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thinkingisadangerouspastime · 4 years

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So, this may sound weird, since I don't ship ZK, but I think the reason some dislike EIP is because they realize it was the first part of a busted enemies-to-lovers arc. EIP was part one, where Zuko and Katara see how others see them, and it weirds them out. Yet, Zuko insisted on sitting next to Katara and Katara pushes Aang away, suggesting there might be something there that they don't want to acknowledge. (1/3)

The first part of the finale was Part 2, where June reiterates the "Hey you're with your gf again!" Zuko and Katara deny it, but there likely should have been an undercurrent of 'Why do people think we're together? Do we act like it? Should we be? S/he is kind of cute.' During this time, Zuko defers to Katara and despite Toph likely being more helpful, asks Katara to be the one to take down Azula with him. (2/3)

Last part of the finale should have been the money shot, Zuko taking lightning for Katara, and in a parallel to CoD, Katara healing him. Dante Basco is right in that there probably should have been a kiss at that moment and the end scene of the gang at the Jasmine Dragon with Zuko and Katara shyly proclaiming their interest in each other. (3/4, sorry I have one more)

Again, ZK is not my ship, but EIP seemed to set up a ZK endgame that jumped the tracks at the end. By all the "rules" of a good narrative, Zuko and Katara should have ended up together, otherwise EIP should never have been countenanced or storyboarded. Full disclosure that I'm not a huge Kataang fan either, but Kataang was done a disservice by having EIP exist. It either should not have ever gotten written, or the ZK enemies-to-lovers arc should have been concluded. (end)

Disclaimer: I don’t care if someone ships Zvtara. Never have, never will. If the takeaway you (the general you, not anon specifically lol) get from this post is that Zvtara is “bad,” then I’m going to assume you didn’t actually read anything I wrote, because that is the farthest thing from my point here. Also, this post is strictly my personal response to these asks. I don’t expect everyone to read this and be like “YEAH” lmao. I am sure some people have different opinions, and that is a-okay!

In short, I think we will have to agree to disagree, anon.

Do some people consider EIP the beginning of a busted enemies-to-lovers arc? Of course they do, they’re “rabid zkers” who wear Zvtara shipping goggles 24/7 lmao. EIP couldn’t have been the beginning of an E-L arc because such an arc was never in the cards for them in the first place! Katara forgave Zuko in the previous episode. Trying to cram a romantic relationship into five episodes after months of hatred between Zuko and Katara would have been awful writing (and thus probably would have been a decision mercilessly criticized until the end of time, lmao). So it’s honestly better that Zvtara gets to spread its wings in fanon instead (much less pressure)! Also, realistically speaking, Katara and Zuko probably still had so many issues to work through in their friendship. Like yes, she forgave him and recognized he was trying to do better, but that doesn’t erase what Zuko has done to her and her friends. There is still plenty of forward progress they need to make before romance can even be considered between them. If that makes sense?

Also, let’s be real: EIP and bit with June afterwards were 100% ship bait. Just an attempt to add to the “drama” of who Katara would end up. A technique only effective while it was airing, for the record, because if you watch the show straight through, it becomes glaringly obvious that Zuko and Katara’s relationship - while gorgeous - was always meant to stay strictly platonic within the canon timeline.

Anyways. I’ll try to break down your ask one piece at a time!

“Zuko and Katara see how others see them, and it weirds them out”

Yes, they are definitely weirded out! The transcript says, “Zuko and Katara inch away from each other, slightly uncomfortable.” Which is just a longer way of describing that they were weirded out by the depiction of their relationship in EIP, lol. However, the play is not how others see them. The play is the Fire Nation’s imperialist propaganda, meant to demean the entire Gaang. I talk about in specifics how the entire Gaang is belittled here, but this is the key stuff I noted about Zuko and Katara:

it’s important to situate that and more importantly situate eip zuko and katara’s relationship within the context of the show. the fire nation is an imperialist country. the southern water tribe has suffered heavily beneath them. we know from “the headband” that fire nation individuals are fed pro-imperialistic propaganda from birth; that combined with zuko and azula’s degrading comment of “peasant” towards katara demonstrate very clearly how the fire nation views every other nation - put simply, they are superior and everyone else is inferior. that attitude is therefore reflected in the eip play:

- katara, an indigenous woman, is highly sexualized and portrayed as overly dramatic and tearful, because the fire nation objectifies women not of their own people and views them as less intelligent and less emotionally stable

- she is thus paired as having a “romance” with zuko in eip because naturally, via fire nation logic, zuko would be able to “score” an “easy” woman of one of the water tribes

- furthermore, the eip “romance” between zuko and katara emphasizes zuko’s position as a traitor to the fire nation; the implication is that as a traitor, he’d only be able to achieve a relationship with a “lesser” woman, e.g. a woman not of the fire nation

That is not how other people truly view Zuko and Katara’s relationship. That is how the Fire Nation depicts their relationship in order to degrade and dehumanize Zuko and Katara. To misinterpret that as “evidence” that Zuko and Katara should have been together romantically is… disturbing, in my opinion. (I really try to stay far away from zkers who use EIP as “proof” of supposed Zvtara interest in each other like honey that is imperialist propaganda please don’t 😭).

If you want to talk about how other people actually view Zuko and Katara’s relationship, look at the Gaang, who were around them most of all! They never tease the possibility of romance between their friends. Why? Because within canon, there wasn’t one. Simple!

“Zuko insisted on sitting next to Katara”

Nope! This is all the transcript says: “Zuko [Removing his hood.] Just sit next to me. What’s the big deal?” He doesn’t even mention Katara! Zuko is literally just like I’m already sitting. Why do I need to move? lmfao. It’s no thoughts head empty for our favorite firebender 😂

“Katara pushes Aang away”

I’m assuming this about the kiss, which I’m going to make a post about in the future because I am TIRED of the tomfoolery. Anyways, I’ll keep this brief - yes, she does push him away. She does not deny that she likes him. For Katara, the issue is the timing: “This isn’t the right time.” Both Katara and Aang know they like each other, plain and simple (which is why Aang doesn’t ask if he returns her feelings - he asks if they’d be together, because he knows their feelings are mutual). Katara pushes Aang away because, as she says, they’re in the middle of a war. She’s already seen Aang die once. He might die again. She doesn’t want that, of course, but it’s a reality Katara is forced to consider.

Anyways, her decision has nothing to do with Zuko. Lol.

“June reiterates the ‘Hey you’re with your gf again!’ Zuko and Katara deny it, but there likely should have been an undercurrent of ‘Why do people think we're together? Do we act like it? Should we be? S/he is kind of cute.’”

June’s assumption - especially because it is a repeat of a gag from earlier in the series, when it is incredibly concerning to assume a Fire Nation citizen would be with someone of the Water Tribes because of the war and its consequences - is comic relief. Not even good comic relief, lmao, because of the horrific implications I just mentioned that come with it, but it’s supposed to be comedy. There was no need of any “Zvtara” undercurrents there because a) Katara and Zuko had never expressed romantic interest in each other in the past, b) it wouldn’t track with the show’s narrative of Katara as Zuko’s surrogate sibling because of her position as Azula’s primary foil, and c) it just doesn’t make sense in general. Katara likes Aang. Zuko likes Mai. There was never a love triangle there, plain and simple. Fandom invented it.

And again, if you want to talk about how people actually see Zuko and Katara, don’t look at June, who has never had a proper conversation with either of them. As I said, the Gaang is a much better example, since they’re with the two 24/7. If they never tease Zuko and Katara about romance, why should we trust this random lady who doesn’t even know them?

“During this time, Zuko defers to Katara and despite Toph likely being more helpful, asks Katara to be the one to take down Azula with him.”

As I mentioned, Katara is Azula’s primary foil, so from a literary perspective she absolutely needed to be the one to take her down. Zuko needed to face Azula, but taking her down - again, from a literary pov - was always meant to be the end of Katara’s journey (she was the only person besides Aang who was ever a match for Azula, after all, as we see in CoD). Also, how would Toph be more helpful?? Not saying you’re wrong, btw, I just don’t understand what you mean. If I was Zuko, I also would have brought the waterbender that I’d already witnessed almost take down my sister already 😂. But even if Toph would have been more helpful, sometimes practicality must be sacrificed for a fulfilling narrative arc, lol!

“Last part of the finale should have been the money shot, Zuko taking lightning for Katara, and in a parallel to CoD, Katara healing him.”

Honestly, anon, this part of your ask baffles me 😂 I totally understand why rabid zkers might make this argument, but taking into account the rest of the show… It just doesn’t make sense? It’s been talked about a hundred times, but Zuko taking lightning out of romantic interest would ruin his redemption arc, regardless of if it was Katara or Aang or Sokka or anyone in the Gaang that he was taking it for, so that should be the end of discussion, full stop. I’ve talked about this issue here and here before, and someone else does a great job breaking it down in this post, too. But seriously. Zuko having romantic interest for anyone in the Gaang would ruin!! His!! Entire!! Arc!! I hate when people don’t understand that 😭 Zuko had to learn selflessness, to learn how to put others before himself, and to unlearn the imperialist rhetoric he’d been indoctrinated with from birth. Romantic interest during canon for Katara, Sokka, Aang, whomever, I don’t care, completely disregards all of his growth of breaking away from the Fire Nation. Plain and simple.

“Dante Basco is right in that there probably should have been a kiss at that moment and the end scene of the gang at the Jasmine Dragon with Zuko and Katara shyly proclaiming their interest in each other.”

I learned in a discord I’m in that Dante Basco apparently hadn’t seen the whole show until this year lmao. He didn’t know what energybending was nor did he know A:TLA ended with a Kataang kiss. Take that with a grain of salt, of course (you can watch the livestream this is revealed in here, and it was also mentioned in the recent StageIt A:TLA reunion), but I think it’s safe to conclude Dante Basco can be treated like any other Zvtara shipper. He likes the ship, which is totally cool, but he is not one of the writers, so his opinion meant naught in constructing the canon narrative.

ANYWAYS. My point is why would Zuko and Katara proclaim interest in each other if such interest would have to be crammed into five measly episodes?? Especially when four of those episodes were the finale?? That is awful writing, of course the A:TLA writers wouldn’t do that, lmao! They’d built up Kataang and Maiko already. Why scrap it and needlessly rush a romance from an excellent - and, important to note, a newly established - platonic bond? Nah.

“EIP seemed to set up a ZK endgame that jumped the tracks at the end. By all the ‘rules’ of a good narrative, Zuko and Katara should have ended up together”

Nope. Idk what rules people have been teaching you, anon, but they were lying!! You deserve better than people who would lie to you like that 😤. But yeah, narratively speaking, Katara and Zuko getting together would have made no sense. It would have undermined Zuko’s and Katara’s arcs, it would have completely disregarded Katara’s established feelings for Aang and Zuko’s for Mai, and again, it would have been totally rushed. Who wants that?? Normal people don’t, lmao. This might be hard to believe considering I occasionally rag about BNF zkers, but I actually have several friends who are Zvtara shippers! They agree that canon Zvtara would have made no sense, and that it’s better to play out a potential Zvtara dynamic in post-A:TLA fanon. I swear, it is only the rabid shippers who think Zvtara should have been canon, and trust me when I say no one should want to associate with them, lmao.

(And again, as I touched upon earlier, Zuko and Katara’s canon narrative relationship was surrogate siblings because of Katara’s position as Azula’s primary foil. The show wrapped their arc up perfectly! With a lovely bow and all. So no complaints from me!)

“otherwise EIP should never have been countenanced or storyboarded. Full disclosure that I’m not a huge Kataang fan either, but Kataang was done a disservice by having EIP exist”

What EIP did right:

- accurate (and horrifying) depiction of pro-imperialist propaganda

- recap of previous seasons

- a lesson on consent (Aang kisses Katara, it is depicted as wrong, and Aang reacts appropriately by admonishing himself and by giving Katara space afterwards. like, people call Aang an incel/entitled/whatever, BUT HE HAD THE PERFECT REACTION?? he literally backed off and never pressured her again. i would have killed for the guy who kept getting in my personal space during my junior year to have backed off when i told him to. spoiler alert: he didn’t)

- hit some good humor beats

What EIP did poorly:

- honestly it’s not very interesting just based on watching it (deconstructing it as propaganda gives it better depth), but that’s to be expected from filler

- stupid shipping drama

- not having an additional conversation/explicit apology between Aang and Katara

HOWEVER. This final point is actually very subjective. For one, A:TLA has a clear trend of not showing apologies on screen. Ex.: Katara doesn’t apologize to Sokka for what she said about their mother, Zuko doesn’t apologize for anything he did to the Gaang, Song, or really anyone (closest we get is “Hello, Zuko here” lmao), Ty Lee and Mai don’t apologize for putting the Kyoshi warriors in jail, etc. etc. So while an explicit apology would have been great, the lack of one admittedly tracks with the show’s pre-established standards. And two, while I of course would love a conversation between Aang and Katara (that’s literally MORE KATAANG. why would I refuse 😂), it isn’t… necessary, to be frank. Aang’s mistake is treated as such - kissing Katara was wrong and he should never have done that. Like I said, Aang acknowledges this error and gives Katara space afterwards. Thus, it is Katara who chooses to be with him when the war is over. She respects the time he gave her to come to a conclusion, and the choice she makes is that she loves him despite his poorly-timed kiss (I mean, she forgave Zuko for being complicit in Aang’s death. Katara is clearly a very forgiving person!). So like,, it gets to a point where if someone doesn’t recognize that, they’re probably the kind of weirdo who labels anything they don’t understand in a story as a plothole, lmao.

All of this is to say that EIP wasn’t a disservice to Kataang. It certainly could have been better, of course, and the kiss was obviously only put in to hype up drama (“will they, won’t they” blah blah blah), but overall it handled consent well for a kid’s show.

“It either should not have ever gotten written, or the ZK enemies-to-lovers arc should have been concluded.”

On the whole, EIP is absolutely an unnecessary episode, yeah. It was just a recap before the finale. The only important thing is its accurate depiction of pro-imperialist propaganda, but most people’s minds don’t immediately go to that, I’ll admit lmao 😂. And as I’ve already said, there was no Zvtara E-L arc - fandom completely made that up. Which is totally fine! That’s the point of transformative works. But they are still fanon. Plain and simple.

TL;DR - Zvtara was never in the cards for A:TLA. I wish rabid zkers would stop pretending it was and have fun in the sandbox like the rest of us 😭

And for the record, anon, you absolutely, 100% do not have to be convinced by any of this! It’s just my own, personal thoughts on the whole dealio. No worries either way!! 💛

#emphasis on my use of rabid zker. if you know you don't fall into that category then it's obviously not about you lol #(general you. not anon specifically)#amy answers #anon #amy analyzes

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littleeyesofpallas · 4 years

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Bleach - Name Games

Continuing with the zanpakutou posts... One that seemed to get broadly misinterpreted is,

Katen Kyokotsu(花天狂骨)

...written as 花: “Flower,” 天: “Heaven,” 狂: “Madness,” and 骨: “Bone.” Viz translated this as "Flower-Heaven Bone of Madness," and later changed it to “Flower Crazed Heaven Bone Spirit.” But what I keep seeing overlooked is that Kyoukotsu(狂骨) is the name of a youkai; a white haired elderly man emerging from a well to act upon a grudge, cursing people who would drink from its well. (It’s also a homonym with the word for Kyoukotsu(胸骨) “Sternum” written “Breast”+”Bone” which is played on in Kyokotsu’s design for the anime as a skull-clad busty woman.) “Bone-Spirit” actually does seem like it’s referring to the youkai, but then it scrambles up all the other adjectives and nouns.

Kyoukotsu(狂骨) is also a slang term in some regions for someone in a state of looking wild and and in noisy disarray --which basically refers to either a a mentally unstable person, or a raucous drunkard. I think the logic in that might have to do with the idea of the Kyoukotsu cursing its well, and the idea that a belligerent or gibbering drunk being that way from having drank something evil... i.e. from a cursed well? Given the nature of zanpakutou as reflections of their wielders’ inner-selves and Kyouraku’s disposition as a frivolous drinker, it may have been meant to imply a darker side to that.

I’ll be honest, I can’t tell if Katen is supposed to evoke “A Flower (from) Heaven” or “A Heaven (made/full of) Flowers.” They more or less imply the same tone, but it’s the difference between a singular item or a whole landscape. The only more specific phraseology I can find that would point in one direction over any other is katengecchi(花天月地) which refers to a scene of flowers blooming in moonlight, and kind of makes me lean more toward the landscape imagery of a field of flowers so beautiful that it is like heaven. But I don’t know that those terms are even really related.

Together, at least to me, it seems to give off the impression of getting sloppy drunk in a field of flowers, which seems pretty in line with his general vibe.

But adding to these themes, his release call is notably longer than most, and appears to be specifically split up into one call for each of his two identical swords (and Ukitake’s the same, but noticeably Ukitake’s sword can’t be interpreted as two different names, like what they did with Katen and Kyoukotsu). These and Ukitake’s, more than any other zanpakutou calls, and more like the hadou spells, lean into Kubo’s affinity for poetry --something he also indulges in in his tankobon poems.

花風紊れて, 花神啼き: “Flower-Wind* in disarray, Flower-spirit(s) call out/cry/wail”

*I think... think... maybe... this is supposed to be an abbreviated form of Kachou-Fuugetsu(花鳥風月), written “Flower, Bird, Wind, Moon” which is a term used in classical Japanese art to refer to “the beauty of nature” as subject matter. It doesn’t have to literally include Flowers, Birds, the Wind, or the Moon. Basically, it just refers to a nature scene meant to display the beauty of nature (as opposed to being a slice of life or a strictly historical depiction, or other non-aesthetic-primary focus.)

Also the construction Kashin(花神) here written as “Flower kami*” doesn’t seem to refer to a specific deity, but worth noting is that it’s a homonym with Kashin(歌神): the kami* of Waka and of song --Waka being a traditional Japanese form of poetry, which are also sometimes translated as “muse” if that gives you a better sense of what they are. Functionally they are closely related, because it’s the spirit of nature that inspire poetry/song about the beauty of said nature. Moreover, as discussed previously, Shunsui has a distinct theme of both flowers and of music, so both feel kind of relevant here.

