#the existence of a story and his role in it and manipulate that to change his standing.

[daisyachain]

really and truly the tiers of mob saiko understanders are That One Blog That Translated Ch 100 As It Came Out > the privileged few who like teru/mob > people who hate teru/mob > most people who like teru/mob > people who call reigen gendered slurs

[ineffable-endearments]

I was rethinking the bookshop meta I wrote a while ago and realized I was not thinking big enough.

The bookshop has always been Aziraphale's version of Crowley's plants (his trauma reenactment), but also, absolutely everything Aziraphale does in Season 2 is a re-creation of Heaven's role. Crowley's behavior also encompasses everything, not just his plants.

I've seen it suggested that centering Aziraphale and Crowley's trauma histories is reducing their characters to behaving like just reactive victims instead of survivors with agency. Or worse, it's "excusing bad behavior." I don't agree with either of these, because I feel that part of Good Omens is about how large, powerful systems affect individuals, and so the context of every character's decisions matters a lot to the overall themes of the story. Everyone starts out working within a system they believe to reflect reality and then has to learn how to break free of it. You cannot really illustrate that without having the characters start out being genuinely trapped with different ways of coping with their reality.

This is an attempt at a pretty big-picture meta. Although it isn't a plot prediction, it's how I think some of the series' themes are going to progress. It starts out perhaps a little grim, but in the long run, it's how Aziraphale's character growth and relationship with Crowley can simultaneously be massive for them as individuals, a crucial part of the overarching narrative message of the series, and symbolic of a change in all of Heaven and Hell, all while allowing the themes to continue to prioritize human free will.

In short, it's about Aziraphale's problems, but it's also meant to be an Aziraphale love post.

All of the below exists in tandem with Good Omens as a comedy of errors. Just because there are heavy ideas does not mean they will not also be funny. Look back on how much of Season 2 seemed silly until we started to pick it apart! One of the amazing things about Good Omens is how it manages to do both silly and serious at once! (I feel like that's maybe a little Terry Pratchett DNA showing through. "Laughter can get through the keyhole while seriousness is still hammering on the door," as Terry himself said.)

Aziraphale has really embraced his connection to Crowley in Season 2, and he has also become considerably more assertive toward Heaven and Hell. These are both major growth points compared to the beginning of Season 1.

However, again, we have the concept of growing pains...Aziraphale is starting to re-create Heaven's role in his relationship with Crowley and humanity. It's really obvious with the Gabriel argument and the I Was Wrong Dance, but I think we see it all over the place: he seems to feel any serious dissent is a betrayal. He also seems to assume there's a dominance hierarchy and he, of course, is on top. Now that he's decided to take control of his own future, then surely that does mean he's the one in control, right?

With all that said, he still seems to have trouble being direct about the feelings that make him most vulnerable. He manipulates people and engineers situations in which he can try to get his emotional needs met rather than saying things outright (case in point: the Ball).

Like I pointed out in the bookshop meta: subconsciously, he's playing the role of God, modified with what God would be if She were everything he wants Her to be. He's generous, almost infinitely sweet, always does what's best for people...or, at least, what he believes is best for people. During the Ball, Aziraphale influences the people around him to be comfortable and happy even when they're not supposed to be, and he limits their ability to talk about things he thinks are too rude or improper for happy, formal occasions.

Doesn't this pattern sort of make sense for an angel who's just discovering free will? Like, at the end of Season 1, he made an enormous choice to stand against Heaven and realized he could survive it. Now he's gone a bit overboard with exerting his own will. Unfortunately, while he's learned to question upper management, he's still operating on a fundamental framework of the universe where there have to be two sides and there has to be a hierarchy. Also, since Aziraphale is on the Good side, he of course has to gear his desires into what's Good rather than just what he wants, so he sometimes thinks he's doing things for others when really he's doing things for himself. (For example, matchmaking Maggie and Nina started out as something he wanted to use to lie to Heaven, but by the time he was commenting "Maggie and Nina are counting on me," he seemed sincere, like he had genuinely convinced himself this was for them and not for himself.)

Aziraphale knows Heaven interferes in human affairs, ostensibly on God's behalf. He thinks She should be intervening in ways that are beneficial. What I believe the narrative wants him to learn is that God and Heaven shouldn't be manipulating people at all, not even for Good, and in fact there is no real meaningful hierarchy.

Anyway, a top-down, totally unquestioned hierarchy is the primary social relationship Aziraphale has known, and it's certainly been the dominant one for most of his existence: you're either the boss or the underling, and if someone seriously questions you, they don't have faith in you - they don't respect you.

No, his relationship with Crowley has not always been like that, but they've been creating their relationship from whole cloth, so how would he know it shouldn't become that way, now that it's "real" and out in the open?

No, human relationships aren't like that, but Aziraphale clearly does not see himself or Crowley as human. As the relationship approached something that seemed like it must be "legitimate," Aziraphale would naturally look for a framework to fit it to. And again, the only one he has is the shape of "intimacy," or what passes for it, in Heaven. What has "trust" always meant in all his "legitimate" relationships? It has always meant unquestioning obedience, of course. What have the warm fuzzies felt like in Heaven? Well, praise from the angels above him is nice, so that must be it, right?

Aziraphale even describes being in love as "what humans do," separating out that relationship style. Someday, I think he'll realize he favors the shape of love on Earth, something that's more inherently equal, more give-and-take. Look at how he idealizes it from afar at the Ball. But I think that, like Crowley before Nina pointed it out, Aziraphale maybe hasn't 100% grokked that it can and in fact should work that way for him and Crowley, too. Just like people can desperately want to dance without knowing how to dance, or can desperately want to speak a language without knowing the language, Aziraphale does not instinctively know how to have the kind of relationship where he can be truly vulnerable and handle Crowley's vulnerability as well.

Aziraphale is downright obsessed with French, known as the "language of love." He's trying to learn it the Earthly way. He's not very good at it, but he wants to be.

This pattern is still present during the Final Fifteen even if we assume Aziraphale is asking Crowley to become an angel again out of fear (and I find it very hard to believe that fear doesn't factor in at all). He's still building his interactions off of that Heaven-like framework: he asks Crowley to trust him blindly, he tries to assume a leadership role with a plan Crowley never agreed to and couldn't follow anyway, and he tries very hard not to leave room for an ounce of doubt. He also suggests making Crowley his second-in-command and obviously does not register that this could possibly be offensive. Again, I think this is because for Aziraphale, there has always been a hierarchy in Heaven, it's started to transfer to his relationship with Crowley, and breaking out of that assumption about relationships is going to take more processing than a single argument can do.

As I mentioned in another post, I don't believe Aziraphale had a real choice about whether he accepted the Supreme Archangel position. I think he could sense that he was not getting out of it and chose to look on the bright side, to see it as an opportunity. And instead of looking realistically at how that would feel to Crowley, he tried to sweep Crowley up to Heaven with him using toxic positivity, appeals to morality, and appeals to their relationship itself. Again, mimicking what Heaven has done to him.

To me, "they're not talking" is a big clue that Aziraphale's approach with Crowley is going to be the mistake the narrative really wants him to face. "Not talking" has, thus far, been presented as the central conflict of Season 3! After losing the structure and feedback Heaven gave him, Aziraphale started creating Heaven-like patterns in his relationship with Crowley, and breaking out of those patterns is what he needs to do. Discovering first-hand that Heaven's entire modus operandi is bad no matter who's in charge is how he can do it.

Look, either you're sympathetic to Aziraphale's control issues or you're not. Personally, I am. He's trying so, so hard to be good. I think trying to figure yourself out (which Aziraphale is clearly doing) is hard enough, and when you start balancing what you want for yourself, what you think are your responsibilities, and what other people are actively asking of you, you're bound to fall into the patterns that have been enforced for your whole life or for millions of years, whichever came first.

It is very easy to assume that people should Just Be Better, but it's not actually that simple to be a thinking, feeling person. My anxiety tends to move in a very inward direction and Aziraphale's moves outward. But I'd imagine the desperation and exhaustion are the same.

Unlike Nina, Aziraphale became a rebound mess. I don't think it occurred to either him or to Crowley that there could be any soul-searching, anything but carrying on with the new normal after their stalemate with Heaven and Hell.

