer AO3 instead of FFnet) and on Facebook, mainly. I love feedback (as all authors do), and when people form theories or make comments, I get an insight into my own writing. I know how it’s going to pan out, but the audience doesn’t, and how they perceive things might be different from how I think it is. At times, it influences how I go forward, mostly because I need to add things, to explain what’s going on. What is the best advice you've received about writing? Don’t post until you know the ending, and remember: the devil on your left shoulder will be at war with the angel on the right side. Listen to the angel telling you to wait a little longer, and not to the devil chanting: ‘Post, post, post!’ In the end, of course, you’ll give in to the devil, regretting it until you’re done. What do you do when you hit writer's block? Read. Read a lot. And read some more. Has anything in real life trickled down into your writing? Certainly. I’m a foodie. For example, everything that Voldemort eats is stuff I love. His food habits are primarily mine, and I love cooking.   Do you have any stories in the works? Can you give us a teaser? It’s a short piece, maybe three or four chapters, with the title ‘Transference’. The point of departure from canon is during their time in the tent at DH. Hermione wakes up in a bed, in a room she doesn’t recognize, having no idea where she is, but she spots a large, moving picture on the drawer:  Feeling panic rising, she stared hard at the moving and smiling pictures, and her heart leapt into her throat, pulse hammering as she recognized herself in the largest picture. A slightly older Hermione, in a white wedding dress, kissing and laughing at someone who simply had to be a much younger Severus Snape. It had to be him: Long black hair, hooked nose, sallow skin - but then he looked so young, carefree and happy - expressions she had never seen on her dour Professor's face. Beside the picture, there were numerous cards, greetings and well-wishings for their wedding - the date an impossible 21 August 1982, and amongst the cards, the largest one stood out, the black ink showing an elegant handwriting: “Dear Hermione and Severus! Best wishes for your wedding, Lord Voldemort.” Any words of encouragement to other writers? Read and write, in that order. Don’t worry about trolls, because when you contribute something that you created, it makes you so much more than people spending their time just raining on anyone’s parade. You brought something new to the world, they’re just reacting to things. If someone accuses you of a self-insert, go ahead and lecture them on the intentional fallacy. I promise, you won’t regret looking it up. ;-)   And please, mind the normal physical limits when you’re writing smut. Unless you give the male a stamina potion or put him under the Imperius, it’s unlikely that his refractory period allows him to come five times in one hour. Realistic smut is so much more sexy, lol. Thanks again for speaking with us Ciule.

[quillyfied]

Mega Good Omens Fic Rec Post 3

THE FINAL CHALLENGER APPROACHES.

This will hopefully be the last Mega Fic Rec Post I make for a long, long time; I have enjoyed it, but a lot of work goes into these and I’m tired. There are 73 titles on this list, organized by category: Jaunts through History/Canon, South Downs, Post-Apocalypse, Bus Ride/The Night Before/Heaven and Hell, AU/UA, Just Soft, Touch-Starved/Body Worship/Wings, Bonus, and H/C /Whump/BAMF. Please enjoy these treasures as I have.

Mentioned questionable material where appropriate; several authors have Tumblrs but I wasn’t able to tag them, for whatever reason. Oh well.

Mega GOmens Fic Rec Post MASTER

IF A LINK IS BROKEN OR I HAVE MISATTRIBUTED SOMETHING, PLEASE LET ME KNOW.

JAUNTS THROUGH HISTORY/CANON

1. let me feel your heartbeat (grow faster, faster) – @thehoyden (T, the one where Aziraphale had a big ole crush on Crowley before the Fall and it doesn’t stop from happening. This one’s just cute; starts with a “senpai notice me” vibe that morphs into mutual pining very, very quickly. It hits the high notes of a lot of cute romance tropes and I’m into it.)

2. Pride and Prejudice and Angels – SanSanFanFan (G, the one where Miss Crowley and Mr. Fell clash wits. Kinda. Mainly it’s a lot of lovely pining and Aziraphale being sad about awful things happening in London, so he’s escaping to Hampshire for a while, where Crowley happens to be in the middle of a temptation she promptly abandons in favor of lifting Aziraphale’s spirits. Not finished, but already sparkling with Crowley being miffed about gender double standards and Aziraphale letting himself be cheered up by Crowley. It’s great.)