*I feel like this is kind of a Japanese mythos 101 thing to point out, but if you’re not aware, Shinto being an animist religion means they believe in an innate spirit in basically all things. The word kami does not mean “god,” it refers broadly to that innate spirit that all things possess. The most powerful kami are analogous to gods in other religions, but a kami’s only real definitive quality is that it is a spirit and that is exists... the spirit of a flower has no power nor grand design nor will, nor any other quality that would make sense attributing to what we call a “god” in the West. But that doesn’t make it any less a kami.

Also the naki(啼き) here is the same root as the nake(啼け) that Urahara and Benihime uses. It can, in this context, read like “yelps” or “wails” or even “screams” but all in the tone of, “cries of distress.” (As opposed to quiet weeping; it’s “cry” as in the sound, not the tears.)

Also it’s kinds awkward but the verb midarete(紊れて) is the conjunctive form of the verb “to disturb” but I don’t know how to say that in English without throwing a lot of extra words into it, and I didn’t want to imply that there were more words and their implicit meaning involved.

And then...

天風紊れて, 天魔嗤う: “Heaven-Wind in disarray, Tenma* laughs/sneers/ridicules”

I feel like “Heavenly Wind” here is supposed to refer to something more specific than just the two words mashed together, but I can’t really find anything that clarifies this for me... But my first assumption is that like kamikaze(神風) “Divine Wind” it’s meant to describe a favorable wind, sent to protect or relieve someone in need; hence it being “spoiled,” “thrown about,” or “dispersed” being a bad thing, in the same tone as the Flower-Wind phrase above. It’s the same verb, but i feel like “disarray” of something like “a wind” doesn’t visualize clearly.

And the specific term Kamikaze went from a general term to a specific title to refer to the two notable historic typhoons that coincidentally sank invading Mongolian fleets in the 13th century. For their immense power and convenient timing they were attributed to acts of the divine defending Japan. In turn it’s why the Japanese kamikaze pilots of WWII were so named.

*Tenma is the Japanese name of the Hindu Mara, of Buddhist mythos. He is a kind of temptor figure presiding over both lust and desire as well as hesitation and fear such that they interfere with a buddhist's ability to meditate, focus, and adhere to their virtues. In particular he's responsible for having tempted Siddharta Gautama Buddha with beautiful women. (in some iterations said to be the deva's own daughters.)

Yes, it’s the same Mara as the SMT franchise, but the giant penis monster Mara isn’t based on any real mythology, it’s actually a pun on the Japanese Mara(摩羅), written as “chafe/rub/polish/grind (against) thin-silk,” and used as a term meaning “obstacle to Buddhist practice” in accordance with the actual Hindu Mara’s role in mythology. I’ll be honest though, I don’t know if the construction is supposed to reference masturbation or dry humping. Maybe both?

So, trying to work all this into something a little more readable in English, what I think the overall vibe of this is, is...

“The-Beauty-of-Nature is being thrown into disarray, and the Flower-spirits wail; Saving-Graces aren’t going to arrive, and ‘The Devil’ laughs(mockingly).”

The theme here is that the beauty of nature suffers, a heavenly blessing is interrupted, and a demonic figure laughs at it: There’s nothing to sing about, there’s no relief, the tempter wins. It’s actually a little weird because thematically it feels very much the opposite of what his shikai actually does. I feel like he wanted Shunsui using his shikai to be that moment of serious-ing up, but by the time he came back around to actually using it, he wanted to keep Shunsui’s powers more in line with his personality and save the change of mood for his big bankai reveal instead. but we’ll get to that in a bit...

For context, Kyouraku Shunsui’s own name reading as “Capital(City) Music, Flower Water” points to his lazy personality: he’s a big city type who’s all about lounging and luxury and sweet indulgences. So, his sword release by contrast is those declaration that playtime is over, Kyoraku is done being lazy.

Broadly speaking I never really liked Masashi Kudou’s anime-original designs for most of Bleach’s filler arcs, other than just not really aesthetically fitting with Kubo’s design sensibilities(all Kudou’s designs look like bad cosplay with big swatched of empty solid space, flat colors, no color balance, and no implicit weight or texture) they don’t really gel with most of their names and themes, but Katen Kyoukotsu in particular got kind of tragically reduced to a generic waifu design. I honestly really hate that Kubo went and ran with that design for Shunsui’s bankai.

And speaking of bankai...

Karamatsu Shinjuu(枯松心中)

is tacked onto the end of the same name as the shikai to make the new bankai name. Kara(枯) and matsu(松) just read as “Withered/Withering PineTree.” Fun fact: when chapter 647 first ran in Weekly JUMP, the title was Kuromatsu(黒松) which is the specific species of “Japanese Black Pine,” Pinus thunbergii, which is the specific iconic tree used in Noh theatre.

And Shinjuu(心中) is written as “heart”/”mind” and “inside,” meaning “inner thoughts/feelings” but in the context of the bankai’s theatre theme refers to a “double suicide”/“lover’s suicide.“ It’s a theme in classical Japanese theatre and literature (but notably in Japanese puppet theatre) that when lovers, or sometimes parents and children are unable to live together due to social restrictions, they will tragically but nobly opt to die together with the expectation that they will be reunited either in the afterlife or in the next life via reincarnation.

I like the idea behind his powers and the progression of forcing people to play by the rules of children’s games, to forcing people to play by the “rules” of theatre plots. But I was surprised his bankai didn’t come with the drawback of forcing himself to abide the same limitations: they both get sick together, they both drown together, they both hang themselves, etc... The initial scene’s power walked right into this, but then the effect disappeared with the subsequent scenes...

All in all there’s just a lot going on in these names despite how little most of it ever really got addressed or elaborated on in the series. Like a lot of stuff that got sort of awkwardly shoehorned into the final arc it feels like it wasn’t really played out to its fullest potential, but it’s still a super cool assortment of themes and motifs to think about.

#bleach #Shunsui Kyoraku #katen kyokotsu

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soveryanon · 4 years

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Reviewing time for MAG171!

- … Yeah, reasoning that “The Gardener” would be the worst title for a Flesh episode was a correct hunch, and the induced feeling was indeed “Ewwwwwwwwwww”.

Amazing contrast between the locus amoenus, with wind (that we could occasionally hear through the windchime), plants, maybe a stream gurgling (I think I heard some water?), Jared’s wheelbarrow, birds chirping (regarding the species, Alex said they were “Meat Birds”.)… and the whimpers, moans and sobs of pain, plus that terrifying scream followed by weeping when Jared took care of the “pruning”. Jonny, why.

- We’ve had a few unique “statement” formats in the journey: The Stranger’s poem (MAG165), The End’s coroner report (MAG168), and now The Flesh’s… botanical textbook? I felt like this one was a bit different in the way Jared really didn’t seem to exert much control over the domain (since he asked Jon to “hear about [his] garden”), unlike, for example, Oliver, who had given his own observations; and because… the victims felt so far away from a direct narration? There were layers upon layers narratively removing us from them (… although we could physically hear their moans of pain, directly in front of us): Jon giving the domain’s statement, and the domain explaining how to handle these people. The only direct glimpse of them was the small section towards the end of each case. Jared mentioned that the current rule seemed to be “just people using each other up”, which Jon repeated when proceeding with the smiting, and it really found an echo in the way the statements have felt less… subjective, and instead removed and distant? Not really allowing people’s voices to be heard, except for a brief moment? I wonder if it was a Flesh-thing, or if it’s installing something as they get closer to the Panopticon – the principle of this episode felt so Beholding, observing from afar things that were happening right in front of us…

- The domain’s statement was extremely organised every time:

* The genus and species for the plant-people (the root of their fear in Latin-ish and their own name), followed by the cultivated variety (the exterior result). It was incredibly nasty since in the nomenclature, the “species” of plants… doesn’t take an uppercase. And here it was people’s name, as if they were reduced to simple objects and common nouns.

* The way to prepare the living conditions: soil, temperature, light.

* The way to ensure growth and the necessary regular “care”.

* People’s inner experience and feelings in the state they’re in.

* The observed result, advertisement-like.

… It took me a while, and I’m really not sure about it, but I heard/understood:

* “Cultivation notes for [Fortisium] reese, commonly known as the ‘Gristlebloom Orchid’”: with the mention of “aggressive dehydration” and “they must always and forever be more”, toxic culture about the standards regarding muscle mass, with extreme and aggressive body-building. * “Cultivation notes for Gracilium patricia, commonly known as the ‘Bone Rose’”: toxic culture about thinness. * “Cultivation notes for [Sicarium] leopold, commonly known as the ‘Cutaway Tulip’”: toxic culture regarding plastic surgery, especially to remove traces of ageing. * “Cultivation notes for Supremium maeve, commonly known as the ‘Lily of the Damned’”: that one was a bit trickier, and seemed to be a mix of the pain coming from disability, and the obsession of a separation between body and soul?

I’m not sure about the names (my Latin is old, rusty, unreliable), but as far as I can tell through digging a bit, the roots would make sense for each: “fortis” (strong), “gracilis” (thin, tight, skinny, lean), “sicarius” (murderer) or “sica” (dagger), “superus” (above, higher; “supremus honor”, the superlative, referring to the last honours given to the deceased). … Except the declensions don’t work. “Fortisium” isn’t a form that can exist at all, as far as I can tell, same for “supremium”.

But you know what all of these have in common?

Latin words with –(i)um just slapped on to the end (regardless of whether that makes any grammatical sense).

- So. I need to make a whole separate Point about it, because if I’m right, it’s absolutely hilarious: The Eye, and Jonathan “Admittedly, if Martin speaks Polish in the same way he ‘speaks Latin’ then he might be talking nonsense again” Sims, might not know shit about Latin either.

(I’m not shaming anyone for not knowing anything about Latin, I’m not super confident about what I’m saying here either (it’s old stuff and I was very privileged to study it a bit!): but I’m shaming Jon HARD for complaining about Martin’s lack of knowledge of it… if it turns out that he, too, was absolutely shit at it. JON.)

- I’m not sure, but I feel like Jon’s tone has been getting more and more gleeful when telling the “statement” recently? It was a bit more pitying/sympathetic at the beginning of the journey, while there has been a form of… ravishment and tender, carnivorous pride? with The Desolation and now The Flesh. So, uhoh. Is Jon getting desensitised again along the journey, as he re-experiences the Fears…?

- The idea of Martin meeting Jared had been thrown around for fun and almost like a joke (Alex voicing two characters in the same room, interacting with each other), I’m so glad it happened! I still can’t understand 95% of what Jared is saying, even without the Distortion’s static! Yoohoo!

And the tiny thing I like about Jared is how… contrarily to Jonah’s complaints (MAG160: “I was a little put out when that idiot Jared Hopworth misinterpreted my letters and attacked the Institute too soon, before you were even out of the hospital” – Jonah, it wasn’t because Jared was an “idiot”, it’s because YOU messed up that one), Jared is a quick-thinker, very fast at understanding the situation, very straightforwardly logical when it comes to Jon seeking him out?

(MAG131) JARED: … What do you want? ARCHIVIST: I, uh… I want a favour. JARED: For letting me out? ARCHIVIST: Yes. JARED: Alright. ARCHIVIST: Oh. O–okay. D–do you need to know… wh–what it is? JARED: Not much you could want, comin’ to me. Put summat in. Take summat out. Which is it? ARCHIVIST: Take something out. A bone. A–a rib, probably. So–something I won’t miss.

(MAG171) ARCHIVIST: You know why I’m here? [WINDCHIME IN THE BACKGROUND] JARED: I can guess. Took a bit to figure out which rib was aching. But when I did… well. Obvious, really. [OMINOUS SHIFTING, CRACKING AND POPPING] Why shouldn’t you want it back? ARCHIVIST: [SHARP EXHALE] It’s too late for that now…! JARED: Not really, but… whatever. […] So, is there any way this doesn’t end in me dead? I’m guessing that’s on the docket if you’re here. Unless you’re just here to smell the flowers.

Jared had assumed Jon was here for the rib, and it would have been a logical thought (Jon had the power to get back what was his)… and Jared immediately corrected his assumption when Jon explained that it wasn’t the case, leading to Jared deducing that Jon was just here to kill him. I’m not sure many avatars would have been able to understand this that quickly.

- Fun thing about Jared’s gym is that both Martin and Jon knew about it separately: Martin read the statements about “J” (MAG090), and Jon had been directly told about it by Jared in MAG131:

(MAG090, Ross Davenport) “It was text only, and read, ‘Your perfect body is here. Become all you can be.’ […] The man who stood there was, without a doubt, the biggest guy I had ever seen, and bear in mind I spend my time hanging out with bodybuilders. He had to hunch down to fit through the doorway, and was almost twice as wide as I was. Most of his body was covered in a loose tracksuit, and I could see clear stitch marks where it had been enlarged for him. Embroidered onto the chest was the letter ‘J’. […] J was there, standing his full height. A distended, jagged body bared in all its twisted grandeur, and he shook his head in frustration. He said something, I think, but I couldn’t make it out. It might have been ‘too soon’. I try to remember some of them in detail, the confusion of limbs and joints and muscles, but all I can remember is the happy, joyful way they called to me. Told me that the pain was worth it. It makes me sick that a small, sharp part of me wishes I’d stayed to listen.”

(MAG131) JARED: Some of my mates, the ones I helped find their proper bodies, they listened, and went to feed the hunger. Not me though. I never was that ambitious.

(MAG171) JARED: So, is there any way this doesn’t end in me dead? I’m guessing that’s on the docket if you’re here. Unless you’re just here to smell the flowers. [WINDCHIME IN THE BACKGROUND] ARCHIVIST: … No. I can’t let you carry on like this. What happened, Jared? I thought you only worked on the willing. JARED: … What? Says who? Oooh, the gym! [THROATY LAUGH] I mean, yeah. They wanted to change, but they were still scared. First at what I’d do to them, then at what would happen if the world couldn’t handle their beautiful new bodies. Not like I was doing it out of the goodness of my heart. [SNORT] Hearts.

BUT WOW JON, WHY THAT ASSUMPTION?? Jon knew perfectly well already that Jared… hadn’t limited himself to the gym, that he had been, and still was, an Avatar Of Many Talents.

(MAG017) ARCHIVIST: I asked Martin to try and hunt down Mr. Adekoya himself for a follow-up, but have been informed that he passed away in 2006. He was found lying dead in the middle of the road on the night of April 17th. Despite the fact that there were no crushing or trauma marks on the body, the inquest ruled it a hit-and-run car accident due to the mangled position in which he was found. It was a closed casket funeral.

(MAG049, Gregory Pryor) “Hector looked at the paper, typed something into his phone and threw it away as he walked off. It was an address in Stockwell, and an instruction: ‘Ask for Jared.’ […] He pulled back the tarpaulin covering Hector’s body and cracked his knuckles. I don’t think I’ll ever forget the sound of him doing that. Then… he reached into Hector. No cutting, no saws, he just… reached in. And I realised why the room was soundproofed. Because it turned out Hector wasn’t dead. And it was going to be a while before Jared got around to his lungs or throat. […] There is… no way to describe what it feels like, to have bone pulled out of you through your unbroken skin. […] I slammed the door shut and ran into the street, through the people still wandering Stockwell in the evening, and away. My now empty left arm hanging limply by my side. I didn’t stop running for a very long time. […] The doctors amputated the arm in the end, and I’m getting used to the prosthetic. But I can still feel it sometimes, like it’s still there. I know it’s just phantom limb syndrome but… sometimes I swear it feels like my bone’s still out there, twisting in someone else’s arm…” ARCHIVIST: Statement ends. I don’t think it’s unreasonable to assume this butcher to be Jared Hopworth. It seems that if Mr Adekoya’s account from statement #9991006 is accurate, then Hopworth has found new ways to profit from his abilities in the eight years since his acquisition of The Boneturner’s Tale.

(MAG131) JARED: I wandered around for a bit. Worked a lotta jobs where it didn’t matter what you looked like. There’s always a spot for someone who can get rid of people. You must have heard about me. I left plenty of people scared and crying, itching to tell someone what happened to ‘em. Some of them must have made it to you. […] The letters started comin’ in about two years ago. Good white paper, large print. Nice and simple. Dunno who sent them; they were never signed, and I dunno how they kept finding me. There was never much in them; normally just a name, and a place, or a time. I ignored the first couple, but they kept coming, and eventually I got curious. So, I followed the instructions in one of ‘em. I found Regan Hasnain of 70 Clairmont Gardens, and that got rid of most of my doubts. I don’t blame people for thinking that all bones are the same, most people don’t have much experience – but it’s not true. There are good bones, and there are bad bones, and Regan Hasnain had some very good bones in her. They were solid, healthy, and they jumped at my touch. I didn’t doubt the letters again. They came pretty regular after that. And they always led to summat good. Quality bones, a new mate, or some unlucky fool who wouldn’t look at me for the fear. It got so I trusted them.

He’s been a butcher (with a bit of “artisty” vibe already, in the way he was twisting bones), he’s been a coach/gym adviser, he’s been an assassin-for-hire, and now a gardener. Terrible man, and wow, the range, the flexibility. So what the heck, Jon. Why the focus on the “willing”, you knew it wasn’t true – or at least, not all of it.

… Was it once again a case of Jon trying to hope that there were a few mostly harmless avatars? A bit like how he behaved towards Oliver? Hence the focus on the “willing”?

(MAG171) ARCHIVIST: … No. I can’t let you carry on like this. What happened, Jared? I thought you only worked on the willing. JARED: … What? Says who? […] Anyway: willing, unwilling; don’t work like that anymore, does it? You made sure of that. MARTIN: That’s… not fair. JARED: And what? MARTIN: I… JARED: [CRACK] MARTIN: I, uh… JARED: So what? Don’t really matter now, does it? ARCHIVIST: … No. [INHALE] No, it doesn’t.

After all, if avatars could hypothetically survive without causing much pain to “unwilling” people, it would mean that Jon might be able to sustain himself in another way than by terrorising “unwilling” people. It just feels a bit surprising, indeed, that it would still be a concern of Jon’s (a preoccupation that followed him for the entirety of season 4)… given that they’re in the apocalypse right now. But there is also still the underlying question of what would happen to people, and to Jon himself, if the apocalypse was to be undone and, even regardless of this, the fact that Jon seems to be evaluating which avatars “deserve” to get smote.