Now, instead of getting rejected by Heaven and surviving it, Aziraphale needs to be the one to reject Heaven. It needs to be a choice. And that choice is going to come from realizing that Heaven isn't just poorly managed but also represents a bad framework for all relationships.

How could this happen? Good question. We're obviously not supposed to know yet, although I think picking at existing themes within the narrative could possibly give us hints.

It's possible Aziraphale's character development trajectory will be akin to Adam Young's in Season 1. Please see this stellar post by eidetictelekinetic for more thoughts about it, but basically, in Season 1, Adam saw that the world was not what he wanted it to be and decided his vision was better; as he ascended to power, he took complete control over all his friends and then soon realized that's not what he wants because there's no point in trying to have relationships with people who can't choose you. It's that realization that leads Adam to conclude he doesn't want to take over the world and to reject the role he's expected to play as the Antichrist. Maybe Aziraphale's trip to Heaven is an attempt at a control move during which he'll realize he's defeating his own point.

Aziraphale clearly wants to be chosen. From the very beginning, he's wanted to be special and cared for - just like Crowley has.

Incidentally, I think Aziraphale and Crowley are going to represent pieces of the bigger picture here, and this - first imitating and then rejecting Heaven's relationship style - can both symbolize Heaven's transformation and directly start it (probably in an amusing, somewhat indirect way, like when he handed off the flaming sword to Adam).

If I'm right - which I may very well not be - I think this would all be so, SO cool. Like, "An angel who is subconsciously trying to be a better God" is a concept with so much potential for both tender kindness and incredible darkness. Add to that the comedy-of-errors aspect of "...but even deeper down, he'd much rather just be super gay on Earth" and you have, in my opinion, a perfect character.

I think this could work for Crowley as well. It's obvious that in the Good Omens universe, at least so far, Hell is all about detesting humans and punishing them; Satan seems to genuinely hate humans (unlike in some of NG's other works). Our perspective on this could change, but it potentially puts Crowley in a complementary position to Aziraphale, as a demon who is trying to be "better" than Satan. But this isn't about being "morally better." It's about things having a point. Crowley's exploits usually have a point: they test people. And you can pass his tests! He sincerely likes making trouble, but Crowley doesn't live to punish.

But, once again, the above paragraph would describe a transient phase for this infinitely charming character. Because, again, I think the point will be that in the end, Crowley's deeper-down desire, moreso than testing Creation, is watching it grow with a glass of wine in hand.

[chaoticsoulsword]

*sigh*

Let's do this again.

The most harmful and irreparable damage the MCU has ever done is definitely Wanda's characterization and how the "fandom" perceives her even when non-cb readers migrate to the 616 side.

(This is screenshot depicting a fan reacting to Russell Dauterman's redesign of Lore, an evil Wanda variant who first debuted in 1993 in Scarlet Witch #1. She will return in the new Scarlet Witch series this year)

In addition to all the "she's always been white" constant, toxic and racist comments, which only reinforces their lack of ability to recognize issues such as colorism, Rromani representation (when they actually know the difference between Rromani and Romanian, that is) and straight-up whitewashing, they also fail to identify a most essential trait of her entire characterization: her desire to do good and become a symbol of heroism.

Wanda despises doing harm to others. Her first iteration is legitimately a depiction in which she and Pietro are being forced by Magneto to work for him and his brotherhood of evil mutants, all thanks to emotional manipulation. She never means to hurt the original X-Men except when Pietro is hurt and/or in danger. It's her protective side, not her "evil" side.

(Uncanny X-Men v1 #4; #11)

It's also fundamental to be aware that Wanda and Pietro come from a place where there's trauma for being abused by Magneto when it comes to their powers. This is why they are hesitant to join the Avengers, and yet their sense of responsibility is stronger.

(Avengers v1 #16)

Now, when it comes to Chthon, it's another rabbit hole of struggling with independence, power and agency. Being controlled by an evil force is as an old trope as any other in comic books. Still, I can't help but notice that her relationship with Chthon is never truly solved as other magic characters' issues, so why does it stick to Wanda the hardest?

Allow me illustrate with other examples:

1. Magik and the Darkchylde.

For those who don't know, the Darkchylde is "an evil side" of Illyana Rasputin, result of her captor and abuser's tampering with her soul.

The Darkchylde has several interpretations, from abuse to struggling with self-worth, and it has been established for decades as a side of Illyana that she despises, fears and suppresses.

(New Mutants v1 #71)

Illyana took years to make peace with her inner self and even had an arc to leave her reigning place of power in Limbo to Madelyne, another character who was villanized by the narrative for the very same reasons. Which begs the question.... why would a fan root for the Darkchylde to be her standard self when this is precisely what she hates the most? When it's precisely what causes her pain and leads her to a process of isolation and unhealthy behavior?

2. Doctor Strange and dark magic

Throughout sixty years of stories, there are a few moments in which the Sorcerer Supreme is faced with the old dilemma if he should use dark magic or not. And yet, from everything he went through, even in his darkest moments, he still chooses to do good. This is an intrinsic part of him. Yes, we've seen alternate evil iterations, but the main version is still a recognized, praised character for all the good deeds he performs on a daily basis.

(New Avengers v3 Annual #1)

3. Loki against fate

(Immortal Thor #2)

Loki's most recent and important journey throughout the years is precisely changing their fate, from the god of mischief and lies to the god of stories. They know they also have antagonistic roles to play as such, and yet they look forward to building a better relationship with Thor and the Asgardians. They're as complex as they come, but never back to their first and oldest iteration.

--

There are others, of course, like Nico Minoru and the Staff of One, Daimon Hellstrom and his will to deny his father's desires etc etc. I can even point a famous non-magical one: THE HULK. Yep, the guy who has spent his entire existence struggling with said dichotomy.

So you see, this is not a situation where "women can't be villains, god forbid women do anything" like some of them love to claim. You have Amora, Morgan Le Fey, Umar, even Lore now. The fact is, the MCU pushed the main version of its Wanda to be an irremediable character. Fans may or not defend her actions, but the truth is, they went too far for a role of opposition/antagonism justified by mental issues, which is yet another problematic, hellish rabbit role that we discussed so many times, over and over and over.

House of M is by itself such a harmful event in Wanda's entire characterization that, even now in the 616 universe, she still struggles to be (re)accepted by the hero community. She's still demonized by mutants, she's still depicted as mentally unstable.

(X-Men #7 - 2019)

Meanwhile, few writers are doing their hardest to give her some independence and agency (praised be Orlando and McKay). She has finally showcased her resolve to deal with Chthon by absorbing the Darkhold. She finally built a place to help people in a small community. She's an avenger yet again.

(Darkhold: Omega #1)

However, despite all that, she's still being patronized and lectured on (for instance, Agatha trying to take the Darkhold from her).

(Scarlet Witch v3 Annual #1)

The fact that she hasn't given up on the role of super hero only showcases how fundamental, intrinsic, unshakeable is her desire to do good. The fact that she's a nexus being and that the Scarlet Witch is a role passed down through generations are enough reasons to reiterate how important she is as a defender of the universe, same importance we often see in the role of the Sorcerer Supreme.

No fan has ever advocated for readers to be feared by a Sorcerer Supreme. Those are roles of heroes.

So yeah, "evil mother" and "serving cunt" will not do it for me. Because being evil means embracing everything Wanda hates the most and fights the hardest. So you come here and tell me that Wanda was supposed to be evil incarnate, to the point of comparing her to Voldemort, is plainly offensive and shows how little you understand her. You have other mothers to kneel to if you so desperately need one. Wanda is not one of them. Leave her alone.

TL;DR: Saying Wanda should be evil is stupid and harmful.

[romana-after-dark]

Rooms on Fire: I Will Run To You

Dark!Santiago Garcia x Fem!Reader Dark!Francisco Morales x Fem!Reader Dark!William Miller x Fem!Reader Dark!Benjamin Miller x Fem!Reader

Also: FishBen, and an assortment of other M/M relationships (no Millercest). Everyone is Bisexual

Series Masterlist: Main Masterlist : MainTaglist

Spotify playlist

Summery: Madonna learns more about her role and the dynamics of the household.