3. Kissing, Accidentally – @skybound2 (G, the one where Crowley can’t help kissing Aziraphale after pinning him against the wall.  Hilarious and sweet and featuring that best trope of all, Crowley going boneless and speechless at an unexpected show of affection and wanting from his angel.)

4. Visible world (or, you are responsible forever for what you have tamed) – @matchahedgehog (T, the one where Russian folklore plays a significant element and it’s weird and beautiful. I don’t think I can really convey what this is, exactly, but there are elements of building a new world and holding on tight to love even through the toughest times and it’s gorgeous.)

5. I’ve Been Drowning All These Years – @terrible-titles (T, the one where Crowley comforts Aziraphale five times and one time Aziraphale comforts Crowley. There are some discomfiting scenes Crowley is talking Aziraphale through in this one, but the comfort is sweet and the resolution is well-deserved.)

6. Moving Rocks – shiphitsthefan (T, the one where confessions are made in 1941 but they can’t act just yet, and waiting is agony. I really adore this one, especially what happens when they finally Smooch, because it happens in a spot I rarely see anyone putting it and it made me smile. The longing is so painful, poor Aziraphale. Poor Crowley.)

7.  On a Wing and a Prayer – @alphacygni-8 (T, the one where Crowley is a pining mess but he has a plan. This is another trip through history of Crowley trying to go about his business while his feels are crushing him, but I think it’s how Crowley tries to go about confessing that helps make this one a standout; there is a restaurant and there is a lot of food and there are, of course, miscommunications aplenty. The historical scenes are nothing to sneeze at, either, they’re all packed with longing and bittersweetness. Lovely.)

8. in the shapes of angels – @qwanderer (T, the one where navigating an intimate and loving relationship of any stripe is difficult when your true form is a bit noncorporeal. This one crescendos in a form of angel-demon soul bonding that really reverberates and sticks in the brain, the visuals are incredible. And the implications of switching bodies gets a lot more high-stakes, too. On top of it all this is a story about finding someone to share your life with, whatever the arrangement of the relationship might actually be, and friends it’s tender and scary and wonderful.)

9. Pilgrim – brasspetal (T, the one where Crowley is on a sabbatical to sort out his feelings and he writes love letters, of a sort. This one is one of those fics that feels like treading in deep water knowing there’s something more in the depths, but it’s more tranquil and less unsettling. There’s an overstory about Crowley traveling with a group of humans and an undercurrent about him working through how he feels about Aziraphale and the two work together to bring about something memorable and, I feel, truly impactful. It’s entirely possible that by the time the last chapter is up, the story will be something completely different from what I’ve described, and that’s cool.)

10. drowned in living waters – @mortuarybees (G, the one where Crowley and Aziraphale make out in a field and almost get caught. This one is short and sad and made me feel sad things, though the imagery is gorgeous and the argument leading up to the kissing is entertaining. Stupid Gabriel and his stupid face.)

11. Things They Need – LostSoftSpaceDyke (T, the one where Crowley and Aziraphale take lovers as stepping-stones to get to each other. This one is bittersweet and FRAUGHT, friends, it is absolutely a heart-masher. The ending rights it, of course, and beautifully, but welcome to Hopeless Longing Town, friendos, population One Angel and One Demon.)

12. Off the record – @paintedvanilla (T, the one where Crowley reports his personal sins and then neglects to report his virtues. Bookverse, a wonderful character study of Crowley and Hell’s bureaucracy and how certain things affect Crowley personally. Includes a lovely homage to Freddie Mercury, of course.)

13. By Any Other Name – ausgezeichnet (@thebeatlesaremyboyband) (T, the one where Nanny Ashtoreth and Brother Francis fake a wedding to get Thad Dowling off their backs. While it definitely has its funny moments, what stands out more to me in this one are the soft, quiet moments of pining sprinkled in between their adventures. There’s real strain between Crowley and Aziraphale with this turn of events, and I can’t wait to see it all boil over. Also Thaddeus Dowling is a dickbag in this one and is deffo getting his.)