I mostly wonder: if they hadn’t walked on Jared causing even more pain to people, and if Jared had been more passive in the garden, would Jon have spared him? Jon presented it as his reason for smiting him, but I’m… really not sure it was his actual one…

(- Jared’s jokes… “Not like I was doing it out of the goodness of my heart. [SNORT] Hearts.”…

We knew he canonically had Many, Melanie had mentioned it:

(MAG131) MELANIE: I stabbed him in three different hearts. Didn’t work. If you want to go hunting for a fourth, knock yourself out.

But that joke… Jared, please.)

- I know there were many screams about homophobic Jared in the fandom, but personally:

(MAG171) JARED: Oh! And who’s this? Your boyfriend? MARTIN: Hum– ARCHIVIST: Yes. Actually. JARED: Oh. [A BIRD’S CHIRP FALLS FLAT] Mm. … So, is there any way this doesn’t end in me dead?

… I heard it as either “Jared would have said that anyway if one of them had been a woman” and/or Jared was Shooting His Shot with Martin.

- Jon&Martin Are Together, season 5 edition:

(MAG161) ARCHIVIST: No, it’s– [SIGH] I love you, I just… I need more time.

(MAG162) ARCHIVIST: “The screams may linger on the distant breeze, and your eye may wander beyond the curtains from time to time, but you and the one you love are, it seems… safe. […] There within the thing that pretends to be a cabin is the one you love. […] The one you love is always near, so close that refuge sometimes feels a prison.

(MAG164) ARCHIVIST: What do you want. HELEN: To say hello! And check up on the happy couple~ [LAUGHS AND LAUGHS, ECHOING] ARCHIVIST: [SIGH] HELEN: I always knew you crazy kids would make it work!

(MAG167) MARTIN: Ssso. If you say Gertrude wouldn’t have been able to go on without a reason… ARCHIVIST: Yes, Martin, you are my reason. MARTIN: Just wanted to make you say it…!

(MAG170) MARTIN: I’m… I’m in love, eh! I am in love, and I will not forget that, I will – not – forget. I am Martin Black–

(MAG171) JARED: Not really, but… whatever. … Oh! And who’s this? Your boyfriend? MARTIN: Hum– ARCHIVIST: Yes. Actually.

(+ Technically, Jude’s “valet”: it was derogatory, but at the same time… her own frame of reference was her devotion for Agnes as a god/woman, so.)

- Martin, polite boy who says “Please” and manages to get what he wanted:

(MAG171) JARED: Right. So are we doing this or what? I reckon I can get a few good hits in before I go down. Give you a little something to remember me by. ARCHIVIST: … No you won’t. JARED: [HUFF] No. Maybe not. But you’ve gotta try, haven’t you? MARTIN: Please don’t. JARED: What? MARTIN: You’ve already made your mark. [SILENCE] [WINDCHIME IN THE BACKGROUND] JARED: [THROATY LAUGH] Fine. Consider it a favour.

(Also, really laughing that Martin is canonically “little”. At least to Jared (“Don’t fret yourself, little man.”), which, uh, might not actually say much.)

- :D The return of Jon reminding Martin to not touch dangerous stuff!

(MAG113) MARTIN: Ooh! Ooh! There’s a book in this one. ARCHIVIST: [HASTILY] Don’t… touch it! MARTIN: Ooh… OH! Right. Yes. ARCHIVIST: Let’s… not touch any books we don’t know. MARTIN: Right. ARCHIVIST: Step back.

(MAG165) ARCHIVIST: Either way, best not to actually climb onto the thing, if we could help it. MARTIN: Fine – by – me, eh! Never really liked merry-go-rounds anyway.

(MAG171) ARCHIVIST: Don’t – touch – anything. MARTIN: I wasn’t planning to, uh…! Are they still… alive?

Martin…

- Martin stayed for the “statement”! They learned from MAG170, to prevent him from getting lost again, uh…

- Technically, we didn’t “learn” anything new regarding Jon-in-the-new-world: he admitted since the season 5 trailer that to some part of him, the horror felt “right”. He mentioned that “guilt” was protecting him from embracing the things he was made to experience. We know he consumes fears, is fed by it. There have been multiple jabs from avatars about how Jon is tailored for this world because of his connection to The Eye and/or his role as “Archivist”(/Archive) and/or as the tool used to bring the apocalypse, leading him to be at his peak in the current events – in control, above all other avatars, all-knowing:

(MAG160, Jonah Magnus) “Don’t worry, Jon. You’ll get used to it here – in the world that we have made.”

(Season 5 trailer) MARTIN: Are you still… [SIGH] “feeling it”? Seeing everything? ARCHIVIST: Yes, I, I’m trying not to, but… all of the fear, th–the anguish, i–it just… [INHALE] It keeps coming at me in waves, rolling over me, filling my head with such… awful sights. MARTIN: … I’m sorry. That sounds… [SMALL EXHALE] That sounds horrible. ARCHIVIST: … I wish it was, Martin. I really wish it was. … But it feels… right. [MIRTHLESS HUFF]

(MAG161) ARCHIVIST: … Besides… G… [SHAKY EXHALE] Grief… is healthy. I–if nothing else, it pushes away the other feelings that that… thing wants me to experience.

(MAG163) MARTIN: … How do you know all this stuff? [SILENCE] ARCHIVIST: Not sure…! I just do.

(MAG164) MARTIN: A–alright, but… but how do you know that– ARCHIVIST: I just do. I just know it. [SILENCE] [SHUFFLING] MARTIN: You’ve been knowing a lot lately. ARCHIVIST: … Yes. MARTIN: A lot more than you used to. ARCHIVIST: Y… [SIGH] Yeah. And it, it feels more… deliberate. L–like I have more control now. MARTIN: Okay. So… how much can you see? What else do you know? ARCHIVIST: Uh… Maybe everything…! MARTIN: What’d you mean, “everything”? ARCHIVIST: I don’t… Ask me a question. O–one I can’t… possibly know already. […] HELEN: Hello, Jon! [FOOTSTEPS] [THE DOOR CREAKS CLOSE] ARCHIVIST: [INHALE] How did you find us? HELEN: Oh! I thought you’d know everything by this point. […] And please: my name is “Helen”. ARCHIVIST: Like you said, I can know everything now. Including how much of a lie that really is. HELEN: Don’t mistake “complication” for “falsehood”, dear Archivist.

(MAG165) MARTIN: But. You said we needed to go through these places. … Is that even going to work here? ARCHIVIST: Uh… [EXHALE] We need to go through them… metaphorically. MARTIN: Mm… ! ARCHIVIST: Psychologically, we need to… “experience” them.

(MAG166) HELEN: We’re all here, Martin. The Stranger; The Buried; The Desolation; all of us. But The Eye still rules. All this fear is being performed for its benefit. And so, there are now exactly two roles available in this new world of ours: the watcher, and the watched. Subject, and object. Those who are feared, and those who are afraid. And Jon, well… he is part of The Eye; a very important part. And he’s able to, shall we say… shift its focus. Turn the one into the other. And for those of us whose very existence relies on being feared, well… To be turned into a victim destroys us utterly. And very, very painfully.

(MAG168, Oliver Banks) ARCHIVIST: “This report is being sent to: [STATIC FADES] The Great Eye, that watches all who linger in terror, and gorges itself on the sufferings of those under its unrelenting, stuporous gaze! And its Archive, which draws knowledge of this suffering unto itself.”

(MAG169) JUDE: You’re not scared, though, are you, Archivist? ARCHIVIST: … I can feel the pain of every person you have trapped here. My own isn’t all that different. JUDE: Yeah, but you like seeing their pain, don’t you? Their fear? ARCHIVIST: … Yes. JUDE: You and that stupid Eye, god, you make me sick! Lording it over everybody like you own the place? You’re just leeches, voyeurs, parasites on the real monsters. […] Oooh, I see! I get it. You finally get a sniff of power, and the first thing you do is try to settle some old scores. MARTIN: [LOUDER COUGHS] JUDE: Play the big man, get off on good old-fashioned petty revenge~! […] I’m happy in this world. I belong here. And so do you. MARTIN: [COUGHS] [STATIC RISING: LOW AND SPIRALLING, PRESSURING] JUDE: Uh! Listen… Listen… [BREATHLESS CHUCKLING] You’re enjoying this, right? ‘Course you are! You want to use those powers of yours to hurt people, you want to murder everybody who can’t fight back at you now? I can help you…! [DIGITAL GLITCHING SOUNDS] MARTIN: Just DIE already!! JUDE: You’re… not… better… than… me! [SCREAMS]

(MAG171) ARCHIVIST: It takes a skilled gardener to get them to grow like this. The curling, cascading intricacies of collagen and marrow… it takes devotion. MARTIN: Jon. [FOOTSTEPS STOP] [WHIMPERS IN THE BACKGROUND] ARCHIVIST: … S–sorry. MARTIN: You sound like you think they’re beautiful. [FOOTSTEPS RESUME] ARCHIVIST: Don’t you? [SILENCE] […] JARED: Anyway: willing, unwilling; don’t work like that anymore, does it? You made sure of that. MARTIN: That’s… not fair. JARED: And what? MARTIN: I… JARED: [CRACK] MARTIN: I, uh… JARED: So what? Don’t really matter now, does it? ARCHIVIST: … No. [INHALE] No, it doesn’t. […] JARED: [LONG MEATY INHALE, EXHALE] Cheers for that! ARCHIVIST: … Don’t. MARTIN: Jon, are you… alright? ARCHIVIST: Yeah, hum… Sorry. MARTIN: No, it, it’s alright. JARED: Is it really that bad? Seeing what I’ve done here? Or… uh! Is it maybe that deep down, you think it’s as beautiful as I do? ARCHIVIST: Shut up! [WINDCHIME IN THE BACKGROUND] JARED: It’s a shame…! Who’s gonna look after the garden when I’m gone? There are a few real pretty ones. Who knows: maybe they’ll uproot and start landscaping themselves…! That’d be nice. Then again, maybe it’ll just grow wild. ARCHIVIST: I don’t care. JARED: … No. You don’t, do you? ARCHIVIST: … I can’t… There’s too many. I can’t save everyone. [EXHALE] I c–, I can’t save anyone.

Jon judging that something terrifying was “beautiful” is not new: he described the Dark Sun that way… but then he was at his peak of Beholding!avatar-casually-traumatising-innocents. Right now, I’m concerned about the mix of little slips (Jon implying the garden was “beautiful” and describing it with ravishment, almost falling into statement-mode even though there was no static yet), Jon’s reluctance to try and intervene from the start, and the fact he sounds like he’s… lost hope of doing anything worthwhile or good for the situation. He was defiant and a bit hopeful back when they left the cabin (“Gertrude didn’t think so. […] But she’s dead. Let’s find out for ourselves.”) and that part seems to be eroding. We know that the statements seem to be affecting him (Martin noticed something afterwards, and was concerned again after the smiting) but I’m fearing that Jon is currently losing himself a bit, at least in… forgetting to reject the things that used to disgust him. Re-traumatisation, re-desensibilisation as they’re going through all the domains? If it’s the case, in what state will Jon reach the Panopticon…

- I’m a bit squinting at Jon’s wording here:

Because it seems to me that Jon was implying that he could, in theory, save people from the domains, on a case-by-case basis? He didn’t say it was impossible per se: he first said there were “too many”, and that he couldn’t save “everyone”, before concluding that he couldn’t save “anyone”. But he managed with Martin! (I don’t think that it could work in practice: the world is now ruled by the Fears, so “freeing” someone from a Fear would likely just lead to them getting caught by another domain, or dying/disappearing/collapsing because they can’t sustain themself, etc. But, in theory, it felt like Jon was admitting that he might have the power to save punctual people with his powers?)

Jon has pointed out to Martin, multiples times, that they were in-between the domains and that it wasn’t worth it to try and interact with people. Although he has been interacting with avatars, Jon has been very reluctant to even try to do this with regular people, or even to know what was happening to them once they had left the domains:

(MAG163) ARCHIVIST: I–ignore them, they’re not… Just ignore them. MARTIN: … They’re not… real? [VOICES SHOUTING IN THE DISTANCE] ARCHIVIST: [MIRTHLESS CHUCKLING] No…! They’re real; they were… normal people before the– … Before me. But now they’re here, meat for the grinder. I just mean there’s no point… talking to them. MARTIN: Don’t be a prick, Jon. Hey! I’m, I’m sorry about him. He’s–he’s going through a lot – well… we all are, I suppose, but well… “Hi”, I guess. [SILENCE] Hello? ARCHIVIST: They won’t hear you, Martin, they’re all… too busy waiting to die. […] MARTIN: What’re you doing here? [PLASTIC RATTLING] It’s dangerous. Could… get yourself blown up, like all these poor… [PLASTIC RATTLING] Who d’you think they were? Really don’t see why they can’t just… go round, picked a better place to… [STEPS THROUGH LIQUID] [SIGH] I guess there… aren’t really any “better” places anymore, are there? [STEPS THROUGH LIQUID] It’s all this. Or worse, or… or different.

(MAG164) ARCHIVIST: We’re fine. MARTIN: A–are we? I mean, that place is– … I don’t, I don’t feel fine, okay, and you were there a long time doing your… y–you–your guidebook, which, you know, I get it, but that place is… I–it’s–it’s infectious, and, I don’t– ARCHIVIST: We’re not infected, Martin, that place, it– … It isn’t for us. […] MARTIN: Are we safe, traveling like this? ARCHIVIST: Yes… Yes, sort of, we’re… I don’t know how to phrase it, we’re… something between a pilgrim and a moth. We can walk through these little worlds of terror, watching them; separate, and untouched. MARTIN: [NERVOUS CHUCKLING] That’s not as comforting as you might think. ARCHIVIST: I like it better than the alternative…!

(MAG165) MARTIN: What about the merry-go-round? With her gone, is it, is it still th– ARCHIVIST: I–I don’t know! MARTIN: [CHUCKLING] Yes you do! ARCHIVIST: I–I don’t… want to know, plea– We need to go. [BAG JOSTLING] Please.

(MAG169) MARTIN: Oh, it’s not just your revenge though, is it? Destroying her… it would help all those people in there, wouldn’t it? ARCHIVIST: … Maybe? It’s… [INHALE] Like I said, I can’t see the future. It wouldn’t free them, if that’s what you’re asking. “Free” doesn’t really exist in this place. MARTIN: Apart from us. ARCHIVIST: I suppose. I–in a sense, though… [CHUCKLING] how much of that is because we are trapped in our own quest to– MARTIN: Okay, let’s, let’s not dive into another… ontological debate right now, not here.

(MAG171) JARED: It’s a shame…! Who’s gonna look after the garden when I’m gone? There are a few real pretty ones. Who knows: maybe they’ll uproot and start landscaping themselves…! That’d be nice. Then again, maybe it’ll just grow wild. ARCHIVIST: I don’t care. JARED: … No. You don’t, do you? ARCHIVIST: … I can’t… There’s too many. I can’t save everyone. [EXHALE] I c–, I can’t save anyone. JARED: If you say so. … So. I guess that just leaves revenge, then, don’t it? Can’t say I blame you. That’s all life is, really, innit? Just people using each other up. ARCHIVIST: Spare me the crude philosophy. […] MARTIN: But all the people inside? ARCHIVIST: Killing Nolan wouldn’t have made it stop. It would just leave… unsupervised. MARTIN: Mm. [MOANS OF PAIN IN THE BACKGROUND] [WINDCHIME IN THE BACKGROUND] [SILENCE] ARCHIVIST: [SIGH] MARTIN: Jon. We are… doing good, right? Making things better? ARCHIVIST: … I don’t know if that was… ever an option.

… Technically, Jon could have known already in MAG169 what happened to an “unsupervised” domain – since it had happened already with the Not!Them. Why the reluctance to know about that? (I’m mostly wondering if there is a non-negligible Beholding part of Jon just plain refusing to make Fearful Resources disappear, thus him not even trying to improve people’s situations overall… Smiting avatars is providing a new form of fear, of entertainment to The Eye: it’s a novelty, something unique, the Feared made Fearful! It seemed good, in theory, to erase avatars from existence, but in the end… it’s still feeding The Eye, since the apocalypse is still running.)

- >w< Sobbing a bit about that exchange:

(MAG171) MARTIN: Jon! ARCHIVIST: Mm? MARTIN: I need to ask you something. ARCHIVIST: Okay. MARTIN: I meant to ask. A–after the fire, actually? But, well… Then was the house and everything, and it just sort of– ARCHIVIST: What is it, Martin? MARTIN: … Why didn’t we go after the landlord guy, in the tenement? ARCHIVIST: Arthur Nolan? MARTIN: Yeah. He’s still there, right? ARCHIVIST: [SIGH] After Jude, th–the fires, I… I didn’t want to put you through anymore. MARTIN: [EXASPERATED SIGH] Don’t do that. ARCHIVIST: What? MARTIN: Don’t use me as an excuse. ARCHIVIST: I, I’m not! I just… It didn’t seem worth it. I didn’t… hate him, like I hated her. He never hurt me. MARTIN: But all the people inside? ARCHIVIST: Killing Nolan wouldn’t have made it stop. It would just leave it… unsupervised. MARTIN: Mm.

… since it could be two different things, although not contradictory. It could stem from Martin’s own issues regarding his self-worth (refusing to think that Jon could try to accommodate Martin out of love/worry/care for him), and/or… Martin being spot-on about Jon’s tendency to hide himself, hide his actual motivations and feelings behind “more acceptable” pretences.

Jon lies and Jon hides, including to and from himself. That’s a thing he’s been shown to do when afraid and/or ashamed. He spent a good part of season 4 trying to convince himself that The Web or Beholding were manipulating him into attacking innocents, without leaving him any choice – and he still displayed the choices of going out for walks, going out for a coffee, not warning anyone that it was happening behind their backs. It could be the same thing: Jon trying to rationalise his own actions, because he’s pushed by a new influence, that he doesn’t fully acknowledge. Martin is suspicious, at least, so I really hope that it will lead to him acting on it – re-evaluating the “use” of the smiting plan, which is now officially only for “revenge” and feels hollower and hollower every time? Martin pushed him in that direction, so whether Jon is simply following Martin’s moral stance (because he doesn’t trust his own) or actually compelled by Beholding or something, it clearly feels like a mistake by now. Martin, you’re his anchor, say something! ;w;

(At the very least, I don’t think they’ll be as straightforward with Jonah: if the smiting feels unsatisfying now, there is no way it would feel fulfilling with him at the Panopticon.)