Warnings and Content:

DEAD DOVE DO NOT EAT

DUB CON MOSTLY but there WILL BE NON CON. Major character deaths, forced breeding, physical abuse, brainwashing, manipulation, violence, gore, alcoholism/addiction, BIG OLE BLASPHEMY WARNING like this cult appropriates a lot of religious themes and they call reader their Madonna, Santi is called the Pope, like all that stuff. However, this is a cult so I mean. It happens. None of it are my thoughts on religion or meant to make fun of religion or demonize religious people. Disgusting views on virginity. Attempted rape outside the boys. T*m warning. Age gap. Creepy terrible men. Non-reader rape, dub con, violence.

Extra warnings for chapter: Mentions of medical malpractice, death in childbirth, mentions of male sexual assault via power dynamics, lots of complex feelings.

A/n: next chapter things ramp up.

3.1k words

A/N I gotta apologize y'all. this was meant to include so much more but I guess this chapter is getting split bc I just put so much Jonah lore. I hope y'all are formal about liking him. We finally get some backstory on the uprising, Tom, and Madonna's dad, who BTW, had a name change. JACK IS NOW MARCUS more info after the story!

Support writers! Reblog and leave comments!

One so young, so changed Should not be left alone Two in love should confess And not be left alone And I will run to you Down whatever road you choose Yes, I will follow you down I will run to you ~I Will Run to You, Stevie Nicks and Tom Petty

“You paint a lot of fire”

Jonah’s voice startled you, making you turn around but you relax when you see it’s just him. Reyansh was watching you outside your studio, and Jonah coming meant you must be summoned somewhere. 

You were painting a picture of a burning house, something you saw in a dream last night. Ben and Will treated you normally, fucking you but also spending time together. You supposed Francisco’s behavior was normal too, considering that he continued to treat you like you only existed to fuck when he had to fullfill his duty. He never touched you alone. In the week since you got your period Santi was ignoring you. He’d call you to his room, fuck you with your face pressed into the mattress, and then toss you out. Last night he shoved you into the hall with your dress still bundled up in your arms.

“I paint what I dream.” You mumble, tired and not totally there. You were terrified to sleep, and after a second visit from the succubus it was getting worse, forcing yourself to stay up later and later. Lack of sleep was making it difficult to be alert, and little noises make you jump.

Jonah approached where you stood, keeping a respectful distance. He’d been distant as well since the night you saw him, and you still were unsure what you did wrong and why Iris was so upset with you.

“You dream of houses burning?” His voice was gentle but curious.

You take a deep breath, too tired to fight off any questioning. It’s best not to lie, anyway. “Ever since I was a child, I dreamed of fire. I dreamed I was dancing in front of it. I dreamed I caused it, and it was out of my control and now I must dance in the smoke and watch as the flames consumed things that I loved.” A pause, tears beginning to burn behind your eyes. “Sometimes, he stood inside them.”

“He?”

“My father.”

Jonah drew in a sharp breath and you worried he thought you were sympathetic to his traitorous cause. You weren’t, you had remembered how betrayed you’d felt that he’d thrown everything away to follow Deacon Davis, the judas who had killed the Divine Mother. As per tradition, when someone is sentenced to death, they burn at the stake and the unmarried women are expected to dance. The closer you are to the individual, the closer you are to the fire. You had been Marcus’s only family, him and your mom having adopted you as an infant. He died in front of you as you danced, embers blowing in the wind and singeing your white dress and sensitive skin. You were only 12, but you knew right from wrong, and your father was wrong. Sometimes you woke up still smelling his burning corpse. You had danced longer than anyone, keeping all the energy your child body could give you until you passed out.

You turn to Jonah with tears in your eyes, “I hold no mercy in my heart for him, please know that. I am loyal to the Divine Mother, I am loyal to my husbands above all else! I don’t know why I didn’t get pregnant but know I’d die for them happily should it came to that!” Crying now, you desperately plead to him but it’s not Jonah you are speaking to, truely. You know Pope is questioning you right now, and you cannot bear the thought that he doubts you.

“Honey” Jonah’s voice is strained, pain anguishing him. “How much do you know about the uprising…”

Your face is wet with tears, almost shaking in fear and frustration. You didn’t know how you’d messed this up so badly so soon. You just wanted to be held, you don’t remember the last time you’d been held without sexual desire… it was probably your father, may he be damned.

“Deacon Davis… he was an advisor to the Divine Mother, a friend to my husbands… he and Deliliah conspired against the Divine Mother and her family. Dad- um, Marcus, was a part of the traitors and he allowed Deacon Davis into Divine Mother’s quarters where he murdered her. Deliliah was Will’s betrothed before. She had seduced him for information and, and betrayed her husband! I would never do that, Jonah!” You realize now why he was questioning you, he thought a traitorous blood ran in your veins. Had Pope sent him? Had Francisco seen the evil in your heart, the evil that was inviting a demon?? Or had Jonah simply seen you for what you were. “I would rather die than betray them! You have to believe me!” You sob, closing your eyes as you are no longer able to look into his in shame. Strong arms wrap around you, practically holding your body up. 

Jonah held you tightly and you cried into his shirt, so tired, so sleepy… You just wanted to feel peace again. Jonah allowed you your release, wetting his shirt with your tears until your breathing slowed. It occurred to you that you were hugging and being held by a man who was not your husband, so you take a step back looking down.

“I- I’m sorry. I don’t know what came over me, I haven't slept well-”

“It’s okay, honey.” His voice gently reassures you. “It’s okay to cry sometimes.”

You shake your head. “No… no I’m happy, I should be happy here, happy with my husbands, I am!” You’d shown weakness, surely Jonah would tell Pope that you were unhappy, that this was proof of your doubt, of unworthiness… Instead, Jonah pulled a sleeve down on his hand, stepping up to you once more. He ran the sleeve carefully under your eyes wiping the tears.

“There is nothing wrong with feeling what you feel. Your husbands are blessed with a kind, beautiful, artistic wife and they should be so lucky you sit at their table, nonetheless someone who cooks them dinners and paint them pictures. It is they who are unworthy, not you.”

You gasp at the blasphemy. “Jonah! No, no they are-”

“Gods, I know.” He wipes snot from your running nose. “But you… you’re like a daughter to me, and a father is allowed to place his children above Gods. Marcus may not… he may not have made the right choices, but he wanted nothing but good for you, just like I do. So please, for me, show him and yourself a little grace.”

With a little sniffle, you nod. “Thank you, Jonah.”

He gave you a smile, the bright one you like that made his eyes squint. “Good girl. Now, I got a surprise for you that I think will brighten your day.”

*

Jonah watched as you practically skipped down the hallway. When he told you Frankie wanted to take you out for a picnic, you perked up so fast it was like you hadn’t even been sobbing in his arms a moment ago. He wished he could be honest with you, he wished he could tell you the truth about Tom, Delilah, and most importantly, Marcus… but you were so brainwashed, there was no way for him to break through to you. He couldn’t simple tell you everything you’d know and believed whole heartedly, your religion, your life, the very thing that you chose above your father was a lie… not yet anyway. Maybe one day you’d doubt, you’d question, and the first people you’d go to would be Iris or him, maybe even Reyansh. Rey played the part well of a good soldier boy, he wasn’t as overt as Iris was but he knew you trusted him.

Despite being late already with the crying, you insisted on stoping in your room to grab a ribbon for your heart. Jonah’s heart hurt watching you put so much effort into this.

Will treated you well. Despite Jonah and Will’s… past, he couldn’t deny Will  was a good husband. He took care of you.

Ben was a little shithead and was absolutely going behind your back with women still he just couldn’t figure out who. Ben had to be more sneaky now. This didn’t stop him from very loud late night fucks with Frankie that it seemed only you and Santi weren’t aware of. Still, he gave you affection and spent time outside of sex with you.

