#redemption arc equivalent exchange

[the-hydroxian-artblog]

[animationadventures]

Let's go over everything that ML did wrong.

They refused to acknowledge any flaws Adrien had and called him perfect.

They refused to allow him a final confrontation with his father, and instead locked him in a room during a final battle with Monarch that should have included both Ladybug and Chat Noir.

They refused to redeem Chloe as part of a so called damnation arc instead of giving her the redemption they previously hinted at.

They sent Chloe off to live with her abusive mother, saying she deserved to be abused.

Nino never got his Scarabella treatment with the Black Cat, and was shafted in favor of Zoe for that.

They teased Lukanette and Adrigami at the end of S3, and immediately broke them up in the first episode of S4 because any other ships beside Adrinette aren't allowed.

After four and a half seasons, they brought up Marinette's stalking habits but blamed it all on Chloe instead of her owning up to her behavior and learning from it. There's also the inconsistency of her only having that behavior with Adrien and not Luka or Chat.

They introduced Zoe, Chloe's half-sister, without any foreshadowing in season four and immediately gave her Chloe's Bee Miraculous. Everything was basically handed to her where other characters actually worked to earn stuff.

They tried to portray Lila and Felix as these master manipulators, but the way they did it instead made everyone else look too dumb through plot armor and bad writing.

Nothing ever came up about Lila lying about being Ladybug's BFF after Alya learned Marinette was Ladybug, and should have not believed her anymore.

Felix didn't even get a redemption, and yet he's part of the team at the end while Chloe is not.

They shoved the last four hero debuts into one episode when they all should have had individual spotlight episodes because they were too busy salting Chloe and shilling Zoe to remember them.

They had multiple opportunities for the heroes to win back the Miraculouses Hawk Moth stole, but didn't because of plot armor and bad writing.

The retcons! The wish originally being equivalent exchange then retconned to world rewriting, Luka and Juleka being two years apart then retconned to twins, Socqueline and Zoe, to name a few.

The freaking sentikids plot! I hate that so much. They didn't start foreshadowing that until late S3 at best. They claim to be planning that since the beginning, but I call baloney!

There's probably more.

[right-there-ride-on]

Deciphering the Civil War Arc

I will openly admit that even on my third readthrough of SBR this is probably the arc I had the hardest time grasping. It's clearly thematically rich, but what, exactly, is it trying to say? This is my attempt to better understand what the hell is happening in this stand battle.

I'll start off with a little bit of Hot Pants and Johnny, because their parallels fascinate me.

HP revisits the idea of 'sacrifice', one of the most prominent themes in SBR (brought up even in a light way during the very early chapters, when we see Gyro must choose between what to carry with him into the race, tossing aside whatever he decides not to take.)

Notably, Johnny and Gyro just had another arc dealing with the idea of 'sacrifice': Sugar Mountain. Johnny has already sacrificed the corpse parts to save Gyro (quite a few times, actually). The difference here is that the sacrifice is no longer governed by an equivalent exchange.

We know HP began collecting the parts for the Vatican in order to try and do something that would earn them 'forgiveness' for the death of their brother. Now, under the effects of Civil War, it's shown that the 'sacrifice' of the parts (to a supposedly 'larger cause' (namely Valentine, though this could be substituted with the Pope)) demonstrably did nothing to alleviate their personal guilt. How awfully Christian. HP advises Johnny to hold on to the corpse - if giving up the corpse parts to a larger cause did nothing, then perhaps holding onto them will unlock the path to forgiveness - but before the conversation can continue HP's guilt quite literally begins to suffocate them.

We now introduce the idea of not only 'sacrifice', but 'sins' and 'purification'. Guess the Christian influences aren't only aesthetic after all.

Of course, it's 'pure water' (holy water) that can purify one's guilt (guilt being the end result of committing a sin).

Now the idea of 'sacrifice' is being correlated with the ideas of both 'sins' and 'guilt'. A sin here is, essentially, the idea of 'sacrificing' for an unworthy cause (e.g. killing someone for a selfish reason).

Chapter 56: Civil War (Part 1)

We cut to Gyro encountering Axl Ro and Civil War. These are Civil War's first words, which tells us something about the theme of the arc. The question being posed is, put simply: Are your sins ('sacrifices') worth the guilt you now carry?

SURPRISE STARPANTS PARALLELS:

HP too is seeking the corpse parts to find forgiveness (to bring their 'negative' up to 'zero'!). There are some differences worth noting: HP kept the cause of their brother's death a secret, while the cause of Nicholas' death was quite literally shouted to the entire staff by Diego. The guilt ate at them inside, so they turned to God to find forgiveness. Johnny, meanwhile, pretended not to give a fuck about anything to avoid being constantly told to his face by George that his brother's death was his fault. HP hid among the holy while Johnny drowned in debauchery. But both of them seek forgiveness and some sort of return to normalcy, which they both believe can be achieved through the corpse. Through the corpse, all 'sins' can be forgiven - even sins committed in the corpse's name (think of all the people killed in the corpse's wake, noted by Valentine in Chapter 86: Ball Breaker (Part 3) - he literally calls Johnny a sacrifice!)

HP's backstory is immediately followed by the return of Johnny's own ghosts - he himself says that he's haunted every night by his guilt, manifesting inside and outside of dreams as Danny. Yet, even though Johnny claims he can shoot it (put his guilt behind him), we see that he continues to waver. Johnny, like HP, is caught between selfishness, guilt, trauma and redemption.

Johnny's illusion via Civil War is literally Nicholas parroting back the rhetoric about his death that George and Johnny believe about Johnny himself.

Chapter 57: Civil War (Part 2)

Ok, manifestation of trauma and guilt is here. How do we beat it? Jesus Christ himself gives Johnny some extremely cryptic hints.

We'll round back to this. I'm not even sure my interpretation is correct, but hey, that's what this whole exercise is for.

'Pure water' (holy water) only works for a while. Guilt (in the form of Danny) continues to hound Johnny, while HP and Gyro are literally being suffocated by their own. Furthermore, even once Johnny confronts what he perceives to be the source of his guilt (manifested via Civil War), we see that killing Axl Ro does nothing but strengthen Civil War, because in order to 'purify' himself of his 'sins', Johnny has sinned once again (by killing selfishly). The guilt thus compounds, unloading Axl Ro's guilt onto Johnny while Axl Ro, through the 'sacrifice' of his life (generally seen as the most selfless act one can do - think Lincoln's Gettysburg Address, which I'm sure the location of this arc is a reference to), is the one actually purified.

This is not a condemnation btw I think Johnny should be allowed to kill whoever he wants.

Chapter 58: Civil War (Part 3)

Axl Ro, through the 'sacrifice' of his life - or, more accurately, through having the resolve to sacrifice his life - is the one to achieve purification. Someone committed the ultimate sin against him, leaving him 'purified'.

He even spells it out for us:

The pursuit of the corpse has caused countless casualties. Those who were 'enemies' to Johnny and Gyro were 'allies' to Valentine. It really does come down to perspective. Anyway, the point is, Civil War has now condemned Johnny as the ultimate sinner. 'His' guilt (Axl Ro's) begins to quite literally start tearing Johnny apart.

Jesus again warns Johnny:

Jesus essentially guides Johnny through his trauma, helping him understand that he’s worthy of forgiveness and thus deserving of healing - but only if he himself has the resolve to move forward (and fight for the corpse). It's quite interesting that Jesus appeared to Johnny instead of, you know, the person of faith in the next room. Could it be because, as Johnny implies in Chapter 56: Civil War (Part 1), HP hasn't 'truly' devoted themselves to God, but rather is using religion to try and alleviate their guilt (because it turns out they were not actually gathering the parts purely for the Vatican, but also for themselves)? I can't say. I'm not well enough versed in theology to even begin unpacking that. Anyway, Jesus helps Johnny understand the truth of his trauma, and the 'sins' he supposedly committed against Nicholas and his father. Prior to the confrontation with Axl Ro and his vision of Jesus, Johnny even states, "I didn't throw him away! You threw me away! You didn't even come to my races! You didn't even come to see me in the hospital when I got shot!" (Chapter 58: Civil War (Part 3))

Some part of Johnny already understood he was unfairly blamed for Nicholas' death, but that's still guilt (his greatest 'sin') that he's carried with him up until this point. His heart is wavering because some part of him doubts he's even worthy to have the corpse parts - doubts he's worthy to be forgiven. But with Jesus' final warning, Johnny finally understands that Nicholas' death is not his burden to bear, and he no longer wavers on what must be done. He resolves to complete the corpse and be 'purified', even at the 'sacrifice' of his life.

Still, we're in the middle of a stand battle. Johnny is still under the effects of Civil War, but this guilt isn't his. Axl Ro is the one running from his guilt, his sin, his sacrifices. He allowed a massacre to occur in exchange for his own life - hardly an equivalent exchange. He's in the one in possession of the corpse, but he is unworthy of it.

Axl Ro becomes so enraged at the thought of someone like Johnny touching the corpse that he 'sacrifices' Johnny in order to keep the corpse to himself - thus committing the ultimate sin and condemning himself once again.

Chapter 59: Gettysburg Dream

Johnny, however, has been purified. We see through Axl Ro's comments and panic what kind of person he really is. He looks down on Johnny, calling him 'trash' and cursing him out (while holding the Holy Corpse!) This is a common theme is Steel Ball Run. We see it with Blackmore and later Valentine too - each of them proclaims themselves the only ones worthy of the corpse. Why? Well, their goals are loftier than Johnny's, better by default simply because they claim it's for a noble cause. Their sins should be forgiven because they did it in the name of good.

Yet, from what I know of the Bible, Jesus wasn't the sort of person who would have accepted that argument. In fact, Jesus was well-known as a miracle worker and man of the people. He probably would have much preferred healing a disabled man to helping a man kill a young girl (Blackmore), aiding a Confederate soldier (Axl Ro), or making one people's superior over others simply according to which nation they belong to (Valentine).