- Compilation of Jon’s stance about the different avatars since the apocalypse, and how the smiting proceeded:

(MAG162) MARTIN: Look, Jon, I… I, I know it hurts, but you’ve just got to… ARCHIVIST: No, no, lo–look… I, I–I was listening, and I–I was filled with this… hatred. This anger; I–I wanted to leave, and hunt down Elias, a–and…! MARTIN: W–wow, okay…

(MAG164) HELEN: I’m afraid the Archivist is too powerful now. ARCHIVIST: [SIGH] HELEN: If he tried to travel through my corridors, it would not go well, for any of us. ARCHIVIST: But mainly for you. HELEN: Ouuh! [CHUCKLE] Is that a threat? ARCHIVIST: No. HELEN: Mm! Pity.

(MAG165) ARCHIVIST: … What did you say? [STATIC RISING: LOW AND SPIRALLING, PRESSURING] NOT!SASHA: [SHAKY BREATHES] I’m–I’m sorry… MARTIN: Jon? ARCHIVIST: You were wrong, you know. NOT!SASHA: [GASPS] [STATIC INCREASES] ARCHIVIST: There is more suffering than you can ever experience, so much more. The horror of your victims… NOT!SASHA: [CRIES OF PAIN] ARCHIVIST: Their constant, senseless agony… NOT!SASHA: [CRIES OF PAIN] [STATIC INCREASES] ARCHIVIST: Feel it now. Understand it. You have drawn out so much despair, and now finally, it’s your turn. [STATIC INCREASES] [DIGITAL GLITCHING SOUNDS] Ceaseless Watcher, turn your gaze upon this wretched thing! [STATIC INCREASES, WITH MORE PRESSURE] NOT!SASHA: No! No… Please, no…! [DIGITAL BURSTING, RIPPING SOUNDS] NOT!SASHA: [FADING] No…! [STATIC DECREASES AND FADES] ARCHIVIST: [PANTS] MARTIN: … Whoa–oh–oh! ARCHIVIST: I, uh… MARTIN: What was that?!

(MAG168) MARTIN: So, you… gonna smite him, then? ARCHIVIST: … Hum… MARTIN: Jon? … Jon, I said: are you going to sm– ARCHIVIST: I heard you the first time. MARTIN: And? ARCHIVIST: I… I don’t know…! MARTIN: W-Why not? Can’t you just do what you did what that “Sasha-thing”, make The Eye see him and all that? ARCHIVIST: I–I could, I think. MARTIN: … Cool, so what’s the problem then? Take another monster off the hit list, job done. ARCHIVIST: I–it’s not… that simple? […] I just, I don’t think he’s… [SIGH] I don’t know, I don’t think he’s evil. [CREAKING SOUND] MARTIN: Oh, yeah, sure, he’s probably a really kind, benevolent ruler of a hellish fear prison…! ARCHIVIST: It’s just… He helped me. Wh–when I was… He woke me up. […] Who knows – maybe he’ll try to stop us getting through the roots, and I’ll have to! MARTIN: Mm. ARCHIVIST: But I’m not going to… seek him out. At the very least, he’s earned not having me hunt him down. MARTIN: Fine. I suppose that’s… reasonable. ARCHIVIST: Now, if you’re quite done inciting me to murder? […] I… I feel… [FOOTSTEPS] No. I don’t want to destroy Oliver Banks. It wouldn’t do any good. I know that, and he never asked for this any more than I did. I feel badly for those that exist in his domain, o–of course, I do, but… At least, their suffering will be over, eventually. I can’t destroy everyone I cross paths with, it… [SIGH] No. If Oliver will not seek me out, then… I will leave him be. [TINY CHUCKLES] The avatar of Death… shall live. Martin’s going to be thrilled…!

(MAG169) MARTIN: … Right. [DISTANT SOUND OF SOMETHING COLLAPSING] Right… I just assumed this would be… Who was that landlord guy? ARCHIVIST: Arthur Nolan. He’s here, he has a… part of it, but it’s… huge. […] I… Oh, right. I–I want revenge on Jude Perry. I want to… “smite” her. Make her feel what… [SIGH] what all her victims have felt. But I’m not willing to force you to suffer for it. […] [STATIC RISES] ARCHIVIST: I’d have thought that was a mindset you would appreciate. [STATIC INCREASES] Now, feel it! All the terror and pain you’ve inflicted. JUDE: Oh, piss off– [PAINED GASP] … [STRAINED] Look, look. Wait, right? I’m sorry, okay? I… shouldn’t have burned your hand. […] [STATIC RISING: LOW AND SPIRALLING, PRESSURING] Uh! Listen… Listen… [BREATHLESS CHUCKLING] You’re enjoying this, right? ‘Course you are! You want to use those powers of yours to hurt people, you want to murder everybody who can’t fight back at you now? I can help you…! [DIGITAL GLITCHING SOUNDS] MARTIN: Just DIE already!! JUDE: You’re… not… better… than… me! [SCREAMS] [DIGITAL BURSTING, RIPPING SOUNDS] [STATIC DECREASES AND FADES] MARTIN: [COUGH] [PANTING] Is it…? ARCHIVIST: It’s over. … She’s gone.

(MAG171) [STATIC RISES] JARED: Grow well, my darlings. Grow well. [STATIC INCREASES: LOW AND SPIRALLING, PRESSURING] ARCHIVIST: Feel it. JARED: [MEATY HISS] ARCHIVIST: Feel all the terror and despair as your garden grows. Let it flow through you, and blossom! [MEATY SOUNDS] JARED: [GROANS] ARCHIVIST: Just people, using each other up! [DIGITAL GLITCHING SOUNDS] Ceaseless Watcher, turn your gaze upon this thing and drink – your – fill! JARED: [GROANS] [MEATY SOUNDS] [DIGITAL BURSTING, RIPPING SOUNDS] [STATIC DECREASES AND FADES] [WINDCHIME IN THE BACKGROUND] ARCHIVIST: [GASPS AND PANTS] MARTIN: [SOFTLY] … Jon? ARCHIVIST: I’m here. MARTIN: Are you okay? [MOAN OF PAIN IN THE BACKGROUND] ARCHIVIST: I’m… great. You? […] MARTIN: I meant to ask. A–after the fire, actually? But, well… Then was the house and everything, and it just sort of– ARCHIVIST: What is it, Martin? MARTIN: … Why didn’t we go after the landlord guy, in the tenement? ARCHIVIST: Arthur Nolan? MARTIN: Yeah. He’s still there, right? ARCHIVIST: [SIGH] After Jude, th–the fires, I… I didn’t want to put you through anymore. […] I just… It didn’t seem worth it. I didn’t… hate him, like I hated her. He never hurt me. MARTIN: But all the people inside? ARCHIVIST: Killing Nolan wouldn’t have made it stop. It would just leave… unsupervised. MARTIN: Mm.

* Jon invoked the “Ceaseless Watcher” both with the Not!Them and Jared. It’s not absolutely unheard of, but he only called it that way once in season 4; usually, he goes more with “The Eye” or “(the) Beholding”. “Ceaseless Watcher” definitely feels more ceremonial and… reminiscent of Elias marvelling about Jon’s dreams in MAG120. So, really, when Jon does the smiting, it doesn’t feel like he’s doing it for himself – but mostly as a sacrifice to his patron? It felt even worst with Jared and Jon’s “drink – your – fill!” since… yeah, The Eye is feeding from the act, uh.

* ;; Reminder that The Eye wanted Jon to leave the cabin in MAG162 (“This place wishes to be our tomb. But The Eye does not wish that. No. [STATIC INCREASES] The Eye wishes instead that it be my chrysalis.”). Which means that Jon is supposed to be evolving… towards another state of being, once again, and something that would please The Eye.

* Jon mentioned “anger” and “hatred” about Jonah and Jude, and although understandable… it also doesn’t really feel fulfilling when there is only that. Hatred/Anger, turning into violence, smiting, and then that’s it. It doesn’t change or solve anything.

* It feels like an escalation: Jon spontaneously killed the Not!Them, went after Jude on purpose, and sought out Jared… who offered reparation. Who offered to give Jon’s rib back, and Jon discarded the idea right away:

(MAG171) JARED: I can guess. Took a bit to figure out which rib was aching. But when I did… well. Obvious, really. [OMINOUS SHIFTING, CRACKING AND POPPING] Why shouldn’t you want it back? ARCHIVIST: [SHARP EXHALE] It’s too late for that now…! JARED: Not really, but… whatever.

There is a huuuge contrast between what Jude and Jared had each done to Jon: Jude found him “annoying” so she hurt him, and told Jon that she still would have done it had she known it would help to bring this apocalypse. Jared… only removed Jon’s two ribs because Jon had asked him to (for his own benefit! To get an anchor to save Daisy, and to get Jared’s statement!). And Jared was still offering to give it back.

It’s not about the violence that is exerted on victims: Oliver was torturing Danika, Arthur Nolan (who is apparently definitely not dead, oh.) had been shown torturing and sacrificing innocent people in the past. It’s not about avatars who casually hurt Jon just because they could: Jared and Jon had made a deal, Jon had come to him for a service.

… But the thing that all three of the Not!Them, Jude and Jared share is that they all contributed to Jon’s marks. As following Jonah’s recap:

(MAG160, Jonah Magnus) “The discovery that one of The Stranger’s minions had infiltrated the Institute in the aftermath was certainly a pleasant bonus. Even if that sliver of paranoia, that “vague wrongness” you couldn’t quite place wouldn’t count as a mark… it was only a matter of time before it confronted you in a far more direct, and affecting, manner. Admittedly, given the advent of The Unknowing, I needn’t have bothered – but what’s the old saying about hindsight? […] Jude served her purpose exactly as I had hoped, as did our dearly departed Mr Crew – marking you for The Desolation, and The Vast. […] I was a little put out when that idiot Jared Hopworth misinterpreted my letters and attacked the Institute too soon, before you were even out of the hospital, but then… Oh! You should have seen my face, when you voluntarily went to him. I couldn’t see what happened in there, of course, but given how you came out, I’m very sure it counts as a mark.”

Arthur didn’t mark Jon. Oliver didn’t mark Jon either – Jon was marked by The End during his coma, Oliver only brought him back from it. The Distortion… marked Jon as “Michael” technically (though it’s still The Distortion as “Helen”). Jane Prentiss, Mike Crew and Peter Lukas are already dead. The Buried and The Dark marked Jon through the Coffin and the Dark Sun; The Web through the Mr. Spider book.

… Which leaves, for potential upcoming smiting targets:

* The Distortion, if “Helen” counts.

* … Jonah for Beholding, since he made Jon sign up to become The Archivist.

* … Melanie for The Slaughter (although she has shaken it off)

* ……………………………. Daisy for The Hunt.

If Jon is indeed going after avatars who marked him, that leaves the question of Jon’s degree of control over his own actions. Is he going after them consciously? Is he trying to “unmark” himself, to exercise some degree of control over his current state by getting his revenge over the avatars who made the apocalypse possible, regardless of their willingness for it? Is something else pushing him to do that, and he only rationalising his actions?

I’m super worried for Melanie and Daisy right now ;;

(And very interested for Jon’s reaction if they stumble on Simon. Jon didn’t want to meet him, Simon liked Martin a lot, Simon didn’t mark Jon and didn’t interact with him so far… So it could go in many ways.)

No conviction regarding MAG172’s title, but I’m mostly thinking Vast, Simon in particular? It could work very well for Web, too, but I’m still expecting Web for last brefore the Panopticon (then again… I wasn’t expecting The Lonely so soon either and we’ve already checked off that one).

The second meaning could… refer to a certain item we’ve already heard of, and/or to Jon’s current streak of smiting combined with the way he’s (over)fed by this world, I guess? ;;

#the magnus archives #tma season 5 #mag171 #tma liveblog #tma spoilers/#long post/

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okimargarvez · 5 years

Text

FIRST DATE

Original title: First date.

Prompt: Luke asks Pen a date in a particular way.

Warning: none.

Genre: romantic, fluff.

Characters: Penelope Garcia, Luke Alvez, Phil Brooks, Roxy.

Pairing: Garvez.

Note: oneshot 70 in Garvez collection.

Legend: 🐶.

Song mentioned: Persone silenziose, Luca Carboni feat Tiziano Ferro.

GARVEZ STORIES

Note: this is not about episode 15x10. I written it weeks before seeing that moment. It was just a dream (one of the little about garvez) I made.

FIRST DATE

There are some silent people, there are timid presences hidden among people... but silence makes noise, the eyes have an amplifier... those eyes that have always been used to listening...

Hearing his cell phone vibrate, for a moment Luke fears that they have a new case. He looks at the display and smiles. -Alvez.- he gasps, trying to catch his breath. Roxy runs around him, agitated by the unexpected break.

The friend on the other end of the line chuckles. -Hey, brother, how are you?- he caresses the dog, calming him down. -Am I bother you?- he sighs.

-Never! I was running with Rox!- she barks, greeting Phil in her own way.

-You really have to find a girl, Luke.- he lovingly scolds him. Latin smiles inside himself. I'm just working on it. -About this... Did I mention my physiotherapist, Lisa? She's very pretty. I was wondering... would you like to have a double date? She, Penelope, you and I.- Luke's brain freezes on hearing that name. The heart starts pumping blood again at a speed not recommended. -What do you say? Hey, man, are you still there?- he blinks several times to recover.

-Yes, yes, I’m, but... What does your proposal mean? Do you know? Is it so obvious?- he blushes, but at the same time he is unable to get that grimace of absolute joy out of his face that appears every time he accidentally thinks of her.

-I understand what? Oh, wait. I hoped I saw wrong... You like her, don't you?- Luke runs his tongue over his lips, sighs in a teenage way.

-Yeah, huh, in fact... I asked her out. Or...- he scratches his head, nervous. -Technically I wrote her a letter. So, I don't know if you can consider it…- he recognizes Phil's exclamation.

-A letter? You mean paper letter? Only you can do such an old-fashioned thing!- he struggles to stop laughing. -Let me know how it goes, heartbreaker!- he is about to hang up, but he understands that he still has a joke in store. -If it goes bad, remember that there is someone else interested, not too far away...- Luke shakes his head. He doesn’t have time to put the phone in the pocket, that it starts ringing again.

He answers without looking. -Any other ridiculous joke, Brooks?- but he soon realizes it's not Phil.

-Alvez, we have a case and it's pretty bad. How long does it take you to get here?-

People who can't speak, who put their thoughts in order, people full of fear that someone might know their little and big... contradictory thoughts!

Although not many are convinced of this, Penelope is capable of being a professional person. That's why she notices the envelope just beyond her office door. But she decides not to consider it until the case is resolved. And so, she does.

Leaning against the backrest, she yawns. Her eyes fall on that envelope, still sealed, intact. She looks more carefully at the only writing. Her name. Penelope. She recognizes the handwriting before opening it. She closes her eyes, thinking that when she opens them again, she will understand that it was a hallucination.

Instead it is always there. She starts reading.

Penelope,

I can't imagine what you're thinking right now. In fact, she has no idea what she should expect from the continuation. For this reason, she decides to go ahead. Maybe I should have started by calling you Garcia, like the rest of the team. But you are not only Garcia, for me, and especially when I think of you outside of work.

Here, now her head is definitely confused. She has to read the sentence a second time. It's the same. It is always there. She's not just Garcia for him. What else, then? I hope you are still reading it. I wrote you this letter instead of an email or a message, because I had too many things to say and I hope that a little of what I feel has been transmitted to the sheet and that you can believe me. He managed to snatch a laugh from her and he is not even physically here. She finds herself stroking those sentences with her fingers. He is really so sweet... And suited to his style. A cold email could never give her heart pounding. I'd like to go out to dinner one evening with you. She jumps, risking falling off the chair. Luke's next sentence scares her even more. He seems to read her mind. Yes, I don't mean as colleagues or friends at O'Keefe. I mean a real full-blown appointment. Considering how they have always been going around the issue, without ever taking an effective step that leaves no room for doubt... well, yes, it is quite strange. Romantic. Intimate. Just the two of us. He continues to puzzled her, every word he adds.

In case you haven't died from a giggle attack now, I'd like to try to show you that it's all true. For once he hasn't guessed her reaction at all, quite the opposite. Laugh? She is not thinking about it at all. No, rather, should this irregularity in her heart beat worry her? Is she by chance having a heart attack? Should she call someone? I have been imagining that moment for far too long (more than I would admit). Oh shit, if he goes on this log, she'll really have to call an ambulance. I see you as if you were now in front of me. I see your extraordinary beauty in every nuance. Holy crap, holy crap. Her extraordinary beauty? Was he by chance drugged when he started writing this letter? Does he really think this of her? So, this is the reason why he stares at her for so long even in the least indicated moments. And I see myself, awkwardly, with my heart rumbling in my ears and sweaty hands, forcing me to ring the bell. And listening with tension to every noise coming from beyond the door. And your steps. He is a cursed poet, a director, an artist, because he has managed to show what he has described as almost real, a film, an anticipation... a spoiler aimed at the future. And then I imagine your smile a little uncertain, as if you had feared that in the end it would turn out to be a joke. Damn profilers; how can you play with them equally? I would make a compliment, you would thank me by touching my arm, I would reach to heaven. In Heaven just for a light touch on the arm? She doesn’t dare, really, Penelope doesn’t dare to imagine what effect it would then have if she accidentally came into contact with a slightly more pushed area... like the chest. I don't want to irk you; I'll spare you the rest of the evening. Irk you; here's the mystery solved, it's a Reid joke! But she doesn't believe it, never for a second. I will just tell you that I am sure I would have a fantastic time. Just because it would be with you. Damn bastard, what creature, no matter the gender, could decline an offer presented in this way? Without feeling like an idiot.

Because you are this. When I am close to you, it is as if the words no longer want to collaborate with me and form sentences of complete meaning... She knows the feeling perfectly, bro. But at the same time, I'm fine, you make me feel good, otherwise I wouldn't want to spend so much time with you. Well, it has its own logic. When love is logical? And why she thought that damn word?