Santiago, he expected nothing less. Santiago’s moods were unpredictable, they had been ever since he was a child. Jonah had known Santiago and Beatriz since he was young, when all this was fairly new and traction was growing more and more. Jonah didn’t exactly believe, but his wife Jess did. Maybe he did for a while, it was hard to not with the things he saw… Beatriz had taken an interest in him and thus, despite being married, he spent a lot of time at the mansion with her. Jonah felt like a hooker, like his body was a commodity and up for grabs from anyone, and the worst part was how okay Jessica was with it. She fucking encouraged it. “Its an honor!” It wasn’t such an honor when she died giving birth to Iris and was denied medical treatment. Doctor said it wouldn’t have helped. Jonah knew Beatriz had something to do with it. He was luck Irish lived. She was his only reason for living sometimes.

It was Frank he was surprised about. Jonah had known all four men for most of the 3 decades of their life, and next to Santi, he knew Frank the longest. Frankie was raised with Santiago, practically as brother. Beatriz couldn’t adopt him, because something something divine blood, but that didn’t matter when Santi pissed her off enough. Jonah had witnessed the lashings and beatings he had taken, but what seemed to hurt the teen the most was when Beatriz would hang his godhood over his head, saying that it should be Frankie who was the savior, not him. After Jess’s death, Jonah was moved into the mansion and promoted to captain of the guard. It was just an excuse for Beatriz to demand sex even more.

Frankie was a good kid, but he always followed Santi like a lost puppy. Santi became obsessed with Frankie, forcing Frankie to become more and more withdrawn. Still, the nice young man was in there somewhere, and Jonah would bring it out. After the girl came to his room crying about Frankie not loving her, Jonah spoke to him and said he needed to do better by her hence the picnic.

Rey was out at the stables by the time Jonah got there, preparing the three horses. He was there a lot, knowing a lot about horses. If he has any choice, Jonah was certain he’d have been a vet. Another life, he supposed. Jonah and Rey would accompany them since they were going out a ways.

“Hello, Francisco.” She spoke softly, but enthusiastic. For all he and Santi hurt her, she loved him.

Frank gave a small smile. “Hi, Madonna. I thought maybe we could take a picnic. Get away from… everything else.” He brushed the mane of the horse.

Everyone else, Jonah thought.

“That sounds wonderful!” You walk over to him. “What’s his name?”

“This is Cielo. And those two,” He points to the other horses being settled. “Are Estrella and Flora.”

“Will we be riding Cielo?” You ask, but Frank turns away.

“I’ll be riding alone.”

You look dejected again, so Jonah steps up, frustrated with Frankie. “C’mon, you can ride with me.” Jonah puts a put in a stirrup, launching a leg over the saddle and onto Flora, his favorite horse.

“Actually” Frankie interjects. “I think she should ride with Rey.”

Of course. 10 years later and everyone was still suspicious of him. Frankie climbed onto Cielo, and Jonah rode up to him, whispering. “Compliment her ribbon. She picked green just for you.”

*

Reyansh pulled you up and onto the saddle, allowing you to ride the side saddle to protect your modesty in the dress. If you knew you’d be riding a horse, you’d have worn pants. It wasn’t the most comfortable, and you feared falling, but Reynash’s arm was strong around you. He was careful to keep his hands at appropriate places, which you were thankful for. 

“How is your painting going?” He asks, as since Jonah leads the group and Francisco is in the middle still not keen on talking to you. Still, this was a step forward.

“It’s good, thank you. It’s nice and peaceful. I miss-” You stop yourself. What you missed was when Santi used to sit and watch you paint, drinking his wine and intent eyes on you. It had been a comfortable silence. “I do miss having company sometimes…” You missed your husband, you missed his laugh, his smile, his praise.

“Hey, I’d love to sit in on a session!” You could tell by the tone of his voice he was smiling. “I’d love to see a real artist at work!”

You laugh just a bit, “I’m not an artist, but if you’d like to watch, I'd like that.”

“Deal.”

*

You sat against a tree, legs bent modestly in your skirt and eating the sandwich Iris packed. She also packed apple juice, which you loved.

Francisco was silent. He’d thanked you for your help setting up the blanket and spoken as he served his food, but now he simply sat there. He looked sad, but even then he was handsome. Francosco sported a mustache, which had remained consistent the whole time you’d known him. Santiago was growing out his hair and beard, which was making your heart ache even more that you couldn’t kiss and touch him like you wanted to. Still, the silence wasn’t awkward. You had begun to wonder if he was just… quiet.

“Thank you for taking me out.” You say, speaking quietly. Jonah and Reynash were circling the parameter and you felt… watched. “I hadn’t realized how much time I spent inside until now.” Had you even left the house at all since your wedding? When was the last time you felt sunshine before today?

To your delight, while still looking down, he smiled. “I’m glad. Don’t like seeing you cooped up in that house all day.”

Your heart warmed at his concern for you. Feeling emboldened, you scooch close to him.

“It’s not cooped up with the men I love.”

This makes his eyes flick up to you. He narrows them suspiciously, but not angry “You… love… me?”

Your heart nearly shatters at the question, and you can’t help but find him so endearing. “But of course I do!!!” Careful, you place a hand on his face and feel the patchy bit of stubble. “You’re my beloved husband!”

“But… you had to marry me.”

You shake your head. “No, Francisco I chose you, I chose all of you and I love all of you. Is that why you’ve been distant? Is that why you’ve been so cold to me?”

“I-” He stutters over his words. “I don’t think this is good for you… I don’t think I’m good for you…”

If there were ever words you hadn’t expected from him, it wasn’t that. Francisco was a God, he was holy, good and righteous, how could he not be good for you. It didn’t matter. Clearly he was hurting, and as his wife, it was your duty to make him happy again. “Francisco Morales, you are my husband, you are the foster child of the Divine Mother, and the love of my life. I chose you before, I choose you now, and I will choose you in heaven, Divine Mother willing.” You bring your face closer to his. “I adore you, in all your God and human.” Feeling brave, you bring your mouth to him and tenderly take his pouty lower lip into your mouth, making him whimper. You liked that sound.

“You choose me?” He whispers, slowly kissing back. “Out in the open, no secrets?” His voice is slightly higher now, almost whining as he begins to chase your mouth. 

“Always” The desperation growing, you give him everything you have. You don’t care that it’s an open field surrounded by trees, you don’t care that Reyansh and Jonah could ride up at any point, and you don’t care who might see you. You were divine and if you wanted to make love to the god of nature in his own fucking land you will. You had Francisco Morales, demi-God, whimpering for your touch. You had HIM, finally had him and you weren’t going to waste it for one second. He wanted thing sout in the open, you would show him you weren’t ashamed to be seen getting filled by his seed. Before you, your husbands were not celibant, that much was known. The sex parties were stuff of rumors and you couldn’t decipher the truth from fact. However, it was clear that public sex was not off the table. Shame is a punishment for the sins of Adam and Eve, and for men born without original sin, there was no shame in sex. “I choose you, always.”

Frankie entangles his fingers into your hair, feeling the green tie in your locks. His other hand slides up to cup your breast.

“I love this ribbon, it suits you.”

*

“Whatcha think’n, old man.” Rey asks as he rides up to Jonah. Both are perched up on top of a hill overlooking the field you lay on and he watches you kiss Frankie. 

“I’m thinking,” Jonah turns to Rey, nodding his head back home. “That I got it here, and since the others are out, you should run back and try and sneak some time with Iris.”

Rey smiled at that, but hesitated. “You sure? Morales didn’t seem like he wanted her with either of you.” 

Jonah rolled his eyes, but it was good natured nonetheless. He liked Reynash, loved him even. He was a good kid. Iris was put in the position she was in, not any older than the girl was now, because of his shortcomings, his weaknesses. She was punished to punish him. She deserved all the good she could get, and Reyansh Saha was about the only bit off good left in this world, beside Iris and now Marcus’s kid he was looking after. He reminded Jonah of Delilah in a lot of ways. Always smiling. Always kind.

“Look at ‘em.” Jonah referenced the pair kissing below. “She’s going home on his lap.”

Rey laughed brightly, turning his horse. “Oh yeah, you’re quite the matchmaker!” And he road off, long dark hair wild behind him. Handsome devil.

The words matchmaker hung in the air. Was Jonah giving her false hope he wondered? Or was he giving her the time she had left and filling it with better memories. He wasn’t sure. Maybe he was delaying the inevitable. It was always going to end one way for her. There was no way to live up to what Santiago wanted.