SBR ended with the corpse locked away, everyone left alive concluding such a thing shouldn't be in the hands of anyone. So, despite Gyro and Axl Ro's protests - is Johnny threatening to destroy the corpse truly a bad thing? Does anyone really 'deserve' the corpse at all?

Should anyone truly have the power to decide who deserves to be forgiven? To decide which causes are just and which ones are not? To decide what peoples deserve the right to good fortune?

To decide who has worth and who doesn’t?

Final notes:

In the case of Nick's death, Johnny was not guilty. In the case of collecting the corpse parts and being willing to kill to keep them? A little blurrier, but by examination of the text we see that, a majority, if not all of the time, Johnny and Gyro only kill in self-defense. It's not really a 'sacrifice' (sin) then, but an equivalent exchange - someone attempted to take their lives, and that person's life was taken instead.

Notably, self-defense (or rather, the protection of another) is the same excuse Valentine uses at the end of Chapter 59: Gettysburg Dream, and we see that he is free of the effects of Civil War.

I think (and this is a pretty big I think), Civil War's themes culminate in this: You cannot earn forgiveness as long as you deceive yourself about your sins. Whether the guilt is yours or forced onto you by somebody, you need to understand it. Forgiveness will not be achieved through sacrifice and sinning, but by being able to look yourself in the mirror and be okay with what’s happened to bring you to where you are.

To put it simply, don't run from your guilt / ‘sins’ (as HP did through the church, and as Johnny did when he shot anyone but himself) and don't blame others for your mistakes / guilt (Axl Ro). The only way to be truly ‘purified’ of your guilt is to have grace with yourself and find the resolve to move forward.

Civil War, the arc and the stand, is about overcoming trauma, forgiving your mistakes and accepting redemption.

I am totally open to discussing this further, as even now I am not so sure about this conclusion. This was just my reading and I'm very open to hearing that of others!

Thank you for reading.

[supersmashsoni]

Basic dynamics for the swap au. Meggy: While she has Canon Mario’s goofiness, she is a bit smarter, but more hyperactive. (If Canon Mario is Patrick, Swap Meggy is SpongeBob). Mario: Very laidback and chill, he was never really into Turf Wars, only joining them to support his brother. When Meggy meets him, he is actually a food salesman who serves a mentor figure to her. He only enters Splatfests after Luigi’s death. Desti only has Luigi’s role in the sense of close loved one, her and Meggy are not siblings, and instead in a relationship.

SMG3 and Meggy have a SpongeBob-Squidward dynamic at first. While Meggy finds the new person in the Koopa Kingdom cool, 3 finds Meggy really annoying at first and only turns to her after realizing her adventures would be good content. The two bond overtime however.

3 also finds Mario hot.

Tari is probably my favorite concept She is still an unpopular video game character but for different reasons than Saiko. She was basically her game’s equivalent to Antoine from Sonic Satam. The incompetent coward that serves to make the main hero (Belle) look cool. Most of the fan base dismissed her as an annoyance and an pointless addition. Whimpu liked her however, and one day accidentally him and Meggy bring Tari to life. She becomes part of the group, but doesn’t seem to be interested with getting to know everyone. After an exchange leads to Desti trying to train her, Tari reveals that with all of the times she served as the subject of a joke, with any attempt of making friends resulting in her getting laughed at or manipulated, she feels she doesn’t deserve good things and was waiting for the crew to betray her. Of course, the crew show that they care about her and she slowly gets over her self-loathing and becomes more confident. Though there was a bit of trouble when Puzzles released Belle, who assumed Tari was being brainwashed again and got into a fight. After that, Belle has her own arc of learning that while being a “hero,” she was also a jerk and tries to improve herself.

Compared to 3, who reveled in his evil in canon, SMG4 is more focused on the end goal of being a success. He spends his first few years in a toned down version of his “IGBP” mindset: obsessed with becoming popular and lashing out at the world around him. He does get a redemption arc and slowly gets his life together, slowing becoming closer to his current canon self.

[servantserah]

Tbf and this is an unpopular opinion in the fandom and I get why, I've thought since my second watch (I always focus more on the main plot or characters the first go, then do a second watch for the details, side characters, etc) that if anyone was decently set up for a redemption arc it was Gabriel.

Okay let me explain that lol.

Gabriel is kinda different from the other archangels. Sure, he's still distanced, still mocks Aziraphale's hobbies... But he's also the only one who also has not one but two earthly hobbies. I think he doesn't eat because he's kinda scared it's Gluttony since he doesn't need it. But he also doesn't need jogging or clothes, and to me that looks like the Well Actually excuses of a very very early Aziraphale. He's not a hypocrite and a liar like Michael, who wants to kill Aziraphale for a crime she's guilty of. Not sadistic like Sandalphon. And he can be cruel, but more in an oblivious way than deliberately like Uriel does. Beelzebub did way more harm than him -both were pissed at the airbase but Bee told Satan about it while Gabriel just huffed and puffed.

During the execution he just wants to get it over with and more importantly, I think, when Crowley spits hellfire at them, Gabriel yanks Uriel and Sandalphon behind him and shields them with his body even though it's just as lethal to him. His first instinct is to protect his siblings.

Besides the fact that he can be obnoxious and rude, I think the real problem is that he's way too convinced that he's doing the right thing. He's genuinely flabbergasted when Crowley suggests that She may have different plans and I think the 'God doesn't play games with the universe' 'Where have you been??' exchange is very revealing. (God Herself admits She does lol). God hasn't talked to the angels for ages, and Gabriel is the Messenger. He's still operating on a very old plan because he thinks if it had changed he would be the first to know. But nobody is because God has fucked off the premises and only left the equivalent of a voicemail machine. Gabriel didn't have a Crowley to help him shake off Heaven's programming, and I think a lot of people forget Gabriel is programmed too. He's higher on the hierarchy but he's been taught the same rote and he believes it wholeheartedly (Michael doesn't, see back channels).

So even though I enjoy villain! Gabriel stories because there's a great setup for them, precisely because aside from a few details he's a blank sheet, I love redemption arc stories because that setup is there too. What if he gets to discover and enjoy more of Earth, rediscover himself outside of his role, rebuild his life now that the plan he followed blindly is moot? What if he feels lost, unmoored, and trying to recover he becomes better? Idk I just feel like out of all the others, he has the most potential for that kind of thing. So even though he did worse things in Myosotis than in canon, I'm like 👀 at his pain and where this goes.

Wow sorry for the rant haha

Interesting 👀 Did he really pull Sandalphon and Uriel behind him? Neat little detail.

It’s not impossible that Gabriel will receive his redemption arc in canon (or maybe an arc where he gets kinda redeemed but he’s still kind of an asshole and no one rly wants to spend much time with him lol), based on the stuff we know about him so far. I agree with some of your points!

But my opinion for canon may not necessarily reflect within this Myosotis: Falter, I keep these two separated!

(The Gabriel in my GoodGardenerAU actually does get sorta redeemed (in the way I mentioned above) but I've barely shown him so far so I won’t open that box for now,,,,)

[joshuhigashikatafucker]

Seven times Joshuu acted like a normal human being, but no one is talking about! [ full of big SPOILERS ].

Since the end of Jojolion, we don't have much Joshu content! :(( But if you are here, you know that the man is full of good, bad and - especially - dirty moments. Most people, of course, love to point out his bad aspects and moments. And with valid reasons, maybe. But hey: what about the decent ones? We don't see much of it. So today I'm ready to proudly wear the questionable taste t-shirt and represent my few weirdo-enjoyers, going further into the positive spectrum of these iconic rat actions.

1- Oh, Shakedown Road, my love! Here we can see Joshuu showing signs of shyness, social panic and remorse. He simply seems to blame himself for the girl's sadness and is very worried about it, apologizing more than once. Gappy, otherwise, is clearly a more analytical and chill-going type of person. Very interesting. 

2- Still in Shakedown Road arc, we have this brief moment. The use of sweet adjectives (with no sarcasm!) demonstrated that Joshu is jealous of Josuke because he, first of all, recognizes his strongest pros, and not cuz he is a total asshole without self-critique and that can't acknowledge other people's good traits. One of the things i find most fascinating about Joshu is how he can be so self-conciouss in a minute and in the other delusional as fuck. Such a funny little guy.

3- Every Day Is a Summer Vacation. When Jobin revealed that the beetle was going to die, Joshu seemed to be very anxious and worried about it. People compare him with Anasui; not saying one is better than other, but, romantic obsessions aside, they are indeed very different in character conception. Joshu is always threatening to make grotesque things, but is he willing to go further with his threats? Most of the time, i would say no - he's too of a coward (but Anasui would, lmao). Weird thing but like how much Joshu trembles… such an emotional fella, isn't he?

4- Not only does Joshu worries about Josuke's state let aside not really liking him that much, but he does the social ritual of asking if he is okay! Josuke/Joshu parallels with Dio/Jonathan are clear at the begging of the part, but Joshu and Josuke actually have an overall neutral relationship after the middle of Jojolion.

5- Now he is showing his sweet side, being protective with everyone who is considered family by him. At that moment of the manga, Joshu was the only one trying to fix things in a diplomatic way. He, still, verbally acknowledges the damaging aspects of isolation/ loneliness, besides constantly going through it himself, and this is very sad (god, I love him so much).

6- That one is a classic. Not much to say: Joshu was unable to confront Jobin in a direct manner, but still managed to save Yasuho by discreetly kicking the cellphone. That imo shows another very prominent Joshu contradictory aspect: his strong urge to express/ rebel himself merging with him constantly accepting submission social roles.