I don't want to tell you what I feel for you loud and clear. I'd rather do it face to face; however cowardly I may be. And you're smart enough (actually a genius) to read between the lines. Smart enough, he says. And she knows it's true, but she doesn't dare to make assumptions. Lie, she already did. She did so whenever their eyes chained themselves for more than four seconds. But does anyone know this rule? Luke definitely doesn’t. Over four seconds means that the person who is looking at you wants to do something more with you, besides staring at you. No, not just a kiss. Of course.

I look forward to your reply, with trepidation and I hope I haven't ruined everything. For me, even just your friendship is important, but I could no longer live without knowing the truth, without getting involved. In her heart she wasn’t convinced that he would ever be able to take the first step.

Wherever and wherever you are, I wish you a wonderful day,

Luke

She emits so many sighs that she looks like a teapot about to explode, or a steam train. Has she really read those beautiful (wonderful, other than beautiful) words addressed to her by the Newbie (which for some time now can no longer be considered such)? No, she must have misunderstood, misinterpreted something. Instead it's all there, black on white: Luke Alvez wants to go out with her, a real date, romantic, intimate. He has swept away all doubts and loopholes. And now it's up to her, to answer him.

When was the last time she picked up one of her colorful and oddly shaped pens to do anything other than close a call with the team?

Okay, come on, it can't be that hard. He exposed his soul with her. The least she can do is try to return the favor.

Luke didn’t expect an answer so soon, on the contrary, it would be more legitimate that he had not imagined to get a real reaction from his blonde colleague, only... he needed to get rid of that weight. He still felt good. He regretted to not meeting her before returning home after the case was over. It was strange, but it had already happened that she wasn't there waiting for them.

He would lie if he denied he has thinking about it until his brain went out. Or that it wasn’t his first thought when he woke up, while shaving with a little more attention than usual.

Yet he can't help but feel some fibrillation down the path to his desk. And when he sees that envelope on the smooth surface, he reacts more or less like Garcia. At first, he believes it is a projection of his mind. He must touch it to accept that it is a concrete object belonging to this dimension. Penelope imitated him in a sublime way. His name, only four letters, seems almost a drawing, traced by her fantastic hands. He tries very hard to hold back the cry of joy that has gone up to his throat. It may also contain a negative response; but he doesn’t even consider this possibility. Usually he is not a positive person, but this time... He looks around. There is practically nobody, here there are the positive sides of get there early. So how long has that envelope been there? Did she leave it here the night before? Or is Penelope already hidden in her office?

A lot of unnecessary questions. He opens it and instantly his nostrils are struck by a heavenly perfume. Gingerly, he brings it close to his nose. Yes, it is hers. Oh jeez, will he come out alive in the end? He takes a quick look. The first thing he notices is that it's much shorter than his. But didn't someone say that the synthesis is the maximum understanding of the text? Maybe he's confusing the areas.

He starts reading, calmly.

Luke,

but he bursts already after the first word, which is none other than his name again. He must close his eyes and press his fingers on his temple, to achieve a mental balance stable enough to be able to continue. wow, a letter, what... Anachronistic thing. And somehow, I must admit, fascinating. Never as much as she is, but the bottom line is that... she liked it! A good start. It is useless to dance around it: you completely puzzled me. I confess that I find it hard to believe that you want to go out with me as... As an interested man. Why does it have to be so complicated to accept? She thinks she is not live up to him? What nonsense! If anything, the exact opposite! She could have any one man, doesn't she know? But he hopes she wants only him. He wants to be the lucky chosen one, more than anything else in the world. But I decided to get involved, as you did. It seems to me a story a bit too elaborate to be a joke. Yeah, elaborate… why does he fall even deeper for her every word? And I suspected that there was a romantic under the beard and the hunter's skin. Caught, Alvez. Never been so happy to be discovered by a girl, since elementary school, when he played hide and seek. Are you glad I used your same method? And also one of my favorite pens; enjoy the perfume, and consider it an appetizer for that day... He doesn't resist, he tastes the aroma a second time, letting his lungs fill themselves with it, closing his eyes like a moron, hearing Garcia's voice in his head that repeats the last sentence. An appetizer. It is so erotic that... he is happy to sitting with the lower half of the body under the desk. And by the way: you didn't indicate a date. Oh shit, she's right! How could he have been so stupid? He blushes, cursing himself. Out of the corner of his eye he sees that Matt and Tara are entering. He must hurry to finish the reading.

I wish you and Roxy a good evening, and I apologize you for forgetting Sergio 😉 And, here is a second unforgivable omission. But no, she said the exact opposite. She's giving him a chance. For real.

Your fantastic Penny

Penny. He savors that name on his lips, slowly. Fantastic, she certainly is. He puts the letter in a drawer at random, he doesn't need to see it again, he has already learned it by heart, even if he doesn't have Reid's skills.

Luke proves even bolder than she thought. Taking advantage of the fact that no new cases have arrived, he manages to find a way to send the letter to her the same day. Now that he has received a first green light it is really difficult to refrain.

She could access the video of the camera placed outside her office to watch him put it under her door. But it would be a slightly maniac thing. So, she just picks it up from the floor and opens it with little grace. She reads all in one breath.

Penelope,

I thank you for your magnanimity. Yes, you cannot imagine what pleasure it is for me to can hold a handwritten script by your hands. Do you understand now how hopeless I am? She's starting to get an idea. They are on the same boat. Do you think that a joke would be worth this self-denunciation and humiliation? You're right, for the emotion (and stupidity) I forgot to indicate a date, or maybe I was afraid that you might be scared of it, as if I had already decided everything. Yes, it is a far from remote hypothesis. Unless we will get a case, what you think about tomorrow night? Tomorrow. Tomorrow night. Just over 24 hours from now. She strives to breathe normally. And forgive me if I haven't been able to rely on post delivery times,

your Luke

Hers! Hers! Will he ever really be hers? Her boyfriend. Luke Alvez her boyfriend. It looks like a joke. It seems too real. And it frightens her.

She spends most of the day wondering what is the best way to answer him. She discards another letter because someone would surely notice it as she leaves it on Agent Alvez's desk. A message is too little and an email... Too detached. She wastes time so long that it is the moment to go home.

She is waiting for the elevator, always swimming in indecision. And it is at that moment that fate sets in motion. Luke appears from around the corner. At first, he seems almost frightened to find her there. Then his face melts into a smile. -Hey..- he is unexpectedly shy.

-Hey.- she replies with the same intonation. They look at each other for a few minutes. Weirdly, no one, stranger or part of the team, arrives to interrupt that moment. -Okay.- says Penelope after a century. Luke's eyes widen. She approaches him slowly, and puts her hand on his shoulder. -Okay, Luke, tomorrow is fine.- she whispers, making him shiver. -But you still forgot to indicate a time.- she smiles, going away.

Luke blushes. -Oh, you're right... it’s good 8.00 p.m.? Then you should have enough time to... You know.- she nods.

-It's perfect.- the elevator arrives, he lets her go up first. They are silent throughout the journey. Just before arriving, she approaches him again and places a kiss on his cheek. -Good night, Luke. See you tomorrow.-

The next evening

And suddenly you run away... without saying goodbye. Your eyes go down the stairs... I don't know what they are going to do, if to be moved or to dream... to get angry or to meditate...

Luke manages to hold back anxiety for the first twenty minutes. After another ten he goes into paranoia. Half an hour late seems to him a socially acceptable time to lose his head and call her. The phone rings empty. He waits a few more minutes and tries again. Ring endlessly, until the voice mail goes. Damn, why the hell isn't she picking up? It is on the third call that he completely loses his mind. He presses the repeat button practically without even realizing it. He takes strangely little time to reach thirty; thirty calls.

He doesn't even think for a moment if he should call the police. If something bad happened to her, what could a policeman do more than a federal agent (not on duty)? He drives like a madman to her house; he only went once but he has already memorized the route. Like whatever concerns her. He forces himself to park in a decent way and also to close the car; if someone would steal it, he would certainly be not be very clever, in case he had to take her somewhere, like a hospital... He climbs the stairs three steps at a time. He is already ready to knock down the door, he is mentally preparing himself for the act, when it opens wide and behind it there is her, perfectly healthy, intact, except that she seems very shaken.

He can finally start breathing again. Oxygen enters his lungs violently. -Penelope.- he coughs, as an inevitable consequence.

She just stares at him with terrified eyes. -You gave me... you gave a heart attack!- she puts one of her hands on her chest. Luke notices that she is wearing an open dressing gown that reveals a pajama. Did she prepare for their date or did she never give him a real chance? Did he just delude himself? He intends to get all the answers right now.

After the relief a little anger takes over, transmitted through a pungent irony. -Why, you thought you got rid of me forever?- but he doesn't last long, because she seems really too lost and fragile to be really angry. He already knows the reason for her behavior. He just needs to hear her say it.

-What?- Penelope asks, even more confused. Luke shakes his head.

-Forget it.- but he has a spasmodic need to touch her, any part of the body will be fine. -Why did you ditch me?- he caresses her arm, that thin layer of skin exposed to the outside world, and, surprisingly, she doesn't jump, she doesn't chase him away. -I waited until eleven o'clock.- is a reproach, but he has said it in the lowest and sweetest tone that is available in his vocal range. Penelope looks at him in passing. She doesn’t let her eyes fall into male ones. They are too magnetic. And she is in pajamas. And that's enough to embarrass her. Why does he persist in staying on her doorstep? She sighs, recalling the spirit of the Garcia of the past. The queen of ice. Anything just to get rid of him.

-You and the team wanted to play a trick on me and I ruined your party... I can't say I'm really sorry.- she is an excellent actress, even though she has never been able to exploit these qualities in real, private life... only on a stage. Luke seems to have taken really bad. As if... nope. It doesn't really care. -It's life, sometimes you win, sometimes you lose...- and instead, she seems to be rotten wrong. The man grabs her wrist that a second ago he was gently stroking and drags her dangerously towards him. Now she just can't avoid eye contact. And maybe it's better to not focus on his beautiful mouth.

That is now ranting at her. -What are you talking about?- the tone seems desperate, pained. -I will have called you thirty times and surely your voice mail will be clogged.- in fact it was really so. She didn't believe he would be able to go that far and listen to him beg her to tell him if she was okay, that the rest didn't matter, that he just needed to know that everything was ok... of course he shook her. But not enough to give her the strength to answer and reassure him. Why the hell was she so stupid?

Luke doesn't seem to think this of her, but the blonde continues straight on the road that will lead her to crash and collect the pieces of her heart. -I thought you would get there alone.- the voice, however, is already trembling, and she is wavering and seeking support in the door, rather than in him.

She reads sincerity in his face, yet she is unable to do anything other than boycott her own happiness. -Penelope, let's face it: did you think it was just a joke?- she doesn't nod, nor does she deny. Her eyes speak, confess. -Really? After everything we've written to each other?- a vein in his neck throbs, his face is red and his eyes are shiny. It's the first time she's seen him so furious. And to know that she is the reason... no, it is not at all good.

Even if she tells him exactly the opposite. -You're not cute when you're angry.- she shoots before she can stop it. This is not a thought that first formed in her mind and then was came out from the mouth. No, it born of nowhere.

Luke frowns. He is so puzzled that he lets her go. -What?- and she can no longer deny. She would like to have his arms around her back and his lips on hers. By this time, she could have already gotten it, if she wasn't an idiot and a coward. Never again, she promises. Never repeat the same mistake again.

-I won't take it back.- from now on she will be 100% sincere, even if it means having to suffer. She was never able to protect herself from the feelings that people cause her before Luke Alvez appeared on her radar. Why was everything different with him right away? She already knows the answer to this question too. She looks him straight in the eye. She could so easily fall in love with him... and it probably has already happened. -I said you're not cute when you're angry.- she tries to use a firm, stable tone of voice, even if a samba contest is taking place inside her.

Luke's face darkens. -But I'm not mad at you. I'm... just sad.- he has found a way to make her feel guilty, and almost certainly he is not aware of it. Both his attitude and tone are killing her. -It was so difficult to find the courage to ask you out and...- she interrupts him, practically caught by an electrocution. For a moment she sees him kneeling at his feet. No less insecure than now, despite they having been together for years. Willing to stay with her, even if she were to say no. And she can no longer really continue to doubt.

-Oh God. You really wanted to go out with me.- she starts shaking her head and at the same time her legs melt. Luke promptly holds her up, making her rest on his chest. He sticks his fingers in her blonde strands. Just to get this, the evening cannot be considered a fiasco, for him.

-I still want it.- he whispers. Then he sees her closing her eyes and trying to reach his lips. He barely rejects her, practicing violence against himself. -No, no kisses- Penelope teases him with a lost puppy look, abandoned in a cardboard while it's about to rain -don't look at me like that, don't tempt me, it wouldn't be fair.- he feels a jerk, but he has already waited so long that twenty-four more hours won't make much difference. Quite right? He could convince himself. -I want to do things right, with you.- because she deserves it, that's what he doesn't add. Because he doesn't want too much frenzy to extinguish their flame, even if he doesn't really believe it's possible.

She tickles him on the chest through the layers of cloth. -But between us has there ever been anything normal and ordinary?- she replies promptly. And she's right. Fucking right. Her scent, the same of the letter, clouds his brain. But he holds on.

-But I'd still like to try.- Penelope nods, giving up and contenting herself with embracing him and trying to merge with the male body. -Then, will you blow me off a second time?- it had to be a joke, but she catches the few shades of seriousness in it.

She sighs, touching his neck and catching his eyes. -I can't promise you that I will. I wish I could, but my... fears, sometimes... win and...- Luke nods too, because this is a fight he has often faced, since he met a certain Penelope Garcia, BAU’ computer technician.

He takes her face in his hands. -I hope you just know that on the other side there is a man waiting anxiously and with heavy heart.- the phrase seems too retro and artificial to remain serious. Straight output directly from a nineteenth-century comedy. -Look, I made you laugh, it's already something.- he rests his lips on her forehead. -It's all real, Penelope, you don't have to be afraid you can suffer. Do you believe me?- he feels her nod.

But she understands alone that he also needs to hear it from her voice. -Yes.- even if it's a murmur, just whispered.

Luke smiles. -Well.- he's going to do something again that is against what he really wants. Kissing her, entering her apartment, closing the door with his foot, as they do in the movies and scandalizing Sergio. What would be wrong with that? -Now I go home, I have to force myself, otherwise I would stay here with you forever.- her eyes are exactly asking him why he shouldn’t. -I put almost all the cards on the table, I think I can't do more.- he comes off with difficulty, it's really a painful action.

For her too. -See you tomorrow, Luke.- she greets him only. But then the man turns, before turning to take the stairs, and then she adds a simple, very small sentence. That changes everything. -I'll miss you!-

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

TAGS: @martinab26 @thinitta @garvezz @mercedes-maldonado @shyladystudentfan @pegasus-scifichick @paperwalk @inlovewithgarvaz @the-ellen-stuff @astressedwriter @symphonyashley @veronicafiore88 @kofforever @myhollyhanna23 @tootsienoodles @centiaaa shadowdreamer5 @penelopesluke @dumbdraws @onefail-at-atime @reidskitty13 @adorarapril @princesstreaclefanfic @glocknade111-blog @magiunific @fallen-novak @dreatine @hopelessdayydreamer Tell me if you want to be removed! ^_^

#garvez #criminal minds #cm #penelope garcia #luke alvez #penelope x luke #luke x penelope #tiziano ferro #luca carboni #persone silenziose

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kitsoa · 5 years

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“There is no Traitor”

My Complete Speculation on the Happenings of KHUX

There is no traitor.

The thing we were thinking throughout all of Back Cover. It’s obvious. The Master made-up the Traitor in the book so that the Foretellers would go on a witch hunt and stumble into a civil war. It’s why he made arbitrary secrets and rules. Roles that the Foretellers were tasked to complete without a necessary rhyme or reason. Divided factions that the didn’t really have a purpose in separation. A breeding ground for power plays, competition, and tension. The War was inevitable because the blind faith in the Master wouldn’t allow anything else. It’s the one thing they all agreed on. The Master’s word is law.

The War happens, everything is destroyed-- and the remaining Light escapes to form the inevitable rebirth. But by sowing the seeds of tension, the Master creates a traitor. He lays the pieces in such a way that someone learns the truth of his manipulation and tries to counter it. And the Master knows this will happen. He wants this to happen.

That’s the premise of Ava’s betrayal. I believe that Luxu simply tells Ava the truth. “There is no Traitor.” The Master set everything up. The Master has been manipulating them the entire time. She responds with denial. Ava’s loyalty to the Master is palpable. She doesn’t want to believe that he would do this.

But that leads to her striking Luxu’s blade. And the Prophecy comes true. The bell tolls and the War begins.

(long post)

The prophecy is real and set in stone and everything is going to end and it will be Ava’s fault. But she doesn’t know this part of the prophecy. All she knows is that the Master has betrayed them. She misreads this truth, unable to tell that she herself is playing right into fate. Gula’s Lost Page narrates her following actions.

Because understanding the Master’s scheme, Ava realizes that the Foretellers weren’t the only pawns the Master orchestrated. Her Dandelions have all the makings of the Master’s design. He dictated the rules. He decreed the arbitrary Unions. He selected the union leaders. He scripted their meeting. He appoints the Book of Prophecies to one of them in the same fashion as the Lost Page. He promotes PvP for recreation. He removes the traumatic memories of the war to prevent them from learning anything. And he traps them in a confined, set, data-world. He sets the Dandelions up for another war so obviously that Ava had to see it. It had to hit her in the face hard that the Master made this War happen and he was going to make it happen again.

But her Dandelions. This was wrong. The Master turned her into him. Made her an accomplice to an avoidable, endless tragedy.

So... she plans a coup. A sabotage. It’s too late to stop the war and it’s too late to stop the retreat into the data world but she can attempt to see if this inevitable fate can be change for her Dandelions. She can plant a virus in the Master’s program.

She already appointed the Union Leaders of the Master’s choosing. Ephemer, Skuld, Ventus, Lauriam, and Strelitzia. They are lying in wait for the war to finally ignite. The Master’s script has them unable to meet until after the war so she is the only one who knows all of the leaders. Just like how she never suspected the Master, her Dandelion leaders would never suspect her.

And she takes her disguise and ventures forth in secrecy. (as the Lost Page decrees). Darkness is a fitting scapegoat for the actions she is about to do.