14. God’s Gift – Katzedecimal (T, the one where Crowley and Aziraphale are undercover as a lady and her tire-woman while on a job. This one is based on one of the stories from The Akashic Records by PeniG (which y’all know I adore), specifically one where a potential 30K caper is laid out involving this exact scenario, and I love that someone actually tried to tackle some of it. The friendship is so good, and the little bit of excitement that happens in the plot is Terribly Exciting. Just ladies taking care of ladies, what could be better?)

15. All I Want (Is You) – amavyllis (G, the one where Crowley and Aziraphale don’t touch but that doesn’t mean they don’t want to. Oh, y’all, the longing. The LONGING. And the sheer ACHE of not being able to touch someone you would like to be physically close with. It is PAINFUL and it is GOOD and I am DYING.)

16. meantime i ask you to be my valentine (i’ll be your valentino) – hipsterchrist (T, the one that follows Saint Valentine’s Days through the ages. This one is really interesting, actually, and has one of the most eclectic collections of historical moments I’ve ever seen in one of these types of fics. That ending scene is on point, though; I spoil nothing but you guys TEARS. Of LAUGHTER. And also OVERWHELMED WITH EMOTION.)

SOUTH DOWNS

17. Let Me Live Here Ever – @moveslikebucky (T, the one where they’re soft and just talk about their feelings and smooch a lot. This one is part of a larger series but you don’t need to have read it to read this one. It is so very soft, y’all. So tender. I will never be over stories where they just lay in bed all day and revel in how they feel about each other and their life together.)

18. The Cottage, The Husbands – Dragonsquill (G, the series where Crowley and Aziraphale have a life in the South Downs and it is good. Featuring lots of cute little tableaus and some of the most fun OCs ever—Twelve in particular is a treat, she’s Crowley’s stylist and absolutely wonderful. The whole series is just FUN, it’s cute and casual and domestic and great.)

19. For All the Stars in Heaven – ausgezeichnet (@thebeatlesaremyboyband) (T, the one where Heaven and Hell need to shove off already. This one takes off almost without warning, and escalates rather quickly before a frankly genius solution to The Problem of Aziraphale and Crowley is found. I only deal in happy endings, so you KNOW it’s good for the husbands. Surprisingly good, in fact, I didn’t see it coming at all.)

20. Angel and Demon Teatime – @penig (T, the one where Crowley and Aziraphale entertain a few unwanted guests for a while. This one is really cool, with a lot of sensory details while Crowley and Aziraphale relive a lot of the sensations of Earth and bring them into the physical world for the spies Heaven and Hell sent after them to experience them, too. The spies are both precious, though in completely different ways, and the ways they go about changing through this visit are subtle but profound.)

21. The Tales of Eden Cottage – Jupiter_Ash (G, the series where Crowley and Aziraphale slowly settle into their new South Downs community. This one has a lot of fun OCs and some extremely touching stories (the one about Joshua in particular broke my heart in all the best ways). Their neighbors are a lot of fun and the fic in particular that has a facebook chat of their speculations on who the new guys moving into Eden Cottage are is fantastic.)

22. A Brand New Angle – @fallsouthwinter (T, the one where Crowley and Aziraphale pick a direction and gun it. Has first kisses, dancing, delightful neighbors, gardening—all the best ingredients for a heartwarming, satisfying South Downs romp. And this definitely is one—with some promising things to come, judging by the standalone in the same universe!)

23. A Safe Place for You – Vagabond (@waffleironbiddingwar) (M, the one where learning to receive love is a little bit harder lesson to take in than giving love. M for a humanly intimate scene that borders but does not cross into full smut, and an ethereally intimate scene that is weird and pretty. This whole thing is achingly poignant and heavy; every word drips with emotion and it’s both difficult and sweet, much like the subject matter, I suppose. A memorable and beautiful piece.)

24. Act of Service – @dietraumerei (T, the one where people think Aziraphale is Crowley’s sugar daddy. This one starts off hilarious and then slam-dunks itself right into the Feels Pile, with a side-helping of discussing dynamics and reaching acceptance. An instant classic and one I’ve definitely read more than a few times.)