7- And the last ocasion, of course. This one I would say people are more willing to recognize as a genuine act of redemption. By letting Josuke choose the cake that better represents the fruit company, Joshu accepts his presence and importance as a member of the Higashikata family. Considering that all of the events in Jojolion occurred in less than three months, that's a more than reasonable lapse to start to get along with your new and strange adopted brother. Everything about this moment is just adorable and I am indeed happy about the end. It shows that a character's development may be not that astonishing, gradual, or linear and yet still happen. Very realistic of him, not gonna lie.

I consider quite clear and even agreeable that these moments per si can make one re-interpreter a few Joshu misleads. I didn't include the polemic ones, like the equivalent exchange scene, because I am not sure myself if it could be considered a pro or a con and I am not yet prepared to interpret it properly until reread Jojolion. My point is that JJBA is so absurd that we naturally tend to forget trivial details even though these also construct one's personality. Honestly, I could do way more, but I'm too lazy. Honorable mentions to any Hato and Joshuu interaction ever. Fuck, and Milagro Man? This arc is the whole Bible to me! God bless Joshu. Or his "good side", at least. 💖

[sofoulandfairaday]

The ultimate How I Met Your Mother Finale rant

I know this has been done before, and I know I'm several years late to the party, but I don't care, so IN THIS ESSAY I WILL tell you about why this finale takes the spot as the second-worst finale in TV show history (because Game of Thrones is still, to this day, unbeatable, and it will probably stay like that forever). 

But first, a little context: I've just finished binge-watching HIMYM. This binge has been going on for three days straight (my final exam of the semester is in a week and I should be studying, so the fact that the last few days were a partial waste of time makes me so mad). Second thing: I already knew how it would end, and yes, kids, it does ruin the show for you. It ruins the show so much it makes your blood boil when you rewatch certain scenes, but I will get to that. 

You might want to make yourself a drink because this is a complete list of all the reasons why HIMYM's finale sucks - I'm warning you, it's gonna be looong.

It completely invalidates the entirety of season 9

This is one of the complaints people most often have with this series, and I have to agree. It would have been so much better if the last two episodes never existed, and they just showed Barney and Robin dancing at the reception after walking out of the chapel, Ted noticing Tracy and then the platform scene. "And that, kids, is the story of how I met your mother". Cut scene. Honestly, I don't get the hate people give to season 9, barring the last 2/3 episodes, especially since season 8 was so much worse (except for a few honourable mentions, like The Robin). S8 was slower, less funny, and less deep, and while the authors took a risk by making s9 happen in the span of a weekend it paid off: they took their time introducing the character of the Mother to the gang and fleshing her out. They make sure to highlight all the little ways in which Ted and Tracy are perfect for each other, and even tie up loose ends, like with the Slapsgiving episode, that was a filler but it wasn't boring to watch (although it may be problematic for different reasons, I'm not Chinese, so I can't say for sure if it's cultural appropriation or just the authors making fun of a particular movie genre). 

Some episodes were arguably great: "Daisy" was amazing, and that whole fight between Marshall and Lily was so realistic and well thought out, "Sunrise" was extremely important for Ted's character development, same goes for Tracy and "How Your Mother Met Me", "Bedtime stories" was impressive, "Rally" was incredibly funny and proved once again what a beautiful character Barney Stinson is, so much so that even Robin never has doubts that he (the guy with the biggest commitment issues on the planet) will bail on her before the wedding, and says to Ted that "he always comes back". Daphne's character is super funny and the right amount of annoying, the shenanigans of the gang are well thought out and all of the characters (not just Barney) complete their arc in this season. The last two/three episodes butcher that.

Marshall and Lily

Marshall and Lily, arguably the world's most solid couple, are the only thing this God-awful finale gets right, especially Marshall, who is my second-favourite character, that finally gets everything he deserves. But what about Lily? They never mention her career after Italy, and I refuse to believe she goes back to being a kindergarten teacher as if her year in Rome meant nothing. I also refuse to think she becomes nothing but a political wife, the equivalent of Zoey, but without saving the world. We know she has three kids, but her postpartum depression is never really talked about much and they definitely had the screentime to delve into it. 

Barney

 Where do I even begin? Barney Stinson is, without a doubt, the best character in this series, the glue of the whole gang. I think the message they were trying to give is that, since his trauma stemmed from the absence of a father figure in his life, he could only truly heal by becoming a father as well. People also say that n°31 had to stay just a number, because who could match up with Barney Stinson? First of all, I call BULSHIT on that last point, because Robin wasn't the only girl Barney could have ended up marrying. I used to think that too, but it's just not true: that is the equivalent of saying that Barney was incapable to truly love a woman and commit to her, even after all the development he got, and that he only got one shot at love in life, and that's it. This goes against the point the showrunners try to make by having Ted and Robin end up together AND by having Tracy get with Ted in the first place: "it's never too late, you always have another chance at love, etc." And, let's face it, Barney and Robin are legendary, but Barney and Nora (hell, even Barney and Quinn!) were pretty good together too. 

Second of all, if they wanted to give Barney a kid, they could have easily done that, before Barney married Robin. Barney's "redemption" starts when he gets with Robin the first time, hell maybe even when we meet James for the first time: Nora, Quinn, finding out who his father is, the episode dedicated to the lies his mum told him/finding James' father, him getting to know his own dad, etc... those are all steps along the way. The s9 episode where Barney accepts the relationship between Loretta and the reverend proves how far he's come. So why not give him a daughter BEFORE he proposes to Robin? Have him cheat on Nora/Quinn with n°31, giving him a relapse, and having him get closer to Robin while struggling to be a dad to Ellie. That would have been great. 

Or, you know, don't give him children. What's the point of burning the Playbook if you're going to have him write the second edition? What's the point of having him do a complete 180 in the last few scenes and acting like having a kid is the only thing that makes him change? What's the point of doing that when the show spends entire episodes berating Marshall and Lily for "changing too much" when they have a kid?

Also, Barney is the "challenge accepted" guy. He loves his wife so much, he spent years wanting her, and then he gives up because there is no WiFi in his hotel. How does that make any sense at all? This is Barney Stinson, the "I will fly out to San Francisco and buy Lily a plane ticket", the "I will steal every girl from my best friend just to save him for Lily", the guy that wrote the Playbook (it takes effort to pull those plays off), the guy that planned for weeks his proposal, the guy that waited years to get back at the man who stole his first girlfriend, the guy that makes every night legendary... are you telling me that that guy becomes the equivalent of a bored housewife instead of living his best life while travelling the world? Come on. They don't even try to make it believable.

Ted

While watching seasons 7 and 8, I felt that Ted was becoming the worst character on the show: he was boring, depressed, basically had no good storylines, the whole thing with Victoria was pointless and inconclusive (and the whole "stop being in love with Robin" was completely out of character for her), but whatever, we could have accepted that because it passed the message that two people could be good together, without being soulmates - which, by the way, renders the TedxRobin ship pointless, because they were right for each other, but Ted and Tracy were soulmates. Him being hung up on Robin in the latter seasons is almost pathetic, and the thing he does with the locket is insane, not romantic - BUT I will say this: it can be seen in two ways, depending on who's watching. I personally like the two as friends, so I see the whole thing as a "Dahmer" situation, but I get the people who see it as a "Dobler" one and see what he did as a grand romantic gesture. 

The problem, though, is that the whole TedxRobin ship gets pretty old, pretty fast: it's an annoying on-and-off thing, that should have ended with the locket. Because, yes, Ted was in a dark moment, yes, he was probably depressed, yes, he thought Robin was his only shot at happiness, but he changes during season nine! He spends entire episodes letting go of Robin, including the one where she transforms into a balloon and flies away. Ted is the good guy, ultimately. He is the guy that is genuinely happy for his best friends. In one of the deleted scenes from the finale, he meets Robin years later and says that he's so happy with Tracy he never thought about Robin in that way anymore. All of that gets thrown in the trash. Why do that? To use a Harry Potter metaphor, Ted is Severus Snape, while Barney is James Potter: the former loved the girl of his dreams with all his heart, even to the point of creepiness, but they weren't meant to be together. 

Robin

This, along with the next point, is the worst of all: Robin is the worst character of the entire finale. Her relationship with Ted in season 2 is wonderful, and I say that as a full-on Barney/Robin shipper. There was never a problem in their relationship, apparently, but they then break up because they have an "expiration date" and ultimately want different things in life. Except that Ted is not her soulmate. The only times when Robin wants Ted are the times where (1) she can't have him because he's either trying to move on or (2) the times where it's convenient, for example when they become roommates again and they solve their disputes again. Around that time, we see perfectly that Ted had moved on and that the person getting hurt was Barney. It's one thing to see Ted and Robin in the finale as two people picking up where they had left off after they dated. But this is not the case. 

In season 7, we have the exchange that should have put an end to any and all TedxRobin drama, and that completely invalidates whatever the writers wrote after that about the two of them: Ted declares his love - "I think you know how you feel about me now. I don't think time's gonna change that. Just tell me: do you love me?" To which she answers "No". And Ted also says later to Marshall, that he's "happy because he can finally move on". 

What a load of crap. 

Getting over someone is hard, believe me, I would know. And, oftentimes, it doesn't happen until we find someone else to love (and from the moment he meets Tracy, there is no one else for Ted). But by giving Ted feelings for Robin after this moment, it takes away from the beauty of it- because it's one of the most heartbreaking feelings in the world when you declare your love to someone and they don't love you back. Ted and Robin were both honest at that moment, and it was the last genuinely good exchange between them. After that, during season 8 they try to show us Ted trying to get over her (and failing) and in season 9 Ted getting over her completely. This is also weirdly paced because at the beginning of s8 both are in happy relationships with other people and there's no jealousy (which is good, because at least they weren't toxic) and they seem just friends (when Robin leaves Nick to go see him in the middle of the night, she implies that she would do it for any of her friends), but after Ted breaks up with Veronica because of Robin everything is weirdly coated in this sort of tension between the two: first Ted loves her, but she doesn't, so when he helps her by taking her to Barney's proposal ("which means my best bro in the world has given me his blessing"). 