Because if she doesn’t do anything, her Dandelion’s will be walking right back into a doomed fate. And as such she is forced to create a vacancy in her Union Leaders. After the bell has tolled, the overwhelmed Strelitzia, frantically looking for the Player, is ambushed by the Darkness. Her rulebook is stolen and she is killed by the very person who entrusted her to live on.

And Ava moves to plant her virus. She chooses one of her Dandelions, the lazy but brilliant Brain. She knows he is smart enough to fight the program the Master created. She approaches him to tell him of this appoint, lying to him and saying he was chosen by the Master. This keeps him innocent of her deeds and only hints at her defiant conspiracy by gifting him the Book of Prophecies.

Brain is now a two-fold act of defiance. Not only was he not chosen to possess the book but he wasn’t chosen at all. When he is ready he will become wise to this and continue his fate defying mission but until then he is ignorant. The switcharoo is done and none of the Union Leaders are any wiser. They play along with the script the Master designed.

Ava follows them into the data world and, knowing of Maleficent’s arrival from the future, she intercepts the sorceress. She gives her the secret on how to return to her time, which happens to be the same method necessary in escaping the data world. She conditions this information on Maleficent’s cooperation, designing for her to give this information to Brain so they can leave the Master’s cage for good.

----

But this is when things get complicated. Because... all up to this point, the Master knew that Ava would behave this way. He knew that she would misread the truth and venture forth in secrecy. He wrote it that way.

He knew that she’d be driven to creating a vacancy and attempting to defy the book. None of this has actually worked thus far.

And as it would happen, the death of Strelitzia lingers through the Union Leaders. Lauriam’s frantic search for his sister has him asking around until it reaches Brain’s ears. He doesn’t know that he’s a fraud but the circumstances don’t add up and he’s going to finally check the book and receive Ava’s message he thought he heard loud and clear.

When he does read the note he’ll realize that he was the one that replaced her. That Strel was the Master’s intended Union Leader.

In fact the Master saw this coming that he probably chose Strelitzia as a Union Leader to play the part of the perfect victim. The soft spoken, beloved sister of another leader-- a more surprising choice than the pacifistic Ventus. He probably circled her name for the Bop to ensure that Ava had to kill her out of the five.

(For the record, There is an assumption that Ava would deliver the BoP to the chosen leader at the same time they were selected, but this isn’t necessarily true. Ava could have just as easily given the rulebooks out and refrained from giving the book for logistical reason or personal hesitation. This logic is what I’m following, meaning that at the time of her murder Strel was the circled recipient but had not yet received the BoP. But she was the targeted kill because whoever replaced her might misinterpret the note seeing neither their name on it and another alive leader graced with permission to read the BoP. They may see that skipped person as a part of the virus as well.)

That the only person who could have killed her was Ava herself. But he’s got no way of defending himself. He appears as a perfect accomplice. He cannot tell Lauriam for his own sake, and for the sake of the mission. The mission he still probably believes in despite the methods. But even should he revolt against Ava, following the Master’s design would have him expose the book’s presence to unchosen Union Leaders.

So he doesn’t. He hides the fact that he has the book and that he knows what happened. And Lauriam, who was consulting with Brain until now is left with a suspiciously unsatisfactory nonanswer to Brain’s efforts to help him. Lauriam probably doesn’t forget this and the suspicions rise. The tension grows.

Eventually, this tension will spread. And the truth may come out. The Union Leaders will take their sides and the War will start again.

...at least. That’s what it looks like they are walking into. That’s what it looks like the Master is orchestrating. Ava’s act of defiance inadvertently causing the war again.

In the recent update Ava wonders if giving the BoP to Brain will change what’s been written, if it’s possible. But I think she will be defeated by the idea that she is yet again, just a pawn in the Master’s game.

Conclusion

Now this is speculation based on the theory that Ava is Darkness, with the added theory that the BoP is not a book of prophecy but a hard script of things the Master plans to happen. This means that the Gazing Eye is not a tool to ensure the Book is written but a scope for the present MoM to witness his plan unfold.

I do think there is more to the final unfolding of khux. I think the forces of darkness have a role to play in triggering and initiating the 2nd war (and that actually has something to do with Ventus). I think there will have to be some sort of understanding or united front with the union leaders and their ally’s to abandon to data world via the method Maleficent will relay. I also think that in this chaos, Luxu will chose to pass on the Gazing Eye to Brain who will form Scala ad Caelum. In this transpiring conflict, Ephemer is going to either get left behind, get killed, or sacrifice himself to achieve that escape. And of course, in that escape the Union Leaders will be scattered through time due to the nature of the technique.

Though it’s worth noting that a part of me see’s the scattering of the Union Leaders and friends through time to be an intentional move. Something either Brain or Ava designs so that there is only one single leader of Scala. To assure that the Unions are no more and the knowledge they harbor is not used against the Dandelion’s. A war preventative.

That’s what I think is going down folks.

#kingdom hearts #khux #khux spoilers #kh speculation #this is pure speculation cause i present no evidence #but i think its pretty solid #the BoP logistics and the timing with Ava's convo with Brain works but isn't perfect #this just makes me realize that khux has a long way to go

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theliberaltony · 5 years

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via Politics – FiveThirtyEight

Joe Biden is the most likely person to win a majority of pledged Democratic delegates, according to the FiveThirtyEight primary model, which we launched on Thursday morning. This is our first-ever full-fledged model of the primaries and we’re pretty excited about it — to read more about how the model works, see here.

But saying the former vice president is the front-runner doesn’t really tell the whole story. He may be the most likely nominee, but he’s still a slight underdog relative to the field, with a 40 percent chance of winning a majority of pledged delegates1 by the time of the last scheduled Democratic contest — the Virgin Islands caucus on June 6. If one lowers the threshold to a plurality of delegates, rather than a majority, then Biden’s chances are almost 50-50, but not quite — he has a 45 percent chance of a delegate plurality, per our forecast.

I want to emphasize that there’s still a lot of room for another candidate to surge because nobody has voted yet, the primaries are a complex process, and frankly here at FiveThirtyEight, we’re a little self-conscious about how people interpret — or sometimes misinterpret — our probabilistic forecasts. The Democratic primary still features 14 candidates, and while most of them have little to no shot, there are still several fairly realistic possibilities:

So while Biden’s in a reasonably strong and perhaps even slightly underrated position, it’s slightly more likely than not that Biden won’t be the nominee. Sen. Bernie Sanders has the next-best shot, with a 22 percent chance at a majority, followed by Sen. Elizabeth Warren at 12 percent and former Mayor Pete Buttigieg at 10 percent. There’s also a 14 percent chance — about 1 in 7 — that no one will win a majority of pledged delegates by June 6, which could lead to a contested convention.

The model works by simulating the nomination race thousands of times, accounting for the bounces that candidates may receive by winning or losing states, along with other contingencies — such as candidates dropping out and polls moving in response to debates and news events. Like all of our models, it’s empirically driven, built using data from the 15 competitive nomination races since 1980.2

Since the primaries themselves are fairly complex process, the model is fairly complex also — which we mean as a warning as much as a brag. Models with more complexity are easier to screw up and can be more sensitive to initial assumptions — so we’d encourage you to read more about how our model works.

As an illustration of how one race can affect the following ones in our model, here are each of the leading candidates’ chances of winning a plurality or majority of delegates conditional on winning or losing Iowa:

Iowa matters … a lot

How candidates’ chances of winning a majority or plurality of delegates changes if they win Iowa, according to FiveThirtyEight’s primary forecast

With an Iowa win With an Iowa loss Candidate Majority Chance Plurality Chance Majority Chance Plurality Chance Biden 80% 84% 20% 26% Buttigieg 37 42 2 3 Sanders 61 67 8 10 Warren 55 60 5 7

As of 8 a.m., Jan. 10, 2020

Biden, for instance, would be a heavy favorite if he wins Iowa, with an 80 percent chance of a delegate majority and an 84 percent chance of a plurality. His majority chances would fall to 20 percent following an Iowa loss, however. Sanders would be a slight favorite to win a majority after an Iowa win, with a 61 percent chance, but his majority chances would fall to 8 percent with a loss there. Warren would also be a slight favorite to win a delegate majority after an Iowa win, but Buttigieg would not be (although his position would be substantially strengthened).

These scenarios account for Iowa wins of all shapes and sizes — big, emphatic wins and narrow, perhaps even disputed ones. With a landslide win in Iowa, Sanders might be a fairly heavy overall favorite for the nomination. If Iowa were a four-way pileup instead — with Sanders narrowly winning and Biden in a strong second place, for instance — Sanders’s projected bounce might not be enough to help him overtake Biden in national polls and the nomination could remain fairly open-ended.

Speaking of open-ended, the first three states all have highly uncertain outcomes. Biden is the nominal favorite to win Iowa, but has just a 33 percent chance of doing so.3 In New Hampshire, Sanders has a 31 percent chance and Biden is at 27 percent. And in Nevada, Biden has a 35 chance, with Sanders at 31 percent. Biden is a clearer front-runner in South Carolina — although even that lead might not be safe if he performed poorly in the first three states.

Who’s favored in the first four states?

Candidates’ chances of winning the early states, according to FiveThirtyEight’s primary forecast

State Biden Sanders Warren Buttigieg Other Iowa 33% 27% 14% 22% 4% New Hampshire 27 31 15 23 3 Nevada 35 31 16 13 4 South Carolina 54 20 10 9 7

As of 8 a.m., Jan. 10, 2020.

The model also plays out the rest of the primaries on Super Tuesday and beyond — although they’re subject to more uncertainty, both because they come later in the process and because they have less polling. In states with little or no polling, our model infers odds based on demographic and geographic factors — see the methodology primer for more.

For a flavor of how this works, here are the states and territories that the model thinks each of the four leading candidates is the most likely to win.

Where each front-runner is most likely to win, in one table

The top four candidates’ chances of winning the primaries or caucuses where their position is strongest, per FiveThirtyEight’s primary forecast

Biden Sanders Primary/caucus chances Primary/caucus chances Alabama 61% Vermont 62% Mississippi 58 Utah 33 Delaware 55 Washington 32 South Carolina 54 California 32 North Carolina 53 Colorado 32 Louisiana 51 New Hampshire 31 Warren Buttigieg Primary/caucus chances Primary/caucus chances Massachusetts 28% New Hampshire 23% Maine 20 Iowa 22 Colorado 19 Indiana 20 Democrats Abroad 19 Democrats Abroad 16 Oklahoma 18 North Dakota 15 Minnesota 18 Minnesota 15

As of 8 a.m., Jan. 10, 2020.

Biden’s strengths are concentrated in the South, among states with large numbers of black voters. Sanders and Warren are expected to perform well in New England and in western states such as Colorado and California, where the Democratic electorate tends to be pretty liberal. Buttigieg’s strongest states figure to be largely white states in the Midwest and otherwise in the northern part of the country.

We’ll have a lot more to say about the forecast in the weeks and months ahead. But let me conclude by briefly considering the forecast from each of the major candidates’ perspectives, tackling each one in 100 words or less.

Biden. The optimistic case for Biden is fairly simple. He’s ahead in national polls. He’s also ahead in our “fundamentals” calculation. (Although Biden hasn’t raised all that much money, he has by far the most endorsements.) His strength among black voters will help him in the South, where none of the other candidates look particularly strong. So a win in Iowa would put Biden in a commanding position. And a loss there could be more survivable than it would be for another candidate. Still, Iowa is more likely to hurt him than help him, according to our model.

Sanders. Sanders’s early-state polling is fairly robust. He probably wouldn’t have any problem parlaying an Iowa win into a sequel in New Hampshire, and our model likes his position reasonably well in Nevada also. California is another potential strength for Sanders on Super Tuesday, as a source of both delegates and momentum. All that said, perhaps the biggest question about Sanders — namely, how would the establishment and voters react if he appeared to be on the verge of winning the nomination — remains unanswered, and it’s not necessarily something our model can answer by itself.

Warren. The conventional wisdom about Sanders is fairly bullish, while being fairly bearish on Warren. But it’s worth keeping in mind that there are only a few points separating them in the polls, nationally and in the early states. They’re an important few points — in part because they coincide with the 15 percent threshold that Democratic rules require candidates clear to win delegates. That’s part of why our model gives Sanders roughly double Warren’s chances of securing a delegate majority. But even a small-ish burst of momentum for Warren could restore her to a highly competitive position.

Buttigieg. Buttigieg can win Iowa — but he also runs the risk of stalling out afterward. The problem isn’t in New Hampshire, where his position is nearly as strong. But Buttigieg is weak among nonwhite voters, especially black voters, which makes Nevada and South Carolina uphill battles for him. With that said, Buttigieg is the sort of candidate who the model figures could get a relatively large bounce from wins in Iowa and New Hampshire. In general, the lower a candidate’s standing in national polls, the bigger the bounce they get from early-state success.

What about … Klobuchar? Sen. Amy Klobuchar has picked up a percentage point or two in the polls since the December debate. But if that’s all she gets, it’s probably a case of too little, too late. Her position is not hopeless — the model does have her as the fifth most likely winner. But the model simply thinks it will take a lot to leapfrog four other candidates. With that said, there’s been little polling recently, and a single strong poll in Iowa could change the equation for Klobuchar.

What about … Bloomberg? If you’re a Michael Bloomberg optimist, you could point toward the 14 percent chance that no candidate wins a delegate majority as a bullish sign. The former New York mayor’s plan clearly involves hoping for a murky outcome in the early states and playing the long game. But there are many, many questions here. The first four states probably will produce a clear front-runner or two, and even if they don’t, it’s not clear why Bloomberg would emerge as the alternative. Still, his unconventional strategy is difficult to model.

What about … Steyer? Billionaire Tom Steyer has risen in recent polls of Nevada and South Carolina after a monthslong advertising barrage there. It’s not quite clear what that gets him, though. On the one hand, his position will be weaker in those states by the time they get around to voting if he hasn’t also performed well in Iowa and New Hampshire. On the other hand, he hasn’t invested in Super Tuesday states (as Bloomberg has) to follow up on any potential success in Nevada and South Carolina. He’s worth watching, but the model doesn’t see a clear path for him.

Enjoy the weekend — and the CNN/Selzer/Des Moines Register poll that is scheduled to come out on Friday night — and we’ll be back at you with more updates soon.

#IFTTT #Politics – FiveThirtyEight #politics #538 #Nate Silver

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booksandchainmail · 5 years

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nanoha vivid liveblog: episode 11

Time for Corona vs. Einhart!

ok, i know wendi is referring to teo, but i did misinterpret at the start as einhart has been nicknamed kitty cat

... still better than most of the other contestants

attacking from the start, before corona can summon. it’s the obvious weakness of anyone who needs prep in the way she does

but shes ready for this it seems, and starts summoning while still in the air, which is pretty cool

oooh, i don’t think anyone else has used the terrain like this. makes you wonder how corona would fare in a larger or varied arena

damn. the goliath packs a punch

Einhart know the first rule of fighting someone with a summoned creature: directly attack the controller

Or in this case, separate her from the golem to where she’s vulnerable

Oh, seems like goliath needs pretty active instructions at all times, which means with corona knocked away, he just kinda stands there and gets hit

the most brutal attack of this match

I think we’ve seen elements in this in how corona started planning from the assumption that einhart could beat her: she’s very level-headed. That extending into combat is valuable, especially in a setting like this where her opponents are also amateurs and likely to falter under pressure. Though einhart might be less vulnerable to that, due to her war memories

her strengths fit her powers well. She literally creates in order to fight, and she needs to be strategic in order to get time and space to summon.

is she gonna stab einhart

This is a very calm match, in comparison to the others we’ve seen. It’s partly that theyre friends, and there’s no grudge driving them, but also just a lot who they are as people. Einhart and corona are both relatively quiet, but also self-assured. They have good understandings of their own abilities, and you can see that here in how calmly they return to the ring, theres no worry about running out of time or how theyre going to continue

flashback time!

I really love the range of motivations and backstories this show gives the contestants. You do have people with tragic backstories, or who want to prove themselves, or have a deep passion for martial arts, but you also have those who just value the connections it brings, or for whom its just an extracurricular. You don’t need to be deeply motivated to do something, it can still be a meaningful part of your life, and you’re not lesser or shallower for it.

I also like the idea (idk if this is canon) that Corona sought out summoning because she recognized that she couldn’t keep up with normal fighting. It’s a unusual thing in a fighting show to have a character who isn’t at the same level as everyone else, and who finds their own style that draws on different strengths.

this is a great summary of everyone’s motivations, but also einhart is hilariously incongruous with the others

OH SHIT I THOUGHT THE PARTIAL SUMMONING WAS HER NEW TECHNIQUE

HOLY

FUCKING

CHRIST

shes just knocking einhart around effortlessly

ooooooh

This makes a lot of sense for Corona’s character! She’s a clever and observant fighter who’s willing to innovate but not particularly talented, and who takes motivation primarily from her friends. Of course she studies their techniques, and of course she copies them

And no wonder einhart was caught off guard, it’s like she was suddenly fighting a different person

but einhart gets up

she’s spent her life struggling with hundreds of years of guilt and grief, and just keeps on going through all of that

i think klaus may have been defined by his loss, but einhart is defined by the strength it takes to carry that loss

…y’know, you could have rested a little bit before forcing yourself up, there was plenty of time

oh this is tricky. Can corona press an attack, which is definitely outside her normal mode of fighting, or does she give up the advantage she’s won here?

The other question is if corona also learned anything from rio, or from einhart herself, though I think using her own style against her could backfire badly

… if that’s based off vivio, it’s primarily a counter, and using it for a direct attack might not work as well

ducking like that is both well suited to the height difference, and one of vivio’s signature moves

most of how corona’s moving here fits vivio, or any of the more close quarter fighters we’ve seen, but that arm sweep looked new to me, and seems very indicative of corona’s fighting style. Calm, collected, redirecting the opponent.

and in contrast, you can see how panicked einhart looks, which is very unusual for her

Okay, things are looking bad for einhart here. But she’ll have a chance to heal, and I think the next round will go differently. A lot of corona’s success here is she’s brought out completely new techniques and styles, and einhart’s just been reeling most of the bout: all her fighting’s been very basic hand-to-hand, with basically no hegemon style attacks or more elaborate moves. But with a chance to collect herself and replan, I think einhart’s experience will let her adapt to this fairly quickly. Additionally, a lot of corona’s new moves are based off vivio, who einhart has fought (and beat) before.

so she has copied from rio as well

that’s a neat twist. It explains how she was able to pick these moves up so quickly, and how she can handle without any particular skill at martial arts. This also explains why Nove disapproved: I can’t imagine using techniques meant to control large amounts of stone on your own body is particularly safe.