POST-APOCALYPSE

25. Thou Knowest Us Happy – @mirrorleaf (T, the one where Gabriel gets the truth shoved directly into his face. This is a fic of a fic (the original I have not read bc it’s rated E and I can’t do that for personal reasons), and while this fic references its source quite a bit, it’s not confusing enough for the fic itself to be off-putting. In fact, it’s a gorgeous one-two punch to the throat: first, the Banishing of the Archangel Gabriel, which is INCREDIBLY satisfying; second, the Making Sense of It All, where Aziraphale and Crowley realize they’re truly free and start to explore the various contexts of their relationship, past and future, which is very sweet. A delectable little treat, all told.)

26. Courage – @mandysimo13 (G, the one that’s a good old-fashioned post-apocalypse love confession. There’s a cute little characterization of Courage woven throughout, because of course Crowley personifies the emotions he is or isn’t dealing with, but on the whole it’s adorable and intimate and cute.)

27. when the earth is trembling – @stammiviktor (T, the one where Crowley takes Aziraphale on an amazing date. Listen, I adore stories where Crowley falls to pieces under the weight of his love as much as the next dork, but Crowley delivering? Crowley being, if not confident, then at least secure in the choices he’s making? Crowley showing his angel a good time because he knows what his angel likes? SIGN ME UP, FAM. Especially if we still get Crowley coming a little undone at his attentions paying off in a hoped-for but still unexpected way (to him, anyway).)

28. Little Terrors – @runwiththisdinosaur (T, the one where Aziraphale is being more affectionate and Crowley is one hand-touch away from an aneurism. This one doesn’t pull away from Crowley’s all-consuming fear of Aziraphale Falling for loving him, and captures the messy feelings and hurt and heartbreak and healing these two getting their act together demands. Also Indian food.)

29. Forgiveness – @guanin (G, the one where Aziraphale has a well-deserved breakdown after Armageddon’t. This one is super-duper cathartic and has Aziraphale working through all of his hurt feelings and confusion over Heaven and how they treated him, and how he subsequently treated Crowley. Featuring a very patient Crowley and a very weepy Aziraphale and a lot of wondering about fate and choice.)

30. Of burnt books and courting Crowley – robynvite (T, the one where Aziraphale accidentally finds out Crowley’s in love with him and then sets out to properly woo him. I love fics where Aziraphale finally takes the initiative, and he does so with gusto. Anathema serves as a great sounding board and go-between for these lovestruck idiots, and Crowley not knowing how to handle Aziraphale being flirty is the best thing. Also, Aziraphale finds out they burned the second Agnes Nutter book and has an angelic come-apart.)

31. that I may hear my heart fall from your lips – song_of_fate (NR, the one where Crowley and Aziraphale get to be themselves at last. Y’all like awkward but shyly happy getting-together fics? Y’all like Greek vacations? Y’all like Anathema being a bro and Crowley being casual and Aziraphale being absolutely taken with him? You’ve found your fic, folks, and it’s not even finished yet. More softness to come!)

BUS RIDE/NIGHT BEFORE/HEAVEN AND HELL

32. please please please let me get what I want this time – @sarahbacou (NR, the one where Crowley is extremely tired and Aziraphale muses on their situation. The tone of this one is mournful and apprehensive, but ultimately tender as Aziraphale cares for an exhausted-to-the-point-of-delirium Crowley on the bus ride home. The scene after they get off the bus is just straight-up heartbreaking, there are no other words for it, but it ends hopeful, especially knowing what we know about canon.)

33. Ethereal Love – @mariannightroad (G, the one where trying to teach Aziraphale to sleep morphs into something a little bit more. The purest and sweetest of romances, the most sexless making love of all time (even for weird angel essence-touching, it’s pretty devoid of lust), and just really really Soft u guys.)

34. Long Night’s Journey Into Day – @whatawriterwields (T, the one where Aziraphale keeps watch through the night. This one is adorable and very tender, with a terrible nightmare and an amusing adventure involving remote tea-making and FEELINGS. Aziraphale loves Crowley so much.)