Because what Santiago wanted was Frankie with a womb.

SO MUCH JONAH HAPPENING!!!!!!!!

And poor madonna bc Jonah christ smelling your dad burn is a lot

So Marcus's face claim is David Habour, this came out of some chats with. @umnitsa in my romanaverse discord server. He is now your adopted father to keep things inclusive, but this is important as he has background info and ties in a lot. Think hopper in stranger things. Also May is already shipping him and Jonah so that ship name is Jonus lmfaooooo

If you are an active participant in one or more of my universes and have a discord (this means commenting or comment Reblogging, im looking for people who want to theorize and chit chat) dm me for a link! This is primarily focused on giving you extra content and sneak peaks but a lot of cool people are there too and you can share your work!

Please consider joining me in in donating to humanitarian aid in Rafah through Doctors Without Borders

LOVE YOU ALL!

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[zeroducks-2]

Do you really think reverse flash is in love with Barry? I don't mean for this to sound snarky I'm just confused. Thawne killed Barry's mom how can you say he's in love with him? I like all the things you post and rb about them I really enjoy the ship. I just don't get it can you explain?

The question "how can Eobard be in love with Barry if he hurt him" has both a short answer and a long answer. The short answer is that people are very much capable of hurting the ones they love, on purpose or by accident.

The long answer is that Eobard is a deeply disturbed individual who has never been the recipient of love, and because of that and of many extremely traumatic events (including but not limited to being brainwashed in prison, being trapped in a timeless limbo alone for years, being tortured and treated like cattle and put in sensory deprivation for ludicrous amounts of time, dying at the hands of the only person who had ever shown compassion towards him), he has a skewed perception of a lot of things and is extremely bad at emotional regulation.

Moreover, and this is something which is easy to overlook but it's actually very important, Eobard is not human. His actions are informed by his traumas, but the way he approaches pretty much everything (including his "problems" with Barry) isn't done the way a human would.

Eobard is a timeless, deathless creature which embodies one of the driving forces of reality itself (the Negative Speed Force). He lived probably more than a few hundred years considering how he keeps running around through time doing stuff, and how he keeps going back to watch past events and adjust the way he will interact with the timeline next.

He knows the huge impact that killing Nora will have on Barry, but from a moral and ethical standpoint it's not a big deal for him. Nora is less than a speck in time, an NPC who served her role for that briefest moment in which she existed. She is a big deal because she is a big deal for Barry, not because she's meaningful in any other way.

"But then he did want to hurt Barry when he killed her" Yes, absolutely he wanted to. Eobard didn't "just" kill Nora Allen - he went back in time and changed everything about Barry's life, made it so he had no friends, made him grow isolated and insecure and shy, lacking confident in his abilities. And he did it because he is very, VERY angry with Barry for one, and also because isolating Barry makes it easier for them to grow closer.

And it worked! Back in the Silver Age, when Nora and Henry were alive and not in prison, Barry couldn't be bothered with Eobard. For him Eo was just a random criminal with superspeed, and sure he was threatening because speedsters always are, but not that much of a big deal.

Now? Now Eobard is a primary element in Barry's life, a constant he's had to deal with basically since birth, someone who rewritten his entire life to make himself part of it in an indelible manner.

It worked because now Barry is more likely to fall for Eobard's manipulation, to listen to him, to just accept that he's THERE because he's always been. Near the end of Running Scared, Eobard tells him "run away with me", and Barry says yes.

Back in the Silver Age there would have been no way.

It's worth mentioning that to understand Eobard, you need to understand that everything he does, every single thing, has the end goal of being with Barry. Whether he's trying to protect him or trying to hurt him or trying to manipulate him, whether they manage to work together against a common enemy or they're on opposite sides of the fight, every single one of Eobard's actions is motivated by love (his personal, inhuman version of love).

"But if that is the case, then why doesn't he just tell Barry 'I love you'?"

Two reasons, and one is meta.

The in-story reason is that every time Eobard tried to do something good without masking it as horrible, it went sideways and backfired spectacularly - mix that with poor emotional regulation, and you have someone who's not going to be able to handle rejection and is outright scared of doing good things openly. I think if he told Barry "I love you" and Barry reacted badly it would hurt too much. Also he wants Barry to understand, and thanks to a couple of competent writers who sadly don't work on Flash anymore, we were getting there.

The meta reason is because DC is homophobic, plain and simple. Eobard DID SAY I love you many times except with words, because DC editorials won't let him. That's it. It's the same reason why Joker can't tell Batman "I love you" and has to do weird ass word plays and even more weird ass attention seeking maneuvers. They're stunted by reasons which no one but DC itself can control.

So in short. How can Eobard be in love with Barry and hurt him so much at the same time? Because he doesn't have many ways of express love, he has a hard time being caring, and every time he allows himself to be soft it backfires. Because he wants Barry to belong to him and will isolate him and make him suffer to get there. Because he's angry with Barry -- Barry hurt him too, rejected him and left him alone and refused to accept that Eobard is his lightning rod for a long time.

Eobard easily lashes out when he's hurt, and the less grounded he is the more vicious and violent he turns.

"But Zero, how can Eobard think that Barry will ever forgive him for having killed his mom?"

I don't believe Eobard was ever looking for forgiveness, but fun fact. Barry did forgive him already. Barry is not human either, and at this point I think he'd forgive Eobard just about anything, and despite how difficult everything is between them, he really wants to get to a place where they don't need to hurt each other.

The problem with this, and it's one of the reasons why they have so many issues communicating, is that Barry is in denial about many things - about being the Speed Force, about Eobard being in love with him, about how they're two constants through time and two sides of the same coin and basically can't exist without each other, about how they're each other's lightning rod.

Their relationship is very complex, absolutely not what it looks like at first glance, and it's colored by all the hurt there is between them. But again, ultimately understanding Eobard is understanding that love is what motivates him, even when he does the most horrible unhinged things.

In conclusion, have this panel from The Flash Age which is one of my favorite Flash comics, in which you can see the way these two manage to trust each other and fall into the right rhythm, despite the oceans of misunderstandings and suffering between them.

Pages from The Flash Age, by Joshua Williamson. In which Barry tells Eobard to "do the right thing", and Eobard just does it.

[awkwardtuatara]

okay so. various takeaways from Space Babies and The Devil's Chord (in which I have vague dweu brainrot):

The Doctor can regenerate butterflies and manipulate time to some degree without the TARDIS. And that's not wholly new information, but still. How did you do that.

Star Trek the show exists within the DW universe, and the Star Trek universe (as in the people and the ships) also exists

LOOMS????? Kind of???

The Doctor will speedrun his backstory to literally anyone. Sometimes this even helps the situation.

Wow, reality's fragile. They're living in a story now and the Doctor knows it

All these years and the Doctor still can't park the TARDIS. Never change. just please clean up the kitchen.

And for The Devil's Chord:

An enemy who's the embodiment of sound/music begins playing the theme song between parts. sounds oddly familiar - IS THIS THE SOUND CREATURE AGAIN

"If you take away music..." you mean like if music is banished from your kingdom? and people don't have the words to express how they feel but they know it's wrong? you know what other Doctor Who media is inextricably connected to the concept of music, and also has a title connecting to music? That's right, Scherzo-

Still not sure if that scene is supposed to foreshadow Susan appearing but that would be such a possibility. Wonder what happened to her and First with the reality shenanigans going on in 1963.

ELDRITCH DOCTOR ELDRITCH DOCTOR ELDRITCH DOCTOR ELDRIT-

the Doctor only gets really mad when someone tries to harm the TARDIS, and that really doesn't change

WHAT DO YOU MEAN YOU CAN HEAR NON-DIEGETIC MUSIC. DOCTOR. DOCTOR. SINCE WHEN COULD YOU DO THAT.

Extradimensional presence in this universe Doctor????? is that still a possibility? I mean, he also goes by a title that defines his very being, and the way he told Ruby about his name made it sound like other Gallifreyans gave it to him, but really he's the one that chose to be the Doctor. A title that, in terms of power and significance, seems to be closer to the all-encompassing roles of the Toymaker and Maestro than, say, the Master or the Rani. On the other hand, this could just be a normal Time Lords are Aliens kind of thing.