And, by the way, every time they try to paint Ted as the guy that comes through for Robin after this moment, they dumb down Barney's character. And still fail to make Ted a better guy than him (see: the carousel in Central Park). 

Yes, Robin and Ted have some chemistry, but it is nothing compared to what Robin and Barney have. Every time Robin is jealous of Barney, it doesn't seem like a stupid whim, just because some other child is playing with her toys (except, perhaps, during The Robin). Robin and Barney's relationship would need a whole other post, and the next time I rewatch the series I will write down all the things that make them perfect for each other, but, to me, the biggest difference between the two relationships is this: in season 6, when she's not dating either one of them, Ted accuses Robin of never making him feel needed while they were together, whereas Barney praises her for it. Those are elective affinities: that's what Barney and Robin have, and what Tracy and Ted have. 

Barney and Robin have more or less the same arc: they both get over their fear of commitment and they do that with each other. Time and time again, we are told that if they're ever going to settle down, it would only be with the other. The first time they break up is honestly so stupid, and even when they are broken up, they are the best of friends, which also makes Robin's behaviour in the finale look so stupid. The way the two of them fit together is unparalleled, both in a romantic and a platonic way. 

Think about it: Robin makes Barney a better man, while she makes Ted a worse one. 

Also, the whole point that there are different seasons in life for everything gets thrown out the window: apparently, Ted and Robin (that were a couple that ultimately worked in their young twenties) are the same people in their forties.

But that's not even the worst part. The worst part is that the two final episodes butcher Robin's arc as well: episode 23 starts with Lily saying "I want this girl to be in our lives" and we know Robin never made other friends outside of the gang, because she didn't need to, and now she walks away from everything because of fucking Ted?? This is saying "hey, Robin was only in the group for Ted, who brought her in, and now she leaves because he's not her puppy anymore". Robin was the one that was eternally indecisive between Ted and Barney and you're telling me that three years and many many life experiences later, she's still not sure? 

The point of her story is learning how to get over her fear of commitment, learning how to be there for her friends (there's an entire episode dedicated to that, and it's the one where Lily's pregnant and we meet Robin's ex-best friend in Canada), and how to balance her job and her life. Also, the way her character is treated is un-feminist and un-progressive: she becomes Ted's consolation prize. She is passive throughout s9. She cannot, ultimately, win the modern-day struggle most women have and balance out career and love life, so her true life, her "happy chapter" begins after she has already accomplished everything she wanted to and she's free for Ted. She doesn't even go back to him, she just the prize the main character wanted for all his life and only got in the end because his wife died (ONE SCENE, people, ONE SCENE!). Also, this makes Tracy the "broodmare" that gives him the kids he wanted, and his "happy family" experience before he goes to be with his one true love. 

The mother

This. This makes me so mad. One whole season spent on building up Tracy's character, just for it to go to waste. It would have been so easy to screw her up, but she is hands down the best thing about s9. She's the perfect woman for Ted and the episode shot through her perspective is the sweetest. By the end, I liked her more than Robin and Lily. She was the perfect addition to their group, she fit together with them in a perfect way, and they show us the biggest moment of her and Ted's life... for what? To have her die in a few sentences? And I don't care if they shot a funeral scene, I don't care if the finale was supposed to be 40 minutes long, because, in the end, it wasn't. The scene where Ted meets her is the second most beautiful one (after Barney's proposal to Robin) and the climax of the whole show, but they ruin her... and for what? The chemistry Ted has with her, he has with no one. The joy she brings him, the way she understands him, is unlike any other. I am sure that one of the reasons they killed her off was the shock value and I hate it. 

I cannot stress this enough: Tracy makes Ted a better person. When he's with Robin, Ted is "the nice guy" in the most selfish and narcissistic version of the trope. When he's with Tracy, love comes easy to Ted. Also, the scenes between the two of them are arguably the best Ted scenes of the show.

The kids' reactions (ugh)

It's not really what they say- it's the way they say it. The end of HIMYM was not supposed to be funny, even though the show is a sitcom. It was supposed to be bittersweet and beautiful, because it's the end of an era, and the writers must have known that. So, Ted finishes telling his story, reveals to the audience that their now-beloved Tracy is dead, and the reaction is: "No, ahah, you totally have the hots for Aunt Robin" (their words, not mine). Like, what the actual fuck? I cringed when Penny said that. It's tasteless and not fun at all. Even if it has been six years... It's still your fucking mum, show a little bit of sadness at the thought of her. 

The reason the show ended this way

What makes me especially mad is that I know for a fact that the reason they went with this ending is that it was the original one, always intended for the show, from season 2 onwards. And, if you watch it right after s2, it makes sense. But if you consider the eight years that passed and the massive character development, then no, it's not the best possible one. So many things hadn't been decided yet back in s2, especially about Barney, Ted, and Robin, and I hate that they didn't dare to scrap their work. This ending probably had sentimental meaning to the writers, but authors have to do what's best for their characters, not themselves. It's like with GoT, in a way: I think that the authors were all too aware of the impact of HIMYM and didn't believe that their finale would live up to the expectations... which compelled them to make the worst decision possible?? Every single character is OOC during the episode. Oh, and Marshall and Lily moving in the last episode is a ripoff from Friends (or maybe a tribute? Idk). Anyway, I believe that the authors were too attached to their sentimental version of "what should have been" and didn't give the characters the endings they truly deserved.

"Life works this way" // "Life only moves forward"

Some people say that the show is realistic because that's how life works. But I call super-BS on that. That might be true, and yes, people do get sick and die (Max, Marshall's dad...) and life does go on. But then, you don't frame it the way they did. It's just bad storytelling if you do it like that. And the problem is not the structure of season 9, because the characters develop in that season. The problem isn't even the mother's death. The problem is Ted ending up with Robin because that's not life moving forward for him, that's him, doing the same thing he did in 2005, 25 (twenty-fucking-five) years before! 

In conclusion, this finale is incoherent and inconclusive, and not satisfying at all. The only character that gets a good ending is Marshall: why is that? What makes his ending great? It's the fact that his character arc is respected and he finally gets what he's been working towards for more than ten years.

[sitp-recs]

What are the classic Christmas-y drarry fics, do you think? Others can weigh in what they think, too. It's just, I'm making a list of my Classic Christmas Movies to watch and was wondering what the fandom equivalent was? (+what do you think makes a christmas fic/movie? for me, there's gotta be love + snow + 'the true meaning of christmas').

Oh dear, I’m really not the best person to talk classics 😂 my fandom experience has always been very personal and I have little knowledge about fandom history & trends to list classics - it’s the kind of assumption I’d rather not make, you know? But if I had to guess I’d say all of Saras_Girl’s advent fics, maybe jadepresley’s I’ll Floo Home for Christmas too?

Personally I like to revisit my favorite comfort fics at this time of the year, whether or not they’re Christmas themed. It’s more about the vibes and less about the aesthetics, for me - although most of them do have snow! Like Here’s the Pencil, Modern Love and Tidings of Comfort for example - I associate them all with the holiday season for different reasons (snow kiss, gift exchange and redemption arc) - but I also like to reread Nightcall which is a dark-ish werewolf case fic so go figure 🤷🏻‍♀️ I think the only “real” Christmas-y fics I check religiously every year are All Roads Lead Home and break the bad luck in my life, in fact I reread them throughout the year lol as you can see I’m not a good point person for this ask but I’m sure my followers will join this convo with great recs! 🎄

[sovereignzofdarkness]

avocado gets her corruption arc (new ob costume) right after dark choco gets his redemption arc. equivalent exchange

[fishoutofcamelot]

Since October is my yearly Fullmetal Alchemist Rewatch MonthTM, it's time to rehash the ol' BBCM AU

Arthur as Colonel Roy Mustang. Naturally my gut instinct is to put Arthur as Edward. They're both angry blondes with a red cape-thingie and twice their weight in daddy issues. But honestly, if we look at this from a perspective of themes and character arcs, I honestly think Arthur would be a better fit for the role of Roy Mustang. Both of them are members of an oppressive military structure, have a history with participating in genocide that haunts them and requires redemption, and are in a position of authority over a found family group of soldiers (drawing parallels between the Round Table and Team Mustang). Also, Mustang stages a coup to overthrow the evil/oppressive government, and it would have been *chefs kiss* good character development to see Arthur do that

Merlin as Edward Elric. Y'know I didn't think Merlin as Edward would make any amount of sense. In terms of personality they couldn't be more different. But the more I think about, the more I realize that while they are very different people, thematically there's a lot of similarity. First and foremost, themes of sacrifice. Merlin puts himself through so much crap just to protect his friends, while Ed lost his leg trying to bring his mom back, and gave up his arm and later his alchemy in order to save his brother. Also, they're both young magical prodigies and considered anomalies within their respective magic systems - Merlin because he was born with his powers, and Ed because he can use alchemy without a transmutation circle. Also also, they're both being used as weapons in service of an oppressive authority - Ed is a State Alchemist, aka a "dog of the military" and one of Father's chosen sacrifices; and Merlin is both a servant to the Pendragons and destiny's chosen protector of the Once and Future King. Both have to struggle with balancing duty/obligation with their own morals and desires, and both characters inevitably fall on opposite sides of that fence. (I also put Merlin as Ed because I'm a slut for whump and I would love nothing more than to see Merlin endure all the angsty crap Ed goes through)

Percival as Alphonse. At first it might seem like Percival would be Major Armstrong since they're both muscle-y boys. But actually, Percival is Alphonse. They're both large and imposing guys who are secretly total softies and don't have nearly the amount of screentime they deserve. Also, if Percy's soul had been bound to a hollow suit of armor like Al, he would definitely start hiding cats in there and you cannot change my mind

Freya as Nina Tucker. Don't hate me for this one, but it makes sense right? Like, like, forget the romantic shippy stuff for a sec, that's just gross in this context. Freya as Nina is so accurate it hurts. RIGHT????