That’s fucking cool.

And also a massive weakness, because it makes her predictable. If einhart can figure out what triggers one of those moves, then immediately counter based on knowing how corona will respond, she can retaliate very quickly

from your own memories, or klaus’s?

this is the complete opposite of how I’d expected an einhart vs corona fight to play out

yeah, she’s not just copying specific moves, but entire fighting styles. that is honestly incredible, especially when you consider she had to pre-program them all herself

awww, i’m glad to see she’s in there too

Having multiple settings gives corona a lot more flexibility…

...but einhart’s already figuring out the pattern

I can’t help but think this technique would work a lot better on anyone else. Corona has the disadvantage her of her opponent already knowing all the sources of her automated moves, but imagine a fight where one side keeps pulling out new completely unknown styles every couple of hits.

I guess that’s why this isn’t common

Oops

Yeah the other reason einhart can deal with this is she has a completely ridiculous level of knowledge about this one particular style

And corona is starting to fight wildly, while einhart remains calm. This is a complete reversal of the previous round

Holy fuck is that blood

~tempting faaaate~

and yup, automation is weak to feints from people who know the moveset.

Though to be fair, I don’t know if a non-automated fighter would have dealt with that any better

DOES THIS TOURNAMENT FOR CHILDREN HAVE SAFETY STANDARDS

PLEASE DO NOT MAGICALLY PUPPET YOUR OWN ENTIRE BODY

i feel like that would go badly

fuckfuckfuckfuckfuckfuck

theres some excellent and creepy puppet imagery going on here

And einhart mostly just looks sad here. I’m guessing with memories of actual war, she’s not that happy about her friends pushing themselves this dangerously for a competition?

OR ITS ABOUT OLIVIE AGAIN

because this is einhart, and everything always comes back to olivie

But yeah, the puppet connection would be a bad reminder. And corona’s whole feeling weak compared to her teammates, and wanting to be able to stand next to them, seems like it connects pretty strongly to olivie’s story

she just looks so tired and sad here, and i’m remembering how happy she was at the idea of a way to fight without stakes, and she’s just now realizing that even if they aren’t lethal, there are still consequences to these matches

at this point, einhart is pretty in control of the battlefield. she’s brilliant at this kind of fighting, and corona doesn’t have any moves that einhart hasn’t already fought against

I’m starting to think this fight won’t end with an attack, but with corona just collapsing when her magic or body wears out

another connection to olivie with the damaged arms. this must be hell for einhart to have to fight

gods

just, can someone stop this match please? are there any kinds of precautions?

and here’s the hardest part for einhart. Because of her memories, she has a pretty unique first-hand perspective on war. I don’t think mid-childa has had a war, and certainly not recently enough to still have wartime soldiers around. And even with all the pain they cause her, there must be some comfort in the fact that olivie’s dream of peace was achieved, even at the cost of her life. But here, even in this peaceful world, there are still children willing to hurt themselves terribly in order to have the power to fight. And this must feel like such a failure and betrayal of the world to einhart.

THEN STOP

NO, GIVE UP PLEASE

THAT IS A MAJOR PROBLEM

i want nanoha to show up to stop the match and yell at everybody about techniques that excessively strain your body

THERES MORE?!!!??!!

ok, that’s a fair point. Corona has pulled out some really impressive moves here, but she hasn’t done much in the way of golem stuff. I wonder if in her rush to make up for her weaknesses, she’s discounted her own techniques too much?

finally

corona has amazing terrain manipulation abilities. combine that with her summoning, the automated moves, and even i guess the full body technique, and she’s maybe the most versatile fighter we’ve seen. In a larger area with unfamiliar opponents, or as support for a team, she’d be devastating.

all those anime characters who dramatically slice rocks in half with a sword have nothing compared to einhart

ooh, nice feint using the partial summon as well as the big one. even here at the end, corona continues to fight smart

and now she has a ranged attack as well. no matter the outcome of the tournament, i’m voting corona for mvp

awwwwww

and she uses binding magic as well, because apparently corona reacted to not being as good at punching people as her friends by learning EVERYTHING ELSE

bit of tonal dissonance, but awwwww kitty!

and her golem can reassemble itself.

corona is amazing

but einhart is the martial arts master, and she just stops it stone cold

what a hell of a match. this was definitely my favorite fight so far, and the finale’s gonna have a tough time topping that. The variety of techniques and strategies used, as well as the brilliant character work on corona and einhart, made this incredible to watch.

it was hard fought, and corona pulled out ten times what anyone expected from her, but in the end einhart managed a victory

but in the aftermath, she just looks defeated

this was a hard match emotionally on all sides

(i count myself as a side)

#magical girl lyrical nanoha vivid #nanoha vivid liveblog #nanoha vivid #magical girl lyrical nanoha #vivid #mahou shoujo lyrical nanoha #long post

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incarnateirony · 6 years

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The reaper non-retcon(undrum)

Old meta/plothole issue has resurrected itself now with "Wait, if there's only X amount of angels, what about reapers? Reapers became angels in later seasons! Are they retconning that retcon?!"

There was never a retcon.

There was a lot of headcanons assumed into meta and canon understanding that were (understandably) read as canon that then got etched out and here's why.

STARTING POINT: The word “angel” simply means “messenger,” and while we’ve equated it to species, in 4x1 itself Castiel clarifies, “I’m an angel of the lord.” - an angel in service to and created by God. It seems like “of the lord” is an unusual qualifier if there’s no other kinds of angels out there or like he’s from The Master Angel Race with other subsets all just being beneath whatever he is. It enters casual usage as the most present, but these angels still identify Chuck as their father.

On the other hand, we have “angel of Death,” which do clearly operate under Death. And Death HIMSELF, before he ever popped up in the show, was called this in SEASON FIVE.

Supernatural 5.10 BOBBY Not this guy. This is—this is the angel of death. Big daddy reaper. They keep this guy chained in a box six hundred feet under. Last time they hauled him up, Noah was building a boat. That’s why the place is crawling with reapers. They’re waiting on the big boss to show. (…) BOBBY The angel of death must be brought into this world at midnight through a place of awful carnage.

Death was referred to as the Angel of Death even before (and for) his release, as far back as season 5. This is in no way a retcon.

Okay then, obviously season FIVE was where the retcon was, and we just... missed it? Cuz Kripke said no angels before S3!

No, actually.

1.12 Faith

Sam: You really think it's THE Grim Reaper? Like, angel of death, collect your soul, the whole deal?

Even before Kripke said “no angels”, which I’ll address later on, and shows literally proves this point about the fandom conflating things based on their assumptions.

Also,

I know there was some confusion. I get WHY people read into the "angels are reapers and working for heaven," because April just further flummoxed everybody. However, April was hired, and rogue reapers are also canon.

9.03 CASTIEL Who hired you? I assumed with Naomi gone, things were in chaos. APRIL New sheriff in town, Cas. He hired a bunch of us. I got lucky.

Tessa’s gripe was the inability to cross souls over the threshold once the gates closed, which again has marginal relevance in comparison to serving God or being the same type of messenger. This has always been part of reaper duties, even before the word "angel" baffled everybody despite it being used in S5 as well.

In fact, what the angels did with April in 9.03 literally inspired how Castiel got his hands on converting Tessa to their forces in 9.22

TESSA When Castiel came to me and told me what I had to do, he said I was chosen because I was strong. Others...they couldn't handle this. They're too weak. [she looks at HANNAH] (...) DEAN No, forget Cas. Why are you doing this? What would make a person want to pop their top, huh? I mean, look, I've been in bad shape. I have. But I have never been that damn low. TESSA I guess I just can't take the screaming. DEAN Who's screaming? TESSA All of them. The lost souls. The ones that can't get into heaven now that it's been boarded up. I hear them. They are so confused. They're in so much pain. All I want to do is help them. It's what I do. It's my job. But I can't. So I suffered... Until death, nothingness. Suddenly, it didn't seem so bad. It seemed quiet. DEAN So, why don't you just jam an angel blade in your throat and call it a day? TESSA I thought about it. But I was too weak. Till Castiel gave me a reason to die.

That’s it. Just a reaper that couldn’t do her job and was tormented by it to the point that Cas merc’ed her into cooperating in taking back heaven.

That’s it. That’s all that says.

Oh look, Metatron takes over and angels hire a reaper and Cas gets ganked, then learns from that, and turns around and recruits reapers to do things to get back at Metatron.

But they were RECRUITED.

GADREEL

Tessa, Constantine -- I recruited them, and you brainwashed them into blowing themselves up.

Also,

5.21 DEAN Well, I got to ask. How old are you? DEATH As old as God. Maybe older. Neither of us can remember anymore. Life, death, chicken, egg. Regardless – at the end, I’ll reap him, too. DEAN God? You’ll reap God? DEATH Oh, yes. God will die, too, Dean.

Death is clearly independent, and at least equal to, if not above God in his presence. Chuck did not create Death. Roughly as old as god (probably even 'before time', though that is unconfirmed), chicken or the egg, unable to tell what came first; Death also has its own respective domain now seen in 13x5, much as God had Heaven. The origins of hell are curious, and vague, but only ruled by fall and things created after the fall. It isn’t part of the Light-Dark-Nature balance really, as much as “how to sort souls” and punishment. That’s a whole other topic-bag but Death has its own domain like God had Heaven. Reapers have NEVER been implied to be part of heaven's order, but Death's natural order.

Death, and God, are two very different important forces. God is Light, Amara is Darkness, Death is Natural Order, so to speak. Messenger of Divine Order vs Messenger of Natural Order. These are all three very canon elements. Reapers have always been assigned to death and "angels" as WE identify them (see: Angel of the Lord) to God, however, there is the qualifier of Angel of the Lord, Death HAS been called Angel of Death from go despite NOT being under Chuck's domain (clearly), and these are all existing since S4-5. And frankly, since S1.

While calling out plot holes has its points, one must make sure there are actual plot holes, and not assumptions of plotholes based on pre-existing headcanon (such as the exact limits or definitions of angels versus potential inconsistent or shorthand dialogue, versus what we've seen on record and in effect). Yes, it takes some viewer-end explaining and line-drawing, but that’s also a good deal of entertainment. Not everything gets ELI5′ed. But with regards to “why aren’t the reapers angels in heaven if they were in S9~” - that’s because even then, it was never implied they were. That was an assumption. There were a lot of fandom end assumptions off of partial lines, when pre-existing lines give solid corroboration. Death-Angels report to Death (and possibly the Thanatology area if at all, it's implied that their relationship with Death is much like angels with God, and few have seen God), Divine-Angels report to Chuck and Heaven.

So no. There’s no evidence to say it’s an oversight that Reapers aren’t being counted in angel headcount.

TLDR it’s extremely presumptuous of fandom to keep projecting this as a plot hole off of projected headcanon interpretations of what was there rather than original substantiating quotes, mechanics, and even earliest-form revelations (Kripke era.) There is no evidence there was ever a retcon, no evidence that reapers REPORTED to heaven (some go rogue and run back doors or take bunk jobs, but that is being a renegade), and no evidence whatsoever to make this actually look like a sequentially dropped ball on the parts of the author as much as a serial misconception from viewers. Is it somewhat unclear? Yes. But a gaping plothole or retcon? Or even now a retconned-retcon? Nah.

This is just a failure to differentiate “Angel of the Lord” which runs heaven and is the species we casually refer to as angels, and “Angel of Death”, starting as far as S1 in use, and never-once applied as working for heaven. Just assumed against bold dialogue choices.

There was never a retcon. They hired reapers. People are conflating the use of “angel”. That’s it.

Yes, Kripke said no angels before S3; no, that doesn’t mean Reapers were never called angels of death (1x12) (this ALONE differentiates the usage in dialogue, as Kripke already used Angel of Death for reapers, but said “no angels”, meaning Angel of the Lord as we casually call angels is SOMETHING DIFFERENT, although BOTH ARE CALLED ANGELS.); no, canon never said they were part of heaven’s function beyond the delivery of souls at any point; no, they have never, as a whole, reported to anywhere but Death, spare for those hired or merced onto other roles (rogue reapers, like fallen angels); no, reapers are not, and have never been, canonically tied to being the SPECIES we know as Angels (angel of the lord, distinct from angel of death, both of which are age old lines, and the angel of the lord being S4+ only.) Reapers were never adapted into angels of the Lord. Ever. That’s all in the fandom’s head.

Nothing ever had to be changed or tampered. Nothing had to even be underwritten. There was never a retcon, just a lack of understanding from the viewership turned widespread fanon.

This starts in S1 and continues through current. Insisting otherwise despite all of the various information above is more trying to demand erasure of multiple blatant elements under “interpretation”, in the interest of claiming they’re retconning the retcon, instead of having maintained a consistent continuity the fandom misinterpreted in the middle despite dialogue. They aren’t retconning a retcon, because there was never a retcon, and I’m honestly not sure how this was taken so widely into fandom circulation that there was with these sentiments already committed to screen.

Reapers have never been Angels of the Lord, as we identify Angels as a species. They have been another angel/messenger type dedicated to Big Daddy Reaper. Since. Season. 1. And never committed to heaven as much as were hired and/or recruited temporarily. They are not part of heaven’s works. Canon never implied this. That’s all headcanon.

#supernatural #spn #canon #retcon #angels #reapers #meta #mine #my meta

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roryqpotter · 7 years

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30 Day OTP Challenge: Cuddling

Sherlock had to stay in hospital for a few days as the doctors wanted to keep a close eye on him. When the fire was put out fully, Moriarty and two of his snipers were found dead in the debris. It seemed Sherlock had managed to rid the world of a dangerous threat yet again, but this time it almost cost him his life.

The first night John had to go home to shower and sleep. As he lay in bed, he thought about everything that had happened a mere day before, and what was to come. He felt bad about leaving Sherlock at the hospital if he was honest. They had gotten word that Mycroft would be giving them a briefing of what steps would be taken next in a day or so, and John didn’t want Sherlock to have to face the scolding alone. It was as much his fault as Sherlock’s that they ended up in that situation.

After three hours of lying there with sleep nowhere in sight, John sat on the side of his bed and looked down at his feet. It was amazing that only a few months ago he had been a limping, depressed man with no purpose, and now he was the flatmate of a man with an incredible mind. That first night of them living together had been one of the best nights of his life. True, he had been shut down by Sherlock when John was about to ask him out, but the chase and tracking had well made up for that.

Thing was, the feelings John had never really faded away. He had thought about possibly telling Sherlock that he was bisexual and fancied him, except Sherlock showed absolutely no interest in anyone or anything except the Work. John had tried dating in order to get over Sherlock’s rejection, but no one had grabbed his attention like the detective had. If only John was able to get through Sherlock’s defenses, maybe, just maybe, something could happen.

Right before John got up to make some herbal tea, he got a text on his phone. Who the hell would be texting him-? Sherlock, it had to be Sherlock. John took his phone off the charger and as he thought, it was Sherlock. The text read,

[Come to hospital. Bored. –SH]

Not wanting a repeat of the wall incident, John got dressed and got a cab to the hospital. It was around 3 am when he arrived, which meant Sherlock hadn’t slept. John went inside and asked which room Sherlock was in. He had been moved to a different room on the third floor, and when a nurse asked who John was visiting on the elevator, it seemed that the detective had tormented the staff enough that a grimace appeared on the nurse’s face.

On the third floor, John merely had to follow the sound of scathing deductions to find Sherlock’s room. By the time he got there, a woman in scrubs was crying while pushing a computer monitor with her. She must have done something to piss Sherlock off big time if she was in tears. John managed to enter the room without further encounters and saw Sherlock was on his right side toward the door, a look of distaste on his face. John sighed,

“Couldn’t go a day without ripping the staff apart?”

“They’re all idiots.” Sherlock said. “They persist in trying to start conversations with me, discussing topics that don’t even matter.”

John merely sat down in a chair next to Sherlock’s bed.

“They’re trying to be decent human beings to their patients, it’s not a crime to try to be nice.”

“Since when has ‘trying to be nice’ included complimenting me in a way that could only be described as being ‘chatted up’?”

The nurses… hit on Sherlock? True, he was a very attractive man, but that broke lots of medical guidelines and rules. No wonder Sherlock was in such a piss-poor mood.

“You could report it if you’d like.” John offered. “That breaches code of conduct for staff to patients. They could be doing the same thing to other patients.”

“The difference being other patients would be stupid enough to have their confidence boosted by the attempts at flirting.” Sherlock shifted his position so he was on his front. “It truly reveals that someone is shallow and lonely when they’re willing to flirt with their patients.”

Well, John couldn’t argue with that. However, Sherlock could have misinterpreted the compliments as flirting when they were just being nice. John tended to compliment patients at times, but it was strictly in a friendly manner.

For about two hours the two started discussing random topics ranging from deductions of the other staff, to how Sherlock had answered some cases via email on his phone. John started to get a bit drowsy by the end of those two hours and said he was going to go home to sleep, but Sherlock stopped him as he was about to walk out.

“John.”

“Hm?”

“The covers they gave me are rubbish, and at this point I need physical human contact to be comfortable.” Sherlock put down one of the railings on his bed and scooted over. “Come help me warm up.”

John couldn’t help the blush that ran over his cheeks at Sherlock’s request. Sherlock was basically asking to cuddle in his bed. How could he ask that so casually without being embarrassed? This man was an enigma that John couldn’t understand most times. He cleared his throat.

“Why not ask one of the nurses for a heating pad?”

“If I wish to turn over, the bed will be heated in all areas, not simply my own spot.”

John saw something in Sherlock’s eyes that betrayed that line of logic. It was almost… fear. Was Sherlock afraid to be left alone? There were many things Sherlock Holmes was known for: being clever, pissing people off, deducing someone to pieces, but never was he afraid. The whole explosion thing must have really shaken him up.

Instead of pointing out that he was lying, John simply took off his coat and shoes and awkwardly got into the bed next to Sherlock. He made sure to face away from his friend so that it would be less awkward. Thing was, he didn’t expect Sherlock to suddenly turn onto his side and rest his front against John’s back. It suddenly made the soldier acutely aware that there was only a flimsy hospital gown separating himself from Sherlock’s body. It wasn’t exactly arousing, just… constant.