So it's clear that he knows he's in some kind of story, but how long has he known that?

Also how diegetic was that musical number at the end? Was that like. residual energy from Maestro's banishment or something?

Anyway. Wild episodes. I do like how they're leaning into how Doctor Who has developed into something of an abstract mythos; to me it's the most unique part about this show.

[amuseoffyre]

Have had a couple of days and a rewatch and some mulling to put together my thoughts:

The good:

the writing - I've talked at length about the use of metaphor, symbolism, allegory and the like to add meat and substance to the narrative

the continuity tied in to S1 and the foreshadowing coming full circle, plus running themes continuing

the music is flawless throughout - both the soundtrack with songs and the original score and the way old motifs are used to add parallels and depth to scenes

the acting across the board has been staggeringly good. Especially for Taika, Rhys and Con. I can see why so many reviews had been raving about it.

the bits of set-up for S3 that have been planted if/when they get it

new characters who are an absolute delight

Family Trauma the TV show - intense to watch but cathartic af

Badass ladies and the soft boys who love them

Auntie.

The bad:

too much story and not enough time to tell it

sacrificing a lot of crew-related stuff - I know this is primarily the Ed and Stede story, but we're told that Olu was always talking about Zheng, but we never even got a single line of it. Buttons' disappearance gets one sus line. We gloss over the probation and why Ed is back in his leathers literally the next day. Again, I know, time constraints, but it does feel weaker for it.

speedrunning so much that it's taken several rewatches to catch everything that's going on - yes, it can work as a narrative device, but not all the time

still not over Zheng falling for Ricky's gift. Do not trust the aristocratic white dude, especially not when you've been blackmailing him. And I know there's some logical sense to her being so used to being able to manipulate desperate people on the fringes with both carrot and stick, but it feels like severe underestimation on her part about how ruthless and cruel and petty Ricky could be. He's not like the pirates - he has the power and privilege and it feels like she ignored that.

whatever that Teal Oranges pivot was so Jim could have a girlfriend, especially since they didn't have time/space to actually develop the Olu/Zheng and Jim/Archie stuff. Archie was barely a scrape of characterisation because of time constraints.

The ... Forbs Boding

Izzy - it falls under the typical archetype of Loss of a Role Model especially given all Ed's dad issues, which I thought we were beyond, but then it also fits with the running motif of the show of change, death and rebirth. We've had confirmation of the existence of a place between life and death plus a character who was beaten to death coming back from it and a seawitch turning up at the grave. I can see why it was done as it has been foreshadowed since "the only retirement we get is death" but after all his growth in S2, having Ricky be the one to get the jump on him is... hm. I feel like they had him and Ricky talking and Ricky causing his death for a reason. Feels like there's set-up for S3 planted and ready. My Forbs, they are A-Boding. ffs, they Obi-Wanned him right after he did a speech about "our spirit will last beyond your whole fucking empire". Strike me down and I will become more powerful than you can possibly imagine vibes.

The way trauma is/isn't being dealt with - I feel like there's stuff there that is set up for S3 as well, because we've seen how Stede is still bottling all his stuff and hasn't dealt with any of it, while Ed has done some processing and started to make peace with himself over it. Stede still has his mental lockbox and while he tries to pretend it isn't there, it still informs so many of his decisions.

All the Star Wars vibes - I've always been convinced this was the Empire Strikes Back season and now, they have all the pieces in play for the Return of the Jedi arc: Stede and Ed are together and recovering but will have a role to play, Izzy is in carbonite with a seawitch control panel, their allies are out there getting pieces in place, and the Imperial figurehead villain who showed up in S2 is still out there and convinced he holds all the power. And I just realised that this means that if they use Hornigold, he's the equivalent of Boba Fett - Bounty Hunter for the Empire XD

On the whole, I am content with it and am already having thoughts about the potential for S3, but I find it incredibly frustrating knowing how much more it could have been with the budget/time they wanted and didn't get.

[lostcauses-noregrets]

Lost, I think Erwin was only in 65% of the manga/anime, yet I don't think anyone has ever left such a long-lasting impression on the audience. He ranks higher than the mc in the character polls, and he even once ranked higher than Levi. People still love and praise him even though he's been dead for years. Why do you think this is? What makes him such a compelling character?

I’ve been sitting on this ask for months because it feels like such a huge responsibility to answer it. What is it that makes Erwin Smith such a compelling and enduringly popular character, despite having been written out of the story years ago? 

The most obvious reason is that Erwin is a well written character with considerable depth.  He is a brave and inspiring military commander who leads from the front and dies heroically, laying down his life to ensure the main characters live to fight another day. He plays a pivotal role in the story and, long after he dies, continues to be a motivating force for several other characters. He’s also pretty easy on the eye, which does no harm either. 

However characters like this are ten a penny in manga and anime so I don’t think this is enough to explain Erwin’s enduring appeal.  There’s a very interesting interview with Isayama from 2016 where he talks about coming to understand Erwin’s character, which I think gets to the heart of the matter.  

“...for Erwin, there’s no person I can easily compare him to…The main reason for that is probably because I didn’t have anyone in my life who was an “insightful leader” like my initial portrayal of Erwin. Of course, I’m sure there were people who were “insightful leaders” to a certain degree around me, but—and this is likely due to a quirk of my own personality—the grander a person, the more my eyes are drawn to the places where they’re frayed, or are coming apart at the seams. Armin once said of him, “If a person existed who was capable of bringing change, they would have to be able to sacrifice things that are important to them.” Erwin is certainly someone who can do that, but because I had no one in reality to model him on, and because I, the creator, had no shred of an “insightful leader” within myself to use either, I think I ended up making Erwin more and more human as I went along. Lately, though, I’ve started enjoying drawing Erwin. To put it simply, I think it’s because I am now able to write Erwin not as the “insightful leader,” but as he is inside my heart, an Erwin who is very complex inside."

And Erwin is a very complex and conflicted character.  He’s also a deeply unreliable narrator who sees his own actions in the very worst possible light. He has the ability to motivate others to great feats of heroism, but at the same time he sees himself as a fraud and a conman.  He carries a huge burden of guilt over his father’s death, yet he isn’t driven by vengeance, what drives him forward is the pursuit of knowledge and his desire to prove his father’s theories were right. He is a ruthless commander, willing to sacrifice countless soldiers to achieve his goal, but he also devised a Scouting formation that saved numerous lives. He is also quite literally haunted by all the men and women who died under his command.  He’s incredibly insightful and intelligent, always thinking several steps ahead of everyone else, but he isn’t invulnerable to being manipulated by unscrupulous characters like Zackley, who was able to spot his weakness. He believes that he alone is pursuing his own selfish dream, despite all the characters having their own dreams and motivations. Yet despite his misgivings, he is able to set aside his dream, and lay down his life for the greater goal of saving humanity. He presents an implacable facade to the world, yet he privately admits to wishing he could end his life.  So many deeply human contradictions. 

Although Erwin is a hugely compelling character in his own right, I don’t think we can overlook the importance of his relationship with Levi, who of course is the most popular character in the series (sorry Eren).  Regardless of whether you ship them or not , it’s impossible to ignore the importance of Erwin’s relationship with Levi (and vice versa). I’ve written reams over the years about Erwin and Levi’s relationship, which I’m not going to repeat here, but I am going to point the famous quote from Ono Diasuke who described Levi as the last stronghold of Erwin’s humanity, because that’s what is really important.  

Ultimately Erwin is a complex, contradictory human being and it’s his humanity, rather than his heroism, and the emotional conflict at the heart of his character that continue to fascinates and move people.

[syruubi]

Man its been weeks and I’m still soured by the conclusion to Fontaine’s main story. I'll just rant here

There were a lot of things I didn’t like about it (Arlecchino's altruism being played straight, Traveler being out of character, the lore exposition ass-pull with the prophecy slates, the weird logic about how destroying a Gnosis could potentially wake up the Heavenly Principles but not fucking destroying an Archon Throne when Celestia forced everyone to fight a GODDAMN WAR TO ESTABLISH THEM-) but the biggest offense to me was how Furina was handled. This was marketed as the grand finale of the arc, the climax with Furina at the center of it all. And she got shafted. Big time. Furina had no agency in the plot whatsoever, nothing she did had any effect on how things turned out, and she didn’t even have the dignity of fully understanding why it all had to happen that way.