Kilgharrah as The Truth. They're both morally ambiguous, physically displaced entities who are often visited or called upon during magical/alchemical events, who dispense wisdom and judgment based on their own strict adherence to a certain code - Kilgharrah to destiny, and The Truth to equivalent exchange

Uther as Father. Daddy issues

Balinor as Van Hohenheim. This one's a bit of a no-brainer. Balinor and Hohenheim are both absent fathers who have a brief reunion with their son/s and then die shortly thereafter. Also, parallels between them both having ~special magic~ that make them a target (Balinor's a dragonlord and...whatever the hell Hohenheim has going on). Also, both of them became lonely wanderers after suffering mass death within their community - the Purge and the fall of Xerxes respectively

Hunith as Trisha Elric. Ooh this one hurts but it just fits so well

Gwaine as Ling Yao OR Jean Havoc. Comic relief foodies and fun-loving characters who are secretly royalty but don't even remotely act like it? Wanderers from a distant land, coming to Camelot/Amestris with seemingly the sole purpose of messing with everyone? Yeah he's definitely Ling. But I'm also willing to accept the idea of Gwaine as Havoc, what with them both being the chaotic bastard subordinates to Arthur and Mustang respectively. Not to mention parallels between Gwaine being tortured and/or killed, and Havoc being hospitalized and paralyzed - both of these tragedies occuring after a fateful run-in with a murderous black-haired sadist

Mithian as Lan Fan. Can't explain this one, it just feels right

Gaius as Pinako. I don't think I have to justify this choice even a little bit

Nimueh as Scar. Yeah you heard me. Thematically it makes a world of sense. Both are members of a group of people that were subjugated, oppressed, and overall victims of genocide that became extremists in their quest for wholly-earned revenge. Also because Scar got an interesting redemption arc and I want Nimueh to have what he had

Lancelot as Maes Hughes. OOOOHH THIS ONE HURTS TO THINK ABOUT. But uhh. It makes sense. Both of them figured out the big secret before everyone else - Lancelot found out about Merlin's magic, and Hughes found out about what Father was planning. Not to mention that both of them are loveable characters whose deaths will be forever burned into my psyche. Also, if Lancelot had a wife and child you can bet your ass he would show off pictures of them to anyone and everyone

Elyan as Maria Ross. Mostly I made this choice because both of them were on the run at one point for crimes they didn't necessarily commit, Maria for accusations of murder and Elyan for all the stuff he did while being possessed by a ghost. Also because the idea of a shapeshifter using Elyan's face to murder Lancelot hurts in all the angstiest ways. At first it was tricky thinking of a place to put Elyan and then it HIT me and now I can't stop thinking about it

Gwen as Winry Rockbell. Hello, Winry's a mechanic and Gwen's a blacksmith? And then there's the dead family trauma, and them both being caring and compassionate but also won't take anyone's crap. And if Nimueh is Scar in this universe, then it makes a bit more sense from that angle too. Y'know, since Nimueh poisoned Gwen's father and indirectly led to her almost getting executed, while Scar straight-up killed Winry's parents. Just thinking about the scene where Ed gently pulls the gun from Winry's hands, telling her she shouldn't kill Scar because she has the hands of a healer not a fighter...but with Merlin and Gwen instead....oh my GOD I am going to EXPLODE with FEELINGS

Isolde as Izumi Curtis and Tristan as Sig. Fighter-type power couples who could wipe the floor with you while also held within each other's passionate and tender embrace? Sign me up

Agravaine as Cornello. Both of them are horrible people. Enough said

Leon as Riza Hawkeye. A weaker man might place Merlin or even Gwen as Hawkeye. But I have the balls to admit that if anyone fits the role of Arthur's badass yet stern ride-or-die second in command, it's Leon. If you can't see that because you're too busy trying to think of this from a shipping perspective, then I really can't help you. Leon is so obviously Hawkeye it hurts

Morgana as Olivier Armstrong. They're both BAMF girlbosses. A lot of people would classify Morgana as Lust instead, but that's low-hanging fruit. Uwu Morgana and Lust are both dark-haired, black-clad evil beauties who kill people and cause mayhem. Get real. As if Morgana would willingly follow the orders of someone who calls themselves 'Father'. C'mon guys, Olivier is just Morgana but blonde and not evil. They even have a similar relationship with their siblings, for crying out loud (although the concept of Arthur as Major Armstrong is absolutely terrifying and that mental image will haunt me for years to come)

[bevvydraws]

How I Would Fix Miraculous Ladybug

(A Guide That No One Asked For)

I’m gonna break this up into sections. Universe Rules, Main Characters, Setting, and Plot. 

Universe Rules: 

1) There is no “adults can use their power indefinitely”. That’s cheap writing. It doesn’t even make the tiniest bit of sense. 

- Instead, holders gain more power the stronger their bond with their kwami. This can be either through trust (a slow, gradual process) or through fear. Having a kwami’s complete submission to use their powers is what unlocks their “ultimate potential”. Of course, this potential is weaker if you choose to go the fear route. 

2) Guardians do not lose their memory when they give up the box. 

- This is something else that just doesn’t make sense to me. Why would they lose their memories? They’ve been committed to keep a box safe just to lose all memory of their hard work at the end of it? It’s pointless and cruel to the characters. 

3) There’s no other superheroes. 

- The NYC special really upset me because if America has all of these heroes at their disposal, then why are two teenagers the only people trying to stop someone who is obviously a terrorist? Sure it’s in France, but these are supposed to be top-tier heroes like Majestia. And if it’s a “oh well that has nothing to do with them” type of situation then they are pretty terrible heroes. So no, there wouldn’t be any other superheroes. The only way to be a hero was to gain access to a miraculous. 

4) Making the consequences of the wish clear.

- Maybe the wish uses equivalent exchange? Or it answers your wish but in a twisted and grotesque way like the Monkey’s paw? Or maybe the wish is something that completely destroys you? By making the consequences of the wish clear, and making it obvious that Gabriel knows just what the risks are, it makes him seem all the more desperate of a villain. 

Main Characters: 

1) Marinette Dupain-Cheng

- Honestly, I love Marinette’s character. But I wish their writing of her would be more consistent. She’s resilient, clever, quick witted, and charming. She has stood up to Chloe Bourgeois on multiple occasions (something even adults are afraid to do because of her status) and yet she let’s herself get bested by Lila? A practical nobody who’s only power is somehow getting away with lying. It’s inconsistent with what we’ve seen prior. If they want Lila to be a reasonably formidable antagonist and foil of Marinette, they need to make her schemes more believable. Her outright lying and just “magically getting away with it” isn’t good enough writing. 

- Also, I’d like there to be more focus on just how much strain there is put on Marinette. Let her show weaknesses and vulnerabilities. It wouldn’t make her a “weak” character, but it will help add to the seriousness of what she goes through all the time. Make her seem a little more standoffish, or tired, or quick to snap. Let her show her frustration. Let this be something that teaches her that it’s okay to ask for help (a good lesson not only for her as a character, but for those watching.)

2) Adrien Agreste

- I’m sorry but it makes no sense to me for Adrien to be as naive as he is. It’s cute, I admit, but it doesn’t make sense. When it comes to dealing with people his age I can understand the social awkwardness. But he was raised around elite adults and high-standing social circles. There’s no doubt he’s witnessed the ugly sides of the glitz and glamor. If anything, it would make more sense for him to be on the slightly cynical side. 

- Keep his dorky humor. The puns are cute and lighthearted. He can still come off as being jovial, friendly, and “pure”, like in the show. But occasionally he could let a cynical remark slip, or an eyeroll, or a sarcastic remark that doesn’t “fit” with how he normally acts. Show the struggle of him trying to maintain his perfect image to please his father while also trying not to let himself be turned into another upper class asshole. 

3) Gabriel Agreste

- MAKE. HIS. STORY. MORE. CLEAR.

- IT IS LITERALLY ALMOST 4 SEASONS IN AND WE STILL HAVE NO CLUE HOW HE GOT THE MIRACULOUS, HOW EMILIE GOT SICK FROM THE PEACOCK MIRACULOUS, ETC. 

- Also, pick what type of villain he is. Is he meant to be sympathetic? Is he meant to be a villain we feel sorry for? Or is he meant to seem so evil that we never even want to think of redemption for him? The show flips between “sad dad” and “terrorist” too much. Almost like they are trying to make him sympathetic but failing miserably. 

Setting: 

- Obviously it would still be in Paris, there’s nothing wrong with the setting location-wise. It’s more time-wise that troubles me. 

- Like... why would Fu choose teenagers when adults (canonically) have more power? Why would he willingly give heroes the disadvantage? 

- So I would age the characters up a little bit. It makes more sense to give the miraculous to even a 16/17 year old than to a 13/14 year old. I could see Fu not wanting to trust “older generations”, but 14 years old is a little young to be entrusting the fate of so many people to. 

Plot: 

- The plot could be pretty much the same. Only as time passes, more people join Team Miraculous permanently. 

- It starts off with Ladybug and Chat Noir. Eventually, the akumas become so overwhelming that Rena joins permanently. Then Carapace, then Queen Bee (yes, in this rewrite Chloe would get the character redemption arc). There would still be temporary holders (like Viperion would be for extremely dangerous akumas just in case) whose powers aren’t always useful in every situation. But the main five would all be permanent holders. 

- The show actually shows them making an effort to track down Hawkmoth. Of course, it isn’t easy, and it takes them a while to even come up with a method, but they do. 

- Depending on how Lila is written, you could even have Hawkmoth defeated somewhere halfway through the series, and have Lila take up the mantle and be a villain even more dangerous than Hawkmoth. Then they’d have the struggle of fighting even more villains all while dealing with the reveal of Hawkmoth being good-ole-gabe. 