35. Maybe Tomorrow Will Be a Better Day (If You Let Me Look at Your Beautiful Eyes) – TheWinterSldier (T, the one where Aziraphale ponders about Crowley’s eyes while wearing his body. There’s some historical jumping but the majority of the story is focused on retelling Crowley’s trial from Aziraphale’s head, and the meal at the Ritz afterwards. There are a lot of emotions about Crowley’s eyes. Ironically, there were also a lot of emotions about my eyes. Or, rather, in my eyes. Just overflowing with feels.)

AU/UA

36. Hard Times – @northeasternwind (G, the one that’s the bandstand scene in the context of Speremint’s Reverse Omens AU. I love the characterizations of Anthony and Azirafell so much in this particular AU, and the building tension and sudden breaking of the dam at the end is exquisitely done.)

37. Rosemary and Sage – AJissoverytired (T, the one that’s based on the witch AU by masao-micchi and is PRECIOUS. Crowley is the Red Witch, a very famous and talented mage, who accidentally gets turned into a snake by a rival and winds up being found by Aziraphale, a mage-in-training who’s starstruck by the Red Witch. They strike up a familiar contract, with Crowley conveniently not letting Aziraphale know who he actually is, and enter the Completely Ridiculous Comedy of a pseudo-love square. The world is vibrant and fun, characterization is spot-on, and it’s so funny and sweet I’m dying. Worth the read 4000%.)

38. Only Love (Can Bring the Rain) – @soft-october-night (T, the fairy tale-ish AU featuring a sweet prince and his handsome gardener boy. Y’all. Y’ALL. Pining and childhood friends-to-lovers and class struggles and vegetable-growing contests and subterfuge, oH MY. The flavor of this one is Very Very Good, absolutely a gem.)

39. Running in the Shadows (Damn Your Love, Damn Your Lies) – @soft-october-night (M, the one that’s vaguely a Persuasion AU but is mostly a messy, emotional romance shoved into Regency decency. M for mentions of sexual activity that would most certainly overwhelm the sensibilities of a more delicate readership, but it’s not bad at all for a modern reader. I think soft_october might just own my soul, because HOT DANG, that is two AUs in a row that are scratching my itches in the best ways. The LONGING. The EMOTIONAL TURMOIL. The MASQUE BALL. The CLASS STRUGGLES. I have read it twice already and will definitely be coming back to it a lot, because there’s lots of meat on this here bone. Adam Young and Crowley’s relationship in particular is touching, and Crowley’s friendship with Anathema is top-notch.)

40. I have loved you (for a thousand years) – @asideofourown (T, the one where they’ve been dating the whole time but SOMEONE missed the memo. Classic miscommunication at its finest; Crowley’s chapter is painful enough with his pining and heartsick longing, but Aziraphale’s chapter knocks it out of the park with his perspective of actually being in a relationship with Crowley and the various misinterpretations that’s caused. They’re so stupid and I love them.)

41. Gravity – Emmbee_89 (T, the one where Crowley was Raphael and he and Aziraphale had (and have) a love so powerful Aziraphale created Time and they couldn’t be separated even after the Fall. Oh sweet Jebus and all his little elves, the tenderness and powerful heartbreak this one causes gave me actual physical pains. Bittersweet and lovely. I am so proud of them.)

42. The Love You Leave Behind – @gloriouscacophany (T, the one that’s a 1980s college AU where Aziraphale is studying abroad and Crowley is the singer of a rock band. This one is UNBELIEVABLY gorgeous. Listen, I don’t usually go in for human AUs, but this one caught me, hook, line, and sinker. The sensory details are lush (especially when Aziraphale is noticing Crowley, hoo boy) and the story has some built-in heartbreak that’s already paying off (hello, homophobia), but despite the incoming pain and torment, I have full faith and expectation of a great ride along the way. Truly spectacular.)

43. Pray For Us, Icarus – @seaskystone (G and T, the series where Crowley keeps reincarnating as a human and Aziraphale loves him. Listen, I know 90% of you already know this masterpiece, but for the 10% who don’t, this series will heck you up one side and down the other. It will drown you in sorrow so that the good moments are sweeter than air. It is so intense, so emotionally raw, so dadgum TENDER, I had no idea what to do with myself after I finished it. Like a cheese grater on a sunburn when it’s bad, like hot chocolate on a bitter cold day when it’s good. A fandom staple for sure, cathartic and satisfying as only successful recovery after a long, hard, difficult event can be.)