(Also I will preface this with yes Furina and Focalors are technically the same person with the same origin, but after the split Furina lost all her memories as Focalors. They are two separate consciousnesses with different experiences, and therefore I will treat their individual choices as their own)

I’ve seen people try to argue that no, she chose to take on this role knowing she would suffer, that she didn't HAVE to go along with it. And she was even working by herself to solve the prophecy without relying on Focalors, she wasn’t a puppet/pawn! But the thing is she was essentially in a hostage situation. If she didn’t do things exactly as dictated by Focalors people would DIE. Like there is a reason why criminal punishments are lighter when it’s found the perpetrator was coerced into it! And her researching how to avoid the prophecy changed nothing about the outcome, she could have sat around eating cake and the story would have word for word turned out exactly the same. All that information served to do was highlight her suffering and draw the audience’s sympathy. That's what I mean about her not having agency, it's not about her ability to act as an individual but how her actions had an effect on the overall plot. None of her choices outside of the role designated by Focalors did anything to change the situation for better or worse.

And to top it all off she didn’t even understand WHY this all had to happen. Why do people dissolve in the Primordial water? How does her pretending to be an Archon play into solving the issue? Why can’t she confide in anyone? What the hell is Focalors even doing? She doesn’t learn the answers to any of these until after everything was over, and not even from Focalors’ own mouth, it was relayed to her by Neuvillette.

Speaking of Neuvillette, I’m not gonna lie I’m sorta annoyed at his existence because it felt like Furina was shafted for him. Everything is very tilted in Neuvillette's favor. He gets his powers back, full control over Pneuma/Ousia, final say in trials, the ability to hand out Visions, and just straight up the ability to manipulate life itself. And okay all these things were his to begin with lore-wise, whatever, but he also becomes the "lore important" character after this at Furina's expense. Furina doesn't have her memories as Focalors, she can't tell us anything about how the world works, about Celestia, about what happened 500 years ago. Even though other Archons didn't give us much either for one reason or another, they at least HAVE that knowledge, and are therefore guaranteed to have involvement in future events with the Abyss and Celestia. Furina at the moment, doesn't. Neuvillette has it now. And all that talk about Focalors judging Celestia? Also Neuvillette's job now. And it feels like it was all stolen from Furina from a story-telling perspective because again, she didn't know of the plan to return his powers. She didn't even get to explicitly agree with her other self that he should have them back. The writers really seemed to go out of their way to place him on a pedestal at Furina's expense, which irks the hell out of me.

There are some opportunity for future interludes to turn the current state around, and they probably will since Furina is still being marketed as an Archon, but as it stands I want Fontaine to be over so we can move on to the next disappointment.

[bonefall]

Feel free to ignore you've probably got a lot going on right now, but considering you know a lot about DOTC and Clear sky, I had a question...

We know that he's a terrible, misogynistic, woman beating and war mongering lunatic who was excused of all his actions because his equally misogynistic brother said " But-But he's nice! Deep down! This isn't the real him! "

But! In a world where the Hunters could write such a character, what do you think Clear Sky would look like as an actual sympathetic villain?

Idk if that makes sense, but what I've thought of doing is taking purely cannon Clear Sky and attempting to change him enough that he's still an antagonist, but not too far where only Reddit defends him.

I don't think he works as a sympathetic villain, on any level, ever. I think you're making a huge mistake to even try, and I have never seen an AU where it was done well nor am I interested in entertaining the thought.

Characters. Are. Tools. They exist to tell a story. The story that people tell me, by obsessing over some alternate universe where he was "ACTUALLY sympathetic and had a REAL redemption arc," is that they're not fucking interested in his dozens of victims. Nor do they actually care about the abusive impact he had on the minds and feelings of his family. They're JUST interested in Clear Sky himself.

Just like the Erins. Everything that happens in DOTC revolves around him. Everything. All his wives die so he can be sad about it. His brother defends all of his actions and BEGS you to sympathize with his pain so he can be 'redeemable.' One Eye comes out of nowhere so that there can be an example of "real" evil to contrast Clear Sky so he's less bad in hindsight.

The first three books of DOTC are bad, but the last three are fucking insufferable because SUDDENLY all that Gray Wing apologia pays off, and they take their main villain and throw him out a window. You CAN'T have "redeemable" Clear Sky and the plot of DOTC without dragging in someone else to drive the conflict, to BE the bigger threat to "unite" against. Slash and One Eye have to be conjured up out of thin air so Clear Sky can WHINE about how people only suck his toes instead of deepthroat them after he killed all their friends.

And yet, in spite of this absolute failure of an attempt, we continue to see this bullshit "redemption" be a mistake because Clear Sky is a fantastic villain, with major antagonist roles in nearly EVERY bit of follow-up material for DOTC that came after.

He's the most consistent monster in all of Warriors.

He's a fragile, egotistical, self-absorbed megalomaniac who ALWAYS sees himself as the victim, REFUSING to self-reflect and blaming everything else for all of his terrible choices. He will USE your love of him against you like it's a chain through your nose, step out of line and he will yank you into place with guilt trips, manipulation, public shaming, and violence.

He's a child abuser. He's a tyrant. He abandons the sick and disabled as soon as they're of no use to him, with grand speeches about "illness" and "weakness." He's a murderer who stands above the shredded corpse of his victim and bellows, "I'M NOT GREEDY! I'M JUST STRONG!"

And you'd write a "good" redemption arc for this, why?

Why are people so chronically unable to accept that there are LOTS of people like him, and you can't save your abuser? Why don't you ask yourselves why you're not interested in exploring Thunder, or Petal, or Gray Wing, and how his toxic influence impacts them? Why does the sympathy fall on Clear Sky? What about the DOZENS of victims who are dead by Book 3, and how THEY could have been saved?

Why ruin a perfectly good villain?

What's behind this trend where a billion people say to me, "Yes Clear Sky is a walking cavalcade of fucked up abuse apologia, and an incredibly realistic depiction of an abuser, but how would you change this while keeping it all the same?"

I wouldn't. You can't. It wouldn't be the same story, or it wouldn't be the same character. Never seen it done well, and I have seen it a lot. So I don't entertain this deeply frustrating "Well What If Clear Sky But Nice" impulse.

[cherrymoonvol6]

truly one of the best aspects of the lunter/witteclaw parallels is that the switcheroo of human luz luring "witch" hunter away is just SO on point with the themes of the story and philip's entire motivation as a villain. it's not a matter of humans VS witches, or religion VS paganism, but at the core of it lays the idea that anything that deviates from the norm needs to be extracted and destroyed. and in philip's time, that meant that witches needed to be eliminated.

but! that has changed, overtime. philip's world no longer holds that as the rule. not because the people who think like him no longer exist, but because the people who have been the target of discrimination and hatred have come together as a community and fought for their rights to live their lives to their fullest. and because of these, uh, "modern" ideas, luz fills the role of "evelyn" despite not being a witch herself, because she hits all the important bits: she's also the kind of pest philip would've considered a cancer for society all those years ago. and therefore, she manages to hit all the important story beats for her caleb, aka hunter: she's the one who triggers his first act of defiance against belos; she's the one who introduces flapjack to him; she's the one that takes hunter by the hand and leads him away from belos.

even then, her status as a human is impactful in the way belos treats her: he considers her an "equal", as much as that can mean. he uses this fact to manipulate and guilt-trip her. but that also means that he underestimates her, and that finally allows luz to put this putrid cycle to an end, therefore making luz and hunter effectively the last evelyn and caleb to graze the earth.

[scoobydoodean]

Free will is written into the fabric of Supernatural. There is no Supernatural without it. Without it, there is no story to tell. Supernatural is fundamentally about making choices that defy causality's flow—something impossible to do in the absence of free will. Supernatural has always been about defying the role set for you:

Repeating your father's revenge-driven quest and allowing it to consume you because you also lost the woman you loved or stepping away from the generational loop set for you.

Obeying your father's dying wishes or rejecting them for love.

Letting circumstances turn you into a monster or retaining your humanity, defying the course set for you by those circumstances.

Whether you can ever sink so low that you can't come back from it no matter how much you want to—whether the hole you have dug can ever become so deep you can't climb out or whether you can always make the choice to change.

We understand the machinations of heaven and hell and god and your father in Supernatural not as the violation of free will but as the shaping of ones circumstances intended to bend their choices to the desired outcome of an authority figure. This is causality:

"Whatever you do, you will always end up... here. No matter what choices you make, whatever details you alter, we will always end up... here"

We are not dealing with lifeless puppets on strings—not even ones who think they have free will but actually don't—no matter the presence of those fears. Autonomy remains. It is the whole reason the story exists in the first place. It's why heaven and hell find themselves subject to the existence of choice and must resort to coercing and bargaining and threatening and lobotomizing. It's why Chuck's anger simmers and then explodes—because his toys repeatedly resist his attempts to bend them to his will. He believes he can create mazes from which there is no escape, but he can't, and his creations chewing through the enclosures over and over confounds him. The presence of the enclosures he builds, to begin with, are proof that he cannot make them do anything. He and all who came before him must get our characters to comply—through manipulation, through the example set by their fathers, through the expectations of ones family, through loss and grief and pain, through resentment and rage, through a fundamental loss of hope and faith—in oneself, in ones family, in ones ability to escape or choose.

Supernatural is also all about love. Love is written into the fabric of the series and the show does not exist without it. Love cannot be forced or mandated or dictated. Love simply is. Love turned Sam from the path of revenge in season 1. Dean defied his father's expectations for love. Sam and Dean and Cas each climbed back from the threat of losing their goodness through love. Love allows one to overcome possession, love gives the strength to defy orders, love gives one the ability to break through re-programming. Love helps one retain hope and belief and stay strong. Free will and love go hand in hand.

[aihoshiino]

A character I wish got more attention was the crow girl. Like we saw she got a role in the movie and that’s it nothing else. Haven’t seen her be cryptic or anything.

I wanna know what your thoughts are on this, especially since she supposed to play as the twins!!

I'm super curious about her! I think it's kind of weird that her inclusion in the movie ended up being so Nothing when it was presented as such a big deal but I guess we'll see more of her if we ever get to the scenes of baby AQRB. Though wtf does it even imply about her existence in the world that they were able to hire her.

As a feature of the story, I don't necessarily disagree with the fandom consensus that she's mostly an exposition dispenser but tbh I don't mind it THAT much. There's been some capital I Implications from hour zero that AQRB's reincarnation was no accident or coincidence so I think having a supernatural character who is in the loop end up guiding them along in certain directions for unknown purposes is pretty interesting. I also think there's some really juicy thematic Vibes in the idea of there being a dubiously antagonistic force who, rather than lying, manipulates and beats the twins around with painful truths they don't want to acknowledge.

As a CHARACTER... I definitely think she suffers a lot from Akasaka's reliance on mystery box storytelling. She was definitely just introduced to be spooky and weird and to imply greater secrets about her existence but none of that has really resolved into anything meaningful or even that engaging about her, because she's just held together with exposition glue and mystery tape. Not that I dislike her or anything! It's just a case of like, wow the guy writing you really isn't sure what to do with you lol

In fact, I have a secret suspicion that Akasaka changed his mind on who and what she was supposed to be partway through the manga?? Like, the corvid associations and general spookiness had pretty much everyone I know going "so she's Yatagarasu? OK" from basically hour zero only for him to hit us with the Tsukuyomi steel chair out of nowhere!!! I don't think she was even associated with the moon imagery wise at all until the heavy handed mention of it just prior to her name getting dropped so I really do think Akasaka just. Initially wrote her as Yatagarasu and then changed his mind HAHA

On an unrelated note, I've been playing Okami again and one of the plot coupons in that game is a sword named Tsukuyomi and every time it got name dropped I went

[pawthorn]

So, I’m now seeing takes that the Princesses in Neverafter actually have a good point, and after we just went through this with Asmodeus in Calamity and Ludinus in Critical Role, I gotta say…

There’s a difference between being sympathetic and ethical.

There’s a difference between being sympathetic and ethical.

Asmodeus was sympathetic. He was also a murderous, manipulative, hate-filled liar who wanted to destroy every mortal in Exandria.

Ludinus is sympathetic. He brings up reasonable questions about the worthiness of the gods. But he has also been the benefactor of the suffering of others, of children under the protection of the Assembly under his protection, for years. He stole items of extreme cultural importance to the Kryn, propagated misinformation about them, and was the catalyst of war with them. He is the ultimate force behind almost every murder and act of violence in Campaign 3. He is not right.

The Princesses are sympathetic, but their goal is to destroy everyone and everything. The same as Null in The Unsleeping City, Volume 2, in fact, yet I didn’t see much sympathy for Null, or for Tony Simos for that matter.

And I wonder if people fall into siding with these villains because of the Marvel villain paradox.

Because Marvel saw people’s response to Killmonger in Black Panther and decided to make every villain sympathetic. But a key to Killmonger's appeal was that he was cleverly written, sympathetic while still being incredibly violent, carrying the violent teachings of the CIA and applying them to the entire world. And T’Challa’s response to Killmonger was not to reinforce the status quo at the movie’s end, but to tell those that came before that they were wrong and take steps to make real change.

This is contrasted by the Marvel villains who come after, who are sympathetic, care-giving to their communities, revolutionary, but whoopsy, they do some murders (often completely out of character) so the hero stops them and says something about change while restoring the status quo.

Which is frustrating and lazy writing and not what’s going on in these actual play shows.

Ludinus has been rotten from the start. We know the kind of person he is from his previous actions. And we know that, like most power-hungry people, he’s a huge hypocrite. Because the change he wants to see, where the gods can’t directly influence people at their whims? We’re already there. The gods are behind the Divine Gate. The Calamity is over. They cannot strike cities from the sky any longer. His brighter tomorrow is a lie, and his true goals are known only to him. (Also even if his goal was as he said, it’s a nuclear option, and things like that always affect the powerless and oppressed more than they ever affect the most powerful.)

The Princesses are also hypocrites. They lament their lack of agency, but they steal that agency from others. They always intended to kill the Snow Queen. They lied about their motives to the Baba Yaga, to their allies, until they had Rosamund alone. They stole the Book from Tim before the party did anything to disrupt or harm them. And if you don’t think that choosing non-existence for every being in the multiverse isn’t a breach of agency, I don’t know what to say to you.

And, unlike the Marvel heroes, Destiny’s Children specifically do not want to maintain the status quo. They’ve looked at the Fairies and the Princesses, and chosen not to side with either. It’s not as simple as one faction being right, though I know that would be comforting.

Anyway, I’m excited for what’s to come in both stories. I’m eager to see Ludinus’ real motives, and to see the third path that Destiny’s Children make for themselves.

[dangerously-human]

in the spirit of botheration, tell me why I should watch Dune

I adore the botheration, especially from you! Okay, SO, Dune:

Outstanding auditory experience - and I don't just mean oh, the soundtrack sounds nice, although it is bangin'; I mean the sound effects are really good and fit the atmosphere so well, and the music sets the exact right tone and strikes that balance of heroic and ominous so well, and even things like vocal acting choices and volume changes are so intentional and serve the story.

Visually gorgeous! Stunning scenery, an impressive use of practical effects, so many shots that make me mumble, "The cinnamon topography..." (And now I'm making myself cackle, because yeah, that's Arrakis in general, isn't it, with all the spice and sand?)

No one is fully in the right! Ever! To varying capacities, everyone is morally grey and selfish and misguided and noble and changing. I love it.

Foundational sci-fi! If you want to understand why the genre is the way it is, Dune is key. (I have not yet read the books. I will, probably sooner rather than later, but there's actually something quite fun about starting with an adaptation that has been influenced by all these stories that were so heavily influenced by what it's adapting.)

Also just REALLY FREAKING GOOD sci-fi in general. There is nothing in this world I love as much as sci-fi that takes full advantage of the genre.

I will not lie, Timothee Chalamet's presence is a significant perk. Mostly because he suits the role of Paul alarmingly well, but also because he looks, you know, Like That. If tripped-out twink is not your type, however (more's the pity for you