------

And that’s it :D this is mostly just big things, there are little things I would change too, but this is just the parts I would change about the foundation of the show. 

[plague-of-nice]

❗Major j.ojolion spoilers discussed with detail below the cut.

I just got hit with extreme J.oshuu feels so I wanna ramble while crying.

I brought myself to tears thinking about the ending all over again...especially thinking about the fact that J.oshuu just has his baby arm even at the very end of the part which is, in all fairness, something he could potentially fix with a stand like [Nut King Call].

Because... i think many people (including me until now tbh) just lowkey gave up on Joshuu's potential character development after that little stint that happened after he underwent equivalent exchange with Yasuho.

The story was clear-cut on what kind of guy Joshuu is. He's a spoiled brat, socially innept, extremely confrontative and no stranger to bastardly deeds...

But listen... The "redemption arc" people hyped about during the previously mentioned stint with Yasuho was expected from Joshuu way earlier than it should have been. A change in character never happens that fast.

In my eyes, Joshuu has just begun redeeming himself... but from what we've seen, he's well on his way to being successful.

This is all because of that "baby arm" and the fact that we see Joshuu still having it on his person until the end.

It's a tangible, visible proof of a "step in the right direction" for Joshuu.

A review: What were the circumstances that left Joshuu with a wilted arm in the first place?

1) While most of his family is reeling from the huge chain of calamity that left their home ruined and their Eldest brother dead, Joshuu was the only one being "confrontative". More accurately said, pro-active. He took the miracle fruut plant from his brother. In a way, that's him cementing his place as the brother of the family. That's Joshuu taking the role of the person who once overshadowed him, the person he once looked up to.

2) Joshuu then, with certainty in his heart, wanted to use the fruit to heal Yasuho. It's a genuine act of kindness because he really does care for Yasuho, even removing the perverse side to how Joshuu thinks. (Istg I will not tolerate opinions that strictly believes Joshuu was just being a gross inc*l at that moment when it's been established that the Enemy Stand's powers can literally make certain people act wild and crazy as part of its ability.)

With all that said, to me... the fact that Joshuu kept his arm is a reflection of a change of heart.

Remember how I mentioned he could've perhaps just immediately stolen some random guy's arm to fix himself with his stand? When considering his former bad behavior and selfish tendencies, it's very much nothing out of the ordinary, right?

Well... The fact that Araki specifically kept Joshuu with the baby arm at the end, I think, symbolizes that he is way less selfish/self-serving than he was at the very beginning of the manga.

And honestly? I love to think that it holds so much promise for Joshuu's character development going forward.

...I just... confidently love Joshuu (as a friend) with all my heart. He's a nuanced character that gets so much flack, but somehow, I just feel like I get him. I see the good he is certainly capable of. I have full faith in him as a person.

God, I just wanna give him a big hug right now and make sure he knows he's got someone on his side.

[thegeekerynj]

All Death Metal Review (And nothing from Sweden!)

Death Metal: Trinity Crisis One Shot 

Writer: Scott Snyder   Artist: Francis Manapul

‘And who are YOU supposed to be? I’ve faced enough Dark Knights that no Batman scares me anymore!

Ha! Then it’s a good thing I’m not a Batman! I’m his MOTHER!’

———————————————————————————————————

Sweet Christmas! That took me by surprise!

Harley kissing Jonah Hex, that was really sweet, and gods awful creepy, and kinda gross,  after the exchange, and some thought…

This is it, Gentle Readers… the Beginning of the End of the Beginning of… Oh, crap, now I’m lost… This is where the story starts rockin’!

The Gang’s all together, and the Black Lantern Bat has determined what they need to do.

The plan? Split up, naturally. That AL-ways works…

When we left them in DM #3, the Lanterns are protecting the Home Base, and taking out the Crisis Energy Antennae on the Earths left in the known Universes, The Flashes are off and running through the Speed Force, trying to find Metron, and stay ahead of the Bathattan who Laughs, while the Trinity (Superman / Antilife, Black Lantern Batman and  Warden Wonder Woman) along with Swamp Thing, Harley, Hex and Jarro, head for Castle Bat, to gain access to the Crisis Earths, where the Crisis Energy is being harvested for Perpetua.

**WHEW!**

Getting into the Castle involves getting past an army of Dark Knights… and we have a bunch of real winners here! 

Bat Monday - Salomon Grundy in Bat ears, I could have busted a gut laughing, until I thought about what kind of weapon a zombie with Batman’s training could be, and shivered…

Kull, the daughter of Batman and Wonder Woman, corrupted by the Dark Universe…

Ark, the living embodiment of Arkham, with all of the knowledge and abilities of ALL her worst inmates…

Chiroptor, the amalgam of Batman and Chemo (Great Elder Gods!!)… 

And the Pearl, Martha Wayne, in the equivalent of HellBat Armor, complete with her iconic pearl necklace.

This is a real mindscrew for Batman, and the panels depict it, most intently.

One nice thing about Scott Snyder… he is consistent about tying up loose ends. Once we are in Castle Bat, we find out what happened to Barbatos, the Big Bad from Dark Nights: Metal. Not that we were actually wondering, since we got Perpetual, and the Batman Who Laughs, but, like I said, it ties up the package nicely.

Then, we are introduced to the character I have been most happily waiting for… the Robin King, and his Utility Belt of Death!

Gentle Readers, this is the story we have been waiting for, the chapter which tells us what the Heroes Plan of Action is, and where the story has been going, for over 40 years. You see, the opening page of this book tells us where this story began… with Marv Wolfman and George Perez, and Crisis on Infinite Earths!

Not to spoil too much, but Crisis, Infinite Crisis, and Final Crisis, ]well… they have all played a part in getting us to this story. It seems, the “Crisis Energy’ has fed Perpetua while she was trapped within the Source Wall, and, now, she wants it all, so she can recreate the Universes in her image.

Great job, if you can get it…

I can’t say enough good things about this story and artwork, as Snyder and Manapul have put together a really tight, hard hitting bottle / lead story, bringing us to the next step in the saga… 

Jeebus on a popsicle stick, I hope no one lets me down… that will hurt!

Out of 5🌶        🌶🌶🌶🌶.5

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

Death Metal: Multiverse’s End #1

Writer: James Tynion IV   Artist: Juan Gedeon

‘Mr. Rabbit?

Yes, Young Lady?

Thank you for saving me.

What a kind thing to say! It was so scary out there, and you stayed so brave. I don’t think I could have done it without your courage.

You’re really, really soft.

I use a special carrot shampoo.

———————————————————————————————————

Once upon a time, about a million, bazillion years ago in cranky fat man years, somewhere around 1982, Roy Thomas and Scott Shaw! brought Earth-C into the DC Multiverse, the earth of anthropomorphic animals… yes, they brought Super-Hero Cartoon Animals to the Super Hero Universe.

Our introduction to this Earth was Rodney Rabbit, a comics writing and drawing hare, who created the Just’a Lotta Animals comic by day, and was Captain Carrot, a Superman-esque rabbit, who got his powers from super charged carrots, when danger struck.

But, I digress… because I got really excited!

So, we have teams on the 6 Earths, each Earth holding a tuning fork, focusing the psychic pain energy of the population to Perpetual, powering her attempts to recreate the Multiverse in her image. The Earths in play, Earth - 3 (Crime Syndicate), Earth - X (Nazi Earth), Earth - 29 (Bizarroworld), Earth - 43 (Blood League World) and Earth - 50 (Justice Lords Earth) are all worlds of pain and suffering.

Their energy is the right flavor for destroying, and creating.

The heroes, organized and led by the Green Lanterns of Sector 2814 (Hal Jordan, Guy Gardner, John Stewart, Kyle Rayner, Jessica Cruz, Simon Baz), are working to take down the Antennae before the energy can be fed to Perpetual to power her Cosmic Undoing. 

So, teamed with the Lanterns, we have Hawkgirl, Kid Flash (Earth-22), President Superman (Earth-23), Wonder Woman (Earth-6) and Captain Carrot, all hellbent on stopping the respective Antennae.

The problem… Each Earth’s inhabitants have been laced into the antennae, to directly feed the psychic energy to it..since the energy is effectively terror, well, what better way to induce some? Of course, this isn’t the only problem to be contended with…

Leave it to James Tynion IV to come up with a way to make a villain creepier than the Batman Who Laughs… How, you ask? Well, take the true polar opposite of Batman, and make him realize HE IS what Giggles says he is, and you have an interesting new ballgame.

You see, while the Batman who Laughs is the Ultimate CORRUPTED Batman, Owlman is the Anthesis of Batman, the purest EVIL to the Batman’s GOOD. And he plans to make sure that he continues to be the True Opposite…

Gedeon’s artwork is rough, but considering the story being told, and the pain portrayed by the characters, it fits, perfectly. Some times, I see Joe Staton and Nic Cuti in these pages, a little cartoony, but that’s not a complaint… The story concentrates a bunch on Guy Gardner and Cap, so, it seems to fit (and the art is reminiscent of the ‘A Guy and his G’Nort’ storyline from 1991). 

All in all, a very good story, and a fantastic use of a truly underused treasure.

Out of 5🌶        🌶🌶🌶🌶

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Speed Metal #1

Writer: Joshua Williamson   Pencils: Eddy Barrow   Inks: Eber Ferreira

‘Hey, Flash Family, Is it true a Flash has to die in every Crisis?!’

———————————————————————————————————

And the levels of snark from the Darkest Knight have reached Epic Levels!

The first three pages of this issue give us a rehash of everything  having to do with Wally West, since the beginning of the Rebirth Era, from Barry pulling Wally out of the Speed Force, to Barry and Batman finding the Comedian’s Smiley Face button embedded in the Batcave wall, to the events of Heroes in Crisis and Flash Forward.