They laid there in silence for a few minutes, simply experiencing the moment. It was weird, almost surreal for John. He had never imagined being in a bed (well, hospital bed) with Sherlock for the night. However, Sherlock being Sherlock, had to be blunt and get to the point.

“You seemed to like when I held your hand in the ambulance.” Sherlock observed.

Even when he was in pain, he had observed John’s comfort in that action. No doubt he also deduced how John felt as a whole. John sighed. He might as well not deny it,

“Yeah, I did.”

“And you have been dating women below your standard since you moved in. Even Sarah is more of a good friend rather than a girlfriend. You also haven’t been trying to fully commit to any of the girls you have dated, and all of them have said they were competing with me.” Sherlock wrapped his arms around John lightly. “You are attracted to me.”

John shivered from the sudden contact and the affirmation. He wasn’t surprised that Sherlock had figured it out, but how long he had known would be the important question. If only he could see Sherlock’s face, even if it was covered by the classic Holmes mask.

“How long have you known?”

“Since you asked me about my love life the first night. However, it seems the attraction has grown from physical to emotional since then.”

“Yeah, it has.”

“And you haven’t pursued me since then. Why?”

There were honestly a multitude of reasons why John didn’t ask Sherlock to date, but it was mostly because of the way he acted. He didn’t even react when Molly would flirt with him or ask him on a low-key date. That was the biggest red flag that Sherlock didn’t date.

“You don’t date at all, you don’t even like caring about people. I thought you just weren’t interested in relationships, so... I didn’t say anything.”

Sherlock pulled John closer to him, almost possessively.

“Well your assumption was incorrect. I have in fact had romantic relationships in my life, though The Work had overshadowed that need for years.”

John was shocked, to say the least. There’d been no indication in the past that Sherlock would be interested in that kind of thing. The fact that he had even done that in the past was shocking. Sherlock usually acted like that was beneath him in some way.

“And now?”

“Now there is a candidate that I am considering to be my significant other. He helps me immensely with The Work, makes me adhere to my body’s needs for sleep and sustenance, and reprimands me when I have broken a social norm.”

He’s… he’s talking about me. In his life (or rather the past few years), John hadn’t expected Sherlock to be interested in him. John never thought of himself as anything special. He was an average bloke who had served his country as a doctor, nothing more. Sherlock was a genius beyond his time, socially inept, yes, but cleverer than John could ever be. The question was, what would happen now that they admitted their feelings for each other.

“So… what now?” John asked.

“Well it is fairly obvious you haven’t had a relationship with a man before (or rather a serious one), so we shall start with what people would call ‘seeing each other’. I believe that is when someone is romantically attached to another but instead of officially becoming a couple, they go on dates, share romantic gestures, things of that nature.” Sherlock paused. “Unless my attempt at cuddling is making you uncomfortable.”

“No, it’s fine, it’s all fine.” John held onto Sherlock’s hands with a smile. “Whatever you want it to be, I’m fine with it.”

And he meant that. Sherlock was willing to give a relationship a chance. That was incredible in itself. Granted, the circumstances could have been better for them to start dating, but what was their life without a little danger in it?

They fell asleep in peaceful silence.

#Johnlock #30 day otp challenge #cuddling #hospital recovery #rewrite of Season 2 #Sherlock #ficlet #series #confessing feelings #starting relationship

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mild-lunacy · 8 years

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Figuring Out How to be Wrong

I think it's important to be wrong sometimes, and it's also important to know how and *why* you're wrong, quite aside from the issue of assigning ultimate responsibility for whatever went wrong that most people in fandom seem most concerned with. That's not really my area, to be clear; I'm not interested in the question of fault so much as I'm interested in keeping my own mind and my thought processes as clear as possible. I do sympathize with the gaslighting aspect of the situation in Sherlock, of course. I've always been very sensitive about issues pertaining to my perception of reality, ever since I was a teenager who believed in aliens and wanted to escape to faery but idolized science, logic and everything Sherlock Holmes stood for. I think it's normal and to be expected to misinterpret some things which are obvious to others, while at the same time being right about some other things that others may not even perceive. Essentially, I think there's actually no need to worry about one's grasp on reality or even one's grasp of literary analysis, 'cause as I've said, there are just so many variables contingent on unpredictable plot twists and the internal motivations of the creators, who are people we don't know. In an ongoing mystery show, weighting them properly would be impossible. The trick is to find ways to question yourself and the world around you while retaining the genuine self-confidence to stand by and defend the conclusions most closely based on the data you have available. It's a delicate balance.

One of the things that are most important to media analysis and the guideline to any critical thinking is the art and science of asking the right questions. That's the first step in any analysis, but it's also the step that one generally returns to when one's initial predictions have not been fully borne out by further evidence. Naturally, it depends on one's ultimate purpose in the analysis, of course, but given that the goal is to understand or illuminate the text, then one has to learn to ask the right questions. Further, these questions have to be genuinely open-ended and as free from preconceptions as possible. Otherwise, it's way too easy to find a collection of 'proofs' that are really just connecting artificially arranged points of dubious relevance. The greatest bane of fannish media analysis is adding this tendency towards seeing the order in chaos with a certain preset, axiomatic ready conclusion. Often enough, no alternative conclusion is genuinely entertained, in the sense of also considering something that seems nonsensical, confusing or otherwise awful. Rather, that very confusing and/or awful aspect of the solution is often treated as the *reason* to discard it as incorrect, which I believe leads to a lot of faulty logic.

Basically, 'this is too awful' or 'this is too confusing' is often seen as the endpoint to questioning in fandom rather than the beginning. In fact, it's a sign that different questions as well as (potentially) different starting axioms are in order. If something seems confusing at first glance, that's a reason to think about it further and ask different follow-up questions to produce more useful avenues for analysis. Further, it pays to be aware of the assumptions one is making in constructing the question. It's impossible to avoid making assumptions or having certain axiomatic starting points; my point is that if one is oblivious to them, any conclusions are suspect. The *possibility* of being wrong in some minor way about things like even a character's characterization should at least be *considered*, particularly if nothing else makes sense. At least for me, the idea is to keep everything on the table, and mix and match certain ideas or possibilities until something 'clicks' and makes sense of the text. That is my process; others almost certainly have a different analytical process, but I'm sure that keeping the options open for the questions being initially asked has to be vital no matter what.

As an example of what I'm talking about: as I said in my initial response to The Lying Detective, I felt there was something weird and plot-related going on, but I was kind of confused. I wasn't *too* too surprised at John's behavior, 'cause he obviously snapped right after Mary's death, and the hallucinations of her only supported the extremity of his break. However, I was kind of confused (though I assumed we'd get more if an explanation than we did in TFP). Anyway, I tried on several versions of an explanation for John's behavior in the morgue incident, even though I wasn't as lost as some of my friends, because I could still tell something was off about John (and Sherlock, obviously) in TLD. I thought about @thecutteralicia's point comparing John's behavior to his adrenaline-driven punching in ASiB, and I thought that seemed relevant, even if indirect. Then I thought, well, the PTSD trauma-driven reading was clearly helpful and asked some of the right questions, at least in terms of Martin Freeman's acting. Still, we've never had outright psychological realism on the show before, so it wouldn't be consistent in terms of writing even if it worked with the acting. These are helpful ideas, but they didn't *entirely* clarify John's characterization in TLD to me, so I kept the question at the back on my mind. I knew immediately there had to be some 'plot stuff' going on, but I'm aware of my limitations in terms of figuring out that sort of thing without some prodding from the fandom. And then today, I saw that analysis of Eurus and John's behavior and it finally clicked into place. The right final question, at last! (Although it's never the final answer, I felt that 'eureka feeling', at least.) So I feel like if you're open to figuring it out and you give it time, you *will* figure it out, basically. Just because you think 'something is off' doesn't mean you're wrong about that, but it also doesn't mean the first halfway plausible explanation has to be correct (needless to say, if it's proven incorrect, it doesn't mean the only other alternative is 'the whole thing sucks and makes no sense'). It helps not allowing your conclusions to be final, in the meantime.

My rule of thumb is to only render my final judgment (of fiction, at least, though also more broadly) once I feel I genuinely understand what I've seen and/or read. I do realize that's a high bar; sometimes you'll find you never really arrive at a full understanding of a complex enough text (which can be a pleasure, really). Besides, why bother if you don't like what you see so far? Fiction isn't supposed to be hard work, let alone in fandom, which is supposed to be a fun hobby. That's a good argument. All I can say is that I'm talking about issues of *analysis*, which presumes you've chosen to engage in the first place. Obviously, you never actually have to engage with a show in any way that isn't fun. These suggestions would only apply given that you're already actively analyzing the text, and *given* you're generally motivated to understand but find it frustrating or even pointless.

Sometimes you'll make a lot of effort only to realize that your first impression (say, 'this sucks') hasn't changed, I'm sure. I imagine this would actually be the case for most people who hate TFP, probably. I'm not sure that seeing the logic of it would actually help *emotionally*, and it might actually help spoil one's perceptions of the rest of the show. I'm lucky in that I've got a range of interpretations that I've genuinely liked for many key aspects of the show, and I can read some pivotal Johnlocky scenes in more or less explicitly romantic ways if I wanted to (see my initial response to the last scene in TSoT, for example). I mean, the jump from explicit back to implicit isn't super-hard once you've already made it the first time (at least for me). But this is just talking about my *analysis*, not my feelings, and I separate those more or less naturally. I think shifting one's perceptions, asking new questions and retracing one's steps becomes a lot more complicated if feelings are constantly involved. Even so, I do think it's worthwhile, though, quite aside from the consequences to one's perception of one TV show. Maybe my approach would only really work for me if it's taken 'as is' (I'm not totally sure), but I do think it's always worth figuring out how to be wrong.

#fandom meta #me myself and i #the lying detective #pointless rambles #the great divergence #the final problem #series 4 #sherlock spoilers #sherlock feels #analysis kink #critical thinking

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lhight-eng102-piercecollege · 7 years

Text

Anonymous Student

Professor Lisa Hight

English 102

12 October 2107

Small Women’s Work: Analyzing the Subtext in “Trifles”

The presumption of innocence is the bedrock of many democratic societies, for it insures that no individual is falsely accused and imprisoned for a crime he or she did not commit. The burden of proof falls on the shoulders of the prosecutors, the representatives of the state. They must gather strong evidence that goes beyond the shadow of doubt. Thus, criminal investigations must be based on empirical observation, research, and data. This process is the best insurance against any suggestion of corruption on the prosecutor’s part. However, any human endeavor is fraught with human error, and the legal system is no exception. Whether they are conscious of it or not, people can fall prey to their own unreliable subjectivity. Susan Glaspell’s one-act play, “Trifles,” explores the hidden assumptions about gender through the lens of a murder investigation. Unconscious bias about women’s capability in finding the truth and unspoken sympathy for the accused expose the method in which justice and rule of law can be thwarted, for if men only see women’s work as “trifling”, then they will remain silent about the truth.

Human beings, although they do not like to acknowledge this truth, are imperfect. While they possess great attributes like logic, humans are still victims of their irrational beliefs and feelings. Moreover, the more insidious kind of irrational behavior is what is now known as implicit bias. This bias “refers to the attitudes or stereotypes that affect [people’s] understanding, actions, and decisions in an unconscious manner. These biases, which encompass both favorable and unfavorable assessments, are activated involuntarily and without an individual’s awareness“ (”Understanding Implicit Bias”). The tragedy about implicit bias is that those who fall victims to their biases may never acknowledge their flaws, even if they spring from good intentions.

Though implicit bias has been put into the spotlight due to the recent police shootings in the United States, implicit bias plays a large role whenever human interaction is involved. Even if they are not fully conscious of it, the men in Glaspell’s play reveal a negative bias against their female counterparts. After Mrs. Peters takes notice of Mrs. Wright’s preserved fruit, the sheriff exclaims, “Well, can you beat the women! Held for murder and worryin’ about her preserves” (258). In addition, Mr. Hale responds, “Well, women are used to worrying over trifles” (258). The subtext running underneath the men’s words demonstrate not only their patronizing attitudes about women, but also their opinions about feminine intellect. The sheriff’s reference to preserves and Hale’s comment about trifles emphasize the insignificant subject matter that fill Mrs. Hale’s and Mrs. Peters’ minds. In the men’s eyes, the women’s concerns are “cute” and slightly idiotic in the face of their important work. If the women possess such “small” minds, then they are incapable of understanding the big issues such as murder. Perhaps, this negative bias is the reason why the women choose to withhold their observations and the conclusions drawn from them. They intuit how the men will dismiss their work as another example of their obsession with “trifles.”

Nonetheless, the women are not totally innocent and succumb to their own biases. Mrs. Hale’s observation of Mrs. Wright’s stitching highlights her sympathetic bias towards the accused. Even when she sees evidence of a distress, something that points to Mr. Wright’s guilt, Mrs. Hale cannot help but intervene on her behalf. Pulling out Mrs. Wright’s stitches, Mrs. Hale explains, “Just pulling out a stitch or two that’s not sewed very good.” Bad sewing always made me fidgety” (262). The connotation of the “bad sewing” suggest chaos, and this chaos makes Mrs. Hale nervous. Thus, her “fidgety” feelings make her want to act. Her response to the chaos is to impose order on it. On the surface, Mrs. Hale’s decision shows how she is simply correcting Mrs. Wright’s “trifling” mistakes. However, her implicit bias compels her to cover up the accused’s guilt, so much so that Mrs. Peters sees how Mrs. Hale is tampering with evidence. This tampering also hints at the guilt that weighs down on Mrs. Hale. The “bad sewing” and her “fidgety” feelings also reflect her guilt over not visiting Mrs. Wright as often as she should. She, therefore, desires to pull out the guilt inside her.

If the women, particularly Mrs. Hale, show their own bias, they still have the mental capacity to find evidence and draw motive from it. Motive may not seem like hard proof of guilt, it shows the reason why a person chooses to engage in criminal conduct, and evidence of a motive, or evidence of the lack of a motive, may be considered by a jury (”Motive When Not an Element of Charged Crime”). Searching for Mrs. Wright’s items, Mrs. Peters discovers the bird cage. While puzzling over its presence in the Wright household, Mrs. Hale talks about the Wright house itself and mentions, “Maybe because it’s down in the hollow and you don’t see the road...it’s a lonesome place and always was” (263). She goes on to explain how Mr. Wright, the victim, was “like a raw wind that gets to the bone” (264). The connotative language lets the subtext emerge. The house’s location connotes not just isolation but also invisibility. The house literally and figuratively cuts Mrs. Wright from the rest of the world. Mrs. Hale’s mention of the “lonesome” house hints at the mental anguish that Mrs. Wright may have experienced. The house does not just make Mrs. Wright lonely, but it also punishes her by forcing her into solitary confinement. However, Mr. Wright also contributes to the accused’s tragic life. Comparing the man to a “raw wind,” Mrs. Hale conveys the man’s cold and hard personality. Additionally, his “raw” personality is so great that people can feel it in their bones as Mrs. Hale suggests. If he is the only source of companionship for Mrs. Wright, then the woman has never received any warmth from her spouse. When combining the two factors, Mrs. Hale and Mrs. Peters arrive at a conclusion. The cold husband most likely killed the bird and in turn the wife killed him. Once again, the women demonstrate their “trifling” intellect

When the men return from their examination of the body, implicit bias come into play again. The county attorney addresses Mrs. Peter: “A sheriff’s wife is married to the law. Ever think of it that way, Mrs. Peters?” (267) The subtext contained in the attorney’s statement reveals an assumption and a slight threat. The law that the attorney refers holds several meanings. Mrs. Peters is married to the legal system. Therefore, she should be aligned with the rule of law and never betray her allegiance to the law by showing any sympathy towards the accused. On the other hand, she is also married to her husband who is the “law” of their household. The notion of Mrs. Peters as an independent individual with no connection to law enforcement or her husband must be unthinkable to men such as the county attorney and sheriff. The question posed to Mrs. Peters is merely rhetorical for in the attorney’s mind there only one answer: yes. She should never answer otherwise. Thus, the man reduces Mrs. Peters to a “trifling” status.

Indeed, the women can only communicate their thoughts in an oblique manner. When asked about Mrs. Wright’s quilt, Mrs. Peters responds, “We think she was going to--knot it” (265). While the men take the answer at its face value--that Mrs. Wright was literally knotting her quilt--Mrs. Peters cannot help but insinuate the results of the women’s investigation. Her statement contains the logical end-point of their empirical data. The knot connotes the noose that Mrs. Wright has created to murder her husband. Like a knot, a tight construction that holds fast, the women have come to the steadfast decision of Mrs. Wright’s guilt. Nevertheless, the question as to why they refuse to show their empirical evidence to the men remains. The answer lies in how the men view the women. They may very well see treat the stitching and the bird cage as trifling, things that don’t matter, especially if these items are the women’s discovery, for the women’s brains are too “trifling” to solve the case.

Glaspell’s drama uncovers how women will keep silent over the truth if men treat them as “trifles,” so implicit bias and subconscious sympathy will corrupt the rule of law and the pursuit of justice. Though many people want to deny it, the reality is that many men and women are still treated unjustly when they come before the law. More and more people are realizing the imprecision of forensics. Criminal Scene Investigation (CSI) has been distorted by television and films because most do not understand what really goes on. Techniques such as fingerprint identification and fiber analysis are based on human observation and identification. Anything based on human observation is subject to error and misinterpretation. Sadly, organizations like Project Innocence are vital since they use actual medical science--DNA evidence--to make sure that innocent people falsely imprisoned are set free.

Works Cited

Glaspell, Susan. “Trifles.” The Seagull Reader: Plays, edited by Joseph Kelley, W.W. Norton & Company, Inc., 2015, pp. 263 - 268.

“Motive When Not an Element of Charged Crime.” https://www.nycourts.gov/judges/cji/1-General/CJI2d.Motive.pdf. Pdf file. Accessed 12 Oct. 2017

"Understanding Implicit Bias.” kirwaninstitute.osu, http://kirwaninstitute.osu.edu/research/understanding-implicit-bias/. Accessed 12 Oct. 2017.

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