44. Magnesium and Oil – @quaidpoppinjack (T, the one that’s a monster hunter AU. The great thing about fandom is that sometimes people will make AUs you would never have thought of, but once you know of it, you need it desperately. In this one, instead of tempting and thwarting, Crowley and Aziraphale are tasked with gathering the escaped creatures of Eden and sending them either to Hell or Heaven to stock for the impending War. The worldbuilding is AMAZING, the little details are great (for those of you wanting Crowley in hunting leathers, welcome to the party), and the story itself is just good, okay. Great action, lovely plot.)

45. alpha centauri – @hyruling (T, the one where Aziraphale agrees to run away to Alpha Centauri during the Apocalypse. To my understanding, this work was previously deleted by the author, but I’m so glad it was brought back so I could read it, because two very scared, very piney idiots carving out a domestic life on a barren planet WITH A CAT is the jam I didn’t know I had. Watching them circle each other is great; watching it all come tumbling down when Plot happens is even better. It’s a happy ending, don’t get it twisted, but you always have to wade through the Bad before you get to the Good, after all. A lovely little piece, absolutely A+++.)

46. Truth Untold – GenericUsername01 (G and T, the series where Crowley was Raphael, Aziraphale was made to be his assistant, and holy crap on a STICK where to even start. The worldbuilding is INSANE, I love how the Archangels are described and go about their business (word to the wise, do NOT skip the prologue work, you miss all of the best context if you do). And if that’s not great enough, there’s a whole system of angel-devil nemesis pairs all over Earth, whom we get to meet when devils start wanting to repent. There’s baptism involved and it’s horrifying and heartbreaking. Not finished yet, but it’s ramping up. Also, Crowley is functionally blind, which is about to start causing some real humorous problems since no one else knows about it, certainly not Aziraphale.)

47. Take me to the room where the red’s all red (take me out of my head, that’s what I said) – @raiining (M, the one that’s a Dom/sub AU with gentle top Aziraphale and bottom Crowley. No real sexual elements in this one, but I can understand why the M is there, the subject matter might be a little Much for some people even if it is fairly chaste (if sensual). The dynamic between Crowley and Aziraphale is delicious af, especially when they’re snapping at each other and then later melting into each other. It’s just. So good.)

48. Take This Sinking Boat and Point it Home – sobakasu, sssnakelady (T, the one where Crowley and Aziraphale used to be the same being, and the combination of fundamental incompletion compounding with being in love is tearing Crowley apart at the seams. Darkly emotional and absolutely raw with feeling, quiet and powerful and subtle. Crowley is absolutely heartbreaking, but Aziraphale manages to bind it all up quite nicely—not perfectly, they’ll have to work at it, but sweetly and with perfect love.)

JUST SOFT

49. Three Unthwarted Wiles – @almaasi (G, the one where Aziraphale lets Crowley get away with a few things. Oh my heaven it’s so SOFT, I know that’s the point of this section but HRRGK. Crowley does so much for Aziraphale and Aziraphale returns the favor as often as he can and they just love each other so much I’m sobbing.)

50. The Original Bar Joke – @deathbycoldopen (T, the one where Crowley sees himself as the punch line in God’s big ineffable joke. Sad until finally it isn’t, but Crowley spilling the beans via joke-that-turns-into-scathing-self-reproach is a unique flavor I wasn’t expecting and it broke my heart. Absolutely wonderful.)

51. Love Stories – @just-quintessentially-me (G, the one where Aziraphale is the maudlin sad drunk. Guys, I’ll be real, the emotional payoff of this fic is sweet, but the real highlight for me is Aziraphale scolding a fire he accidentally sets, because nothing feels so Aziraphale as him being drunk off his wings and attempting to LECTURE a FIRE. Also Crowley’s reaction to Aziraphale setting a fire in the bookshop is…well, about how you’d expect. A fantastic little number I quite enjoy.)

52. no mind to lose – @saints-and-demons-preserve-us (T, the one where Aziraphale goes fast and Crowley is a mess. Starts with an ode to Crowley’s long hair, as it rightly should, and evolves into a rather adorable start-stop where Aziraphale engages in various touching activities and Crowley is doing his level best, bless him, to catch up and remember how limbs and lungs work. Precious.)

53. Alas, Poor Yorick! This Is Gonna Suck! – WhiteQueenWrites (T, the one where Crowley finds his perfect opportunity while teaching a theater class to the Them. Yes, it’s canon!verse, not an AU. Yes, Crowley and Aziraphale kiss while teaching Romeo and Juliet. Yes, it is exactly as adorable and tween-traumatizing as you would expect. It’s very fun!)

54. Divine Intervention (aka God Ships It) – @theladyzephyr (G, the one where God has had it up to HERE with two idiots stuck in denial. Oh, folks. This fic is a TEASE. This fic is TANTALIZING. This fic is INFURIATING. And it is so, so worth its weight in gold, because the moment of triumph is so unspeakably sweet. It’s so good, y’all. So good.)

55. Learning to Speak the Language of Flowers – @junkshop-disco (M, the one where Crowley and Aziraphale are orbiting closer. M for discussions of trauma, I think. I’m not sure if I have the words for this one but I’ll try anyway. It shifts between the night the world didn’t end and the events after, and the time Crowley and Aziraphale spent in the Dowling household, and the transitions between the two are so smooth sometimes it’s hard to catch which time period you’re in. The writing is emotive and beautiful, and the emotional impetus behind the fic is compelling. Highly, highly recommended.)

56. seasons, changes – @whatawriterwields (G, the one that cycles through four seasons of Crowley and Aziraphale’s new life in love. Gorgeous and descriptive and so sensory—it really captures a lot of the best parts of each season. And also it’s incredibly loving and I die.)

57. waking up to you – @whatawriterwields (G, the series that’s a collection of tender morning moments. Listen, this writer is the MASTER of tender fluff, and this series is overwhelming. I have had to physically clutch at my heart and wail at my ceiling because of how cute everything is. If you need a dose of fluff after reading something angsty, here’s your medicine.)

58. Nemo dat quod non habet – @liquidlyrium (T and M, the series that examines the aftermath of the trials in Heaven and Hell, and Crowley and Aziraphale have an actual conversation. M rating is just to be safe bc the makeouts can be intense, but it’s not bad. The stories are basically revolving around the same conversation from two different points; Aziraphale’s bit goes more into the kissy-kissy afterwards. Powerful and raw, but understated; there’s dignity in this series, and a good bit of playfulness. The writing carries itself exceptionally well.)

59. Where to Start – @freyjawriter24 (T, the one where Crowley’s almost kissed Aziraphale plenty of times through history. Oh, y’all. Crowley’s emotions are laid so bare. The longing is so good. The scenes are all pretty original and interesting, and you can get a good sense for what Aziraphale’s feeling in these moments, too. Top-notch.)

TOUCH-STARVED/BODY WORSHIP/WINGS

60. The Power of Touch – @wordsintimeandspace (T, the one where Crowley needs some tending to and Aziraphale is more than happy to do it. It’s lots of kissing and touching and it gets intense but not too sexual. Also some lovely communication and boundary negotiation and it’s great.)

61. show a little skin (baby I’m begging) – @summerofspock (T, the one where Crowley can barely handle seeing Aziraphale flash a little skin now and then. Oh, y’all, it’s so much fun. Crowley is in over his head, someone please help him. Ankles, collarbones, FOREARMS. Oh lawd.)

62. You’re the Only Prayer I Need – @kedreeva (G, the one where Crowley’s shedding and Aziraphale helps. Featuring an absurdly large bathtub, wing bathing, and finally the peeling of snakeskin, which sounds so intensely satisfying, tbh. Simple, companionable, and nice.)

63. Of Firsts and Foremosts – @kedreeva (T, the one where Crawly finds Aziraphale cornered by Ligur and steps in. This one has really interesting bits of lore stuffed into it and a sweetly cautious blooming camaraderie between Crawly and Aziraphale; on top of that, there’s cuddling and wing care and both are extremely good.)

64. At Least Eleven Second First Times – @enjambament (M, the one where Aziraphale has to get used to being on Earth in a body again. M for risqué elements that brush up against smut without crossing over. This one is all about feeling things, from emotional to physical sensations, and how Aziraphale is overwhelmed by it all, but there’s also bits of the inherent diversity of the world and the significance of being able to feel things and on top of being secondhand-overstimulated, it drops you directly into Feels Town and it’s delicious.)

BONUS

65. a snake by any other name – @asideofourown (G, the one where Crowley’s snake form is spotted by a herpetology student and an unlikely companionship is struck. This one is from the view of an OC and is really cute, involving Crowley growing fond of a human with proper appreciation for serpentine charms. Also the OC and her girlfriend have a fun argument about what Crowley actually is and it’s adorable.)

66. Always Trust a Dog’s Judge in Character – notebooksandlaptops (T, the one where Warlock moves back to his London home and starts building a life. This one is so good, y’all; adult (ish, he’s nineteen) Warlock is such a delight and you can see Nanny Ashtoreth’s influence all over him. It’s even better when he meets Adam and forms the biggest crush known to man (good thing it’s reciprocated, that would have been awkward), and befriends the rest of the Them (Pepper in particular is to be feared and respected). A fic about growing up and finding yourself, and I love where it’s going.)

H/C /WHUMP/BAMF

67. In Peace I Will Both Lie Down and Sleep – @fizzybiscuits (G, the one where Aziraphale is having nightmares. This fic feels so organic—like a logical continuation of the show, or at least one of many directions it could take. Aziraphale having vivid bad dreams and NOT TALKING ABOUT IT is so on-brand, and Crowley getting worried out of his gourd is also on-brand. Vulnerable and sweet and soft, once the nightmares are dealt with.)

68. A Touch Like Sunlight – @just-quintessentially-me (T, the one where Crowley acts the hero like an idiot. This is Crowley’s vengeance against the Archangels and it’s heart-pounding; of course stuff goes off the rails pretty quickly, but even the stuff that goes right has tension in it. A great adventure, with an appearance from BAMF!Aziraphale.)

69. Chokecherry – unsmilingchuck (T, the one where Crowley helps clean up Aziraphale’s hands after a frankly awful punishment from Heaven. This fic feels calm, maybe more so when it’s revealed what it’s in the aftermath of, and Crowley is very methodical and meticulous in his care. It’s clear how much they care about each other and that’s always the jam.)

70. Thus saith the Lord – @themanicmagician (T, the one where angels can be drafted into Her service like a hive mind. Oh, folks, you want historical pain? You want emotional torment? You want a thrilling chase and a tender aftercare and a triumphant victory? You want to be in your friend’s house and hear the Plagues song from Prince of Egypt and almost have a complete breakdown bc you’re reliving this fic? Then join me in singing this one’s praises, because it delivers. It does not let up even for a second, once it gets going. This is probably one of the darkest fics I’ve ever read, but the ending balances it out. It’s great.)

71. In Somnis Veritas – PinkPenguinParade (T, the one where Aziraphale volunteers to help Crowley with his nightmares. Oh, y’all. Y’all, this one is so good. Just two immortal beings, working through their various traumas together. There’s pain and healing and a beautiful, beautiful ending. This fic hits all the right notes, it’s splendid.)

72. Incongruous States of Being – @zehwulf (T, the one where Aziraphale is a BAMF and that was never truly up for debate. Featuring an argument meant mostly for fun, and then a fight meant mostly for not-fun. Protective Aziraphale through the roof, gang. Very, very good. The tension is exquisite, and the characterizations are perfection. A wonderful take on Aziraphale and his abilities.)

73. Aim Your Arrow At The Sky – @trellanyx (T, the one where Aziraphale is a warrior and don’t you forget it. Warnings for some pretty graphic violence. This fic is not epic-length but it is epic-scope; it’s downright cinematic. The details are so crisp and the action so well-described, and threaded through it all is fierce, tender, desperate love. A wonderful read, especially if you want to see two particular Archangels get theirs.)