The action picks up as Barry, Wally, Wallace and Jay leave the Batman’s Vault, in search of Metron’s Chair, with the Darkest Knight hot on their trails. 

In the Speed Force.

With the Darkest Knight’s presence corrupting the Speed Force, Barry and Wally bickering the entire time, I’m reminded of why I hated the post Crisis Flash… Wally wasn’t mature enough to wear the mantle of Barry’s fame.

Sure, he had the speed, he was even faster than Barry, but he was still the same jealous little kid inside, the one who needed to be patted on the head, the one who couldn’t get on with the Titans, even though he was probably the most powerful of them. 

He was just an immature kid, and here, Williamson dragged that all into the foreground once again.

All so Wally West, the King of the Redemption Arc, could have another Redemption Arc…

Sorry, that did me in. 

The rest of the story is pretty good… the art is wonderful, the Jay / Barry / Wallace interplay is really kinda neat, and all the Black Flashes… well, I’m a sucker for Death icons, so a mass of Death Speedsters, well that’s fun with a CAPITAL F!

But, did we need another Wally gets to whine story?

Sorry, this wasn’t the finest arc of the Death Metal Saga.

Out of 5🌶        🌶🌶🌶

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Death Metal #4 ‘Shot In The Dark’

Writer: Scott ‘Scream King’ Snyder   Artist: Greg ‘The Muscle’ Capullo  Inks: Jonathan ‘Bloodied’ Glapion

“So, ever wonder why you never see A Harley Who Laughs’?’

———————————————————————————————————

And, that Gentle Readers, is the crux of one of those puzzles about this series… Why don’t we ever see more twisted versions of the Villains who infest Earth Prime?

The Robin King (this is the character who rates SECOND on my memorable Characters list, especially with his own One-Shot—— Who’s First?? Time, Gentle Ones in time…) puts the explanation out there, and it is very simple.

And worth the read… But, I digress.

So, Issue 4 picks up with Sergeant Rock describing what has been happening on Earth - Prime, and we finally get to see who has been carrying him around… AMBUSH BUG! Yes, the character that made the Fourth Wall more transparent than an open Anderson window has been carrying Rock around as his own personal narrator…

Which, if you know the Bug, is a joke unto itself.

So, here we go, the ride is picking up steam, and we are now following 6, count’em SIX, separate story lines. A guy could get whiplash, or Bullwhip or some other third rate character… But, I digress.

We have the Trinity storyline, the SpeedMetal storyline, Multiverse’s End, and the Lantern Storyline from the last issue, the Justice League / Legion of Doom story… am I forgetting anything? 

Oh, and of course, the Robin King.

Where to start with this… I guess the simplest place to start is the artwork.

Greg Capullo’s pencils are absolutely wonderful. For anybody who it's to watch the process of drawing I want to watch so he's got a really wonderful touch I recommend Greg Capullo’s Instagram site. As he's drawing pages for these books, he posts the pencils as he finishes pieces of the process . Normally, he has six or seven photo panels showing exactly what he's been doing.  In man cases, this involves crowd scenes, with extensive detail. His work is beautiful, it’s easy to see why he is such a sought after talent.

Jonathan Glapion’s inks on Capullo’s pencils are comparable to Austin on Byrne, and Janson over Miller, Janson over Colan… Enhancing, and not hiding the intricate detail rendered in the pencils, adding that last flash of lightning to bring it all together. The balance struck between them is almost organic, a constant growth between the two, bringing them to levels bordering on the true Classic Art teams of the last 50 years.

I do not make these comparisons lightly

Now, to the story. Scott Snyder is powering a roller coaster with a rocket sled. The coordination between the different aspects of these stories is both intricate and daring. With all the different aspects of this story spinning like plates on sticks, Snyder juggles the plot lines, and what is left to him by the myriad of writers as Emmet Kelly did in the heyday of Ringling Brothers.

His deft touch, and subtle influences are balanced by lace covered sledgehammer blows, leaving the reader reeling, and wanting so very much more.

Scott Snyder, much like Tom Taylor, has pulled out all the stops, cut the brake lines, kicked out the jams, insert favorite euphemism for creating a high speed, non-stop mad ride to Hell!

And, much to my wallet’s chagrin, I am very happy about it.

Now, as it crosses to other books, and other writers pick up the reins, I am sure Snyder will still be the whip hand driving the story, not allowing some of these writers to go too far astray (unless it’s Tom King… then, well Woo Hoooo!)

I can’t say enough good things about this story, or the team creating it. I’m beginning t feel a little biased, but, what the heck.

Out of 5🌶        🌶🌶🌶🌶.5

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Death Metal: Robin King #1 ‘The Robin Who Would Be King’

Writer: Peter J. Tomasi   Artist: Riley Rossmo

‘Aw! Come on, this is the fun part!

Get up and let’s FIGHT!’

———————————————————————————————————

Games, within games, within games…

So, the Batman who Laughs wasn’t infallible.

And the Robin King is going to be the bigger threat to the Darkest Knight than any combination of the Trinity, Flashes or their cohorts.

At least, that’s my takeaway from this issue.

We continue the story of the Robin King, as started in the Tales of the Dark Universe one shot.  Bruce has grown up, and grown into his sociopathy, and genius. He has used the family fortune to get all the training necessary, and to accumulate all the tools, to begin his reign as the true Evil Overlord of Gotham.

Utilizing his accumulated weapons, he has taken out Commissioner Gordon, Firestorm, Animal Man, Adam Strange Blue Beetle (Ted Kord), and the Red Tornado, all in truly spectacular and extraordinarily grisly fashion.

While the Black Hole Implosion for Firestorm was a particularly well thought out death, I think, so far, the ‘Mortal Coil’ Death, for the Red Tornado was the most imaginative… making his powers totally uncontrollable, while moving him closer to his ultimate dream, to be a real person, before his form totally destroys itself from the stresses of his own speed.

Marvelous! Fantastic! Gross!

Enter the Batman who Laughs, with the proposition to make the Robin King special, one of his own…

But, he’s a Robin, so, off to the Groblin Pit he goes!

Hence, his mistake, and possibly another chink in the boiler plate of his plans… since Bruce Wayne is NO Robin!

Peter Tomasi’s scripting for this issue is simply remarkable. The creep factor he brings to this iteration of Bruce Wayne is almost eviscerating. Reading this was painful to my eyes and psyche, feeling the levels of insanity drip off the page, and scratch across my mind like a little bird’s unnaturally sharp talons.

He really hit all the horror factors.

Then, there was the artwork for this story. Riley Rossmo’s artwork set the mood for this story. His shattered pencil / inks style, which can be distracting, was integral to telling this story. It allowed the Reader to view this story as if it were playing out in Bruce’s mind, its all the fracturing being how he is viewing the world.

For me, this story has been the highlight of the series… thus far. I am anticipating this, which is near the midpoint of things, is setting up the Wednesday Night Episode…so, - 

Tune In, Gentle Readers! 

Same Bat-Time

Same Bat Channel!

The Best Is Yet To Come!

Did I neglect there is a B-story, with Signal, Spoiler, Orphan and Red Robin taking on Quietus, the amalgam of Batman Ras’ al Ghul and Duke Thimas, from another Dark Universe, written by Tony Patrick and drawn by Daniel Sampere?

This story brings in a plot line for ‘What’s happening for the Other Bat-Family Elements’, as they try to find their way through Castle Bat’s myriad streets… 

I am guessing we will start to see more of these stories.

I am completely fine with this, rather than having to recap things later…

Out of 5🌶        🌶🌶🌶🌶.5

[justanotherpersonsuniverse]

The laws of equivalent exchange state: If Chloé gets a redemption arc, Sabrina must get a bastardisation Arc.

YES

[rowanwiththedevil]

Spoilers for Critical Role s2e97

.

.

.

So I just wanted to weigh in on the whole “Essek is a war criminal how the hell are they gonna make him redeemable” thing.

First: Essek simply helped push the final button on the machine of war that was being built over years of the Empire and Dynasty not taking time to understand who they are sharing the continent with. He did not turn entire nations against each other, he just gave it a catalyst. While still not great, now the “reason” for the war is something simple and tangible. If it had been for land or resources or maybe a crime against the others citizens, the Mighty Nein would not be able to curate peace talks/exchange of beacon and prisoners.

Second: Essek is a baby. Like....homedrow is, by measure of elven maturity, the equivalent of a 21 year old. He is young, and probably being heavily manipulated by the Cerberus Assembly who have been around far longer and are more powerful than Essek. Young people are allowed to make mistakes, but when more responsibilities are placed on you, worse consequences are probably gonna happen.

Third: on the topic of Nott with Isharnai versus Essek. Both were, if not by most people’s standards, right. I don’t have the power to start or stop wars, but if I did, I would absolutely do what is best for me and the individual people I care about. Its heartless, perhaps, but if me and mine are safe, I’m not that likely to really give thought to consequences. But when I finally come to see what I did, or someone affected by my actions asks why...I’d probably hate myself for my choices too. And if anyone was willing to give me a redemption arc then....yeah alright. I get both of them.

[bladekindeyewear]

HS^2 bloggin’ mainline 2020-09-15

This caught me laaaate at night gosh I’m tired but I’m gonna get it outta the way so it won’t stick in my craw!  Already saw the first page, so it’s time for:

> CHAPTER 13. The Funeral

Church with chess symbols at the peaks and a Prospit/Derse or Hope/Rage split color theme on the stained glass windows.

JANE: Dearly beloved...

> (==>)

Trolls, humans, and papparazzi.  Oh, hm, this church is RATHER carapacian isn’t it?  Between the chess and the continuing Prospit-Derse themes, like how this corresponds to how they align in the incipisphere top-left to bottom-right if I recall:

(Minus the outlying orbs to the left and right for symmetry.)

That twisted pattern is interesting, and not quite a spirograph.  Is that gonna be important later?  If we’re going to get some sort of class chart later in the comic, it’d be easy for them to hint at the chart’s graphical structure subtly by dropping it places like here.

JANE: Ladies... JANE: Gentlemen... JANE: News outlets... JANE: And other valued members of the Human Nation State.

Technically true, but still odd to hear--  ...oh right, I forgot this was asshole dictator-wannabe Jane, too.

I read an interesting twitter thread recently about the intense psychological distinction between wanting to BE the best, and wanting to be TREATED like you’re the best.  Epilogues/HS^2 Jane is kind of written as a case study on the pitfalls of leaning on the latter instead of the former.

> (==>)

They brought Yiffy WITH them-!?  --Oh right.  The hostage exchange was supposed to happen here wasn’t it.

Yiffy definitely looks like a Harley-Lalonde daughter in this shot.

JANE: Gamzee Makara, High Court Jester, exalted saint of the purple veil, has left us to traverse that grand, gay carnival in the sky, where, I am told by various members of the clownly cloth, he will spend the rest of history, honking in grand tribute to the Mirthful Messiah.

SINGULAR???

Weird.  Is it because Alt!Callie “won” here?

Or is Jane just forgetting because she’s culturally used to monotheism (ironically) and is insensitive.

JANE: And my first memory of our Purple Prince, was his robust codpiece--

Wow.

> (==>)

JANE: --As he offered me his friendly support, along with the sacred blood of his brethren, the holy sacrament--

He STILL killed trolls??! (EDIT: No, a friend points out that she's talking about when she met him first in Act 6 and he tried selling bottles of troll blood to her. EDIT2: -which may be another inconsistency, since Vriska supposedly overwrote that post-retcon.)

> (==>)

It takes Jake a few seconds of puzzled eye contact before he catches exactly what it is Yiffany is tossing down. In his defense, he is distracted by his wife’s speech, which is doing the emotional equivalent of wringing him out like a wet towel, before using that towel to slap the sweaty buttocks of a large, odorous man. Even if he knows everything she’s saying is a load of horsefeathers, it does nothing for his composure to hear her heap praise on that smelly, homewrecking clown.

Bad things about Gamzee deserve to be said here, yes.

Jake wonders what she’ll say about him, at his own funeral.

Now those are some uncomfortable thoughts.

He narrows his eyes in Yiffany’s direction. She’s a lovely girl, really. He wishes he could have gotten to know her under better circumstances. He’d known she existed, of course--Jane had complained about her often enough--but they’d never had much chance to get acquainted. He rather believes her and Tavvy would have been fast friends.

Then again, perhaps it’s better that she never had much of a chance to get to know his family.

He lets go of the leash.

Yep, there’s a plan to set in motion that he’s probably already discussed with her privately.  Gotta unite this four-kid team after all.

> (==>)

Wait, are you ATTACKING?!?  --Of course you’re attacking.  You would even if the plan was something different, wouldn’t you.

JANE: And I know that at times like these it is easy to want to give in. JANE: To throw in the towel, and turn our faces away from the light of democracy and moral fortitude that we, the citizens of the human kingdom, are blessed with from birth. JANE: God knows I’ve had my own faith tested in the last few weeks.

Jesus Christ, what has she turned the place into, a fucking theocracy?

She sounds like the leader of some screwed-up, fundamentalist country!  Like the United States!

*rimshot*

JANE: As many of you know, I did not grow up with the same privileges that all of you enjoy.

Jesus.

JANE: I was born on proto-Earth, that half-finished dystopia mangled by the ravages of foolish leadership and endless war.

Jesus, she really IS a self-evident takedown of hypocritical entitled political figures.  With the bonuses having Jasprose explicitly ADDRESS said entitlement to make things even clearer cut.

JANE: And as for Gamzee, well, his upbringing was even worse. JANE: He was born to a violent and uncaring home, a lonely child with few natural gifts.

...Some natural gifts and status.

> (==>)

She’s just, shaking with fury here isn’t she?  And about to perform an impressive corpse-lob.

JANE: It would be simple to let this disgusting, vile, SHAMEFUL act of spiteful revenge turn us away from the blinding light of the sword of justice that hangs over us all--

This sentence seems suspicious so I’m quoting it to refer to later if I need to, but is probably just platitudes.

> (==>)

JANE: Poised

> (==>)

JANE: Trembling

Okay maybe the sword’s a dick, but what exactly is Yiffany doing??  I’m finding it difficult as usual to tell between some of these image transitions.

> (==>)

JANE: Ready to burst forth--

Bad PR to shock-collar a kid mid press junket.  (Very dicks description.)

> (==>)

Click.  (Did they swap the shock function with Jane’s necklace somehow, that’d be fun.)

JANE: I want to give up, at times. I understand your pain.

While shocking a kid?  GREAT PR.

> (==>)

JANE: I sympathize with your pain.

Wow, those horrified audience members.  She REALLY can’t even see herself anymore can she?  Not even hear herself.  And they’re making sure this is pointed out to EVERYONE watching.  They described this as in large part a PR campaign to defeat her, didn’t they?

> (==>)

Great furious businesswoman-villain look, that art.

JANE: But when that pain! Becomes too hard! To endure! JANE: Remember poor, lifeless Gamzee! Who suffered pain far worse than any of us could ever fathom! JANE: THE PAIN OF BETRAYAL!

Click click click.  This is a fun sequence.

> (==>)

DIRK: Dude, didn’t you lower the voltage on that shock collar? DIRK: Little Red isn’t looking so hot. JAKE: Yes of course i did but the damn doohickys got the kick of a donkey! JAKE: I couldnt remove it completely shed know i was the one who did it! DIRK: Well, if that supervillain cuntwaffle doesn’t stop, she’s going to kill her. Not really the best at hostage management, is she.

Decent plan.  (And of course Dirk would pull out the word cunt.)  When’s the cavalry coming?

> (==>)

JANE: But we cannot allow his memory to be in vain! JANE: For Gamzee Makara taught us that even the most loathsome degenerate can take their place in society. JANE: All they need is the right redemption arc - !

Trying to hammer home some of the Epilogue’s trolly-critical themes a little less bleakly, I take it.

I kind of like the violent vibration in ALL of these gifs in a row.  It makes the scene seem small, slow, teeth-clenching but still full of steady action, emphasizing the importance of the relatively small events from panel to panel while giving them the sense with the animation of them being [i]drawn out[/i] and tortuous instead of just “occurring”.  It feels that way to me, anyway.

> (==>)

If he got up alive here, that’d be hilarious.  (Presumably he’s been treated and done-up like a normal funeral body, not “dormant” and undecaying like a dead god-tier.)

> (==>)

CORPSE PUNT w/ CLEATS

> (==>)

That face is just.  I love that face.

> (==>)

SHE MAD

JANE: Young lady, I am just about at the end of my rope with you. JANE: Throw all the dog bowls you want at the walls of my warship. JANE: But don’t you dare act up in front of a JANE: Live JANE: Fucking JANE: Newsfeed! YIFFY: Grrrrrr

What did you expect to happen?  Do you expect to shout her down from this, Jane?

JANE: After everything I’ve done for you--paying for your education, helping your parents cover up your existence from the world! JANE: Just imagine what Rose and Jade would say if they could see you now, even dissidents can have a little decorum! JANE: Get down from there at once! YIFFY: Grrrrrr

But this is GAMZEE.  --I guess it’s seriously disrespectful to his followers, though.  Still.  If you wanted civility from her, a shock collar, leash, and food bowl wasn’t the way to go about it.

JANE: Don’t you threaten me, young lady. Not today! YIFFY: GRRRRRRRRR

What is your PLAN even, Jane?  You’ve completely disregarded her.

JANE: There’s nowhere for you to go. My agents are swarming this church. Be reasonable, Yiffany. JANE: Ugh. JANE: Disgusting name. JANE: But that’s hardly your fault. You were always just a footnote. Your parents’ little prank. JANE: Honestly, that’s why I helped them all those years ago! I do love a good jape. JANE: But let’s be serious. JANE: You don’t matter. If you did, they would have come for you already.

Can all the press hear her being such an asshole?

Okay, stereotypically, their arrival should be the next couple panels:

> (==>)

Jake, do something useful like hoping harder.

> (==>)

And she knocks the remote away.  Excellent.

And she does. Seemingly at the end of her tolerance for insults toward her name, social status, and heritage, Yiffy performs an impressive backflip off the podium and down onto the church floor. One that, if it hadn’t been happening amidst a sea of other newsworthy events, would surely have ended up on someone’s instagram story within thirty seconds. She gives Gamzee’s corpse one last parting kick: a hard, proper kick that proves those cleats aren’t just for fashion. Although they are certainly also for fashion.

Good, good.

He vanishes into the seething crowd, and we are confident that we will never have to deal with this asshole ever again.

God damnit.

> (==>)

Jake watches this from a safe distance, poised on the edge of intervening to pull Yiffy out of there. But in the end he doesn’t have to. Instead he watches in admiration as she tears the place to utter shreds. An echoing sympathy swells inside of him as she rends apart the funeral flowers and punts Gamzee into the shrieking congregation. Here is a girl who felt the cold, indecent hand of fate wrapping around her, and instead of submitting to it and slowly sublimating down into morasse of boiled doormat, she slapped it away from her with a lively oh, no thank you.

All at once, Jake feels immense affection for his granddaughter. He hopes the two of them can make up for lost time.

Lessons belatedly learned, but learned nonetheless.

> (==>)

JANE: Enough of this. JANE: Seize her!

Kind of Red Queen of you.  (Are those stained glass windows in back of the frame about to burst?)

> (==>)

Yep.

The stained glass window shatters inward, obliterated to stardust. The war is knocking.

Even attacking a disgusting faith’s church is pretty bad form, though.

Tired and busy, seeya next upd8.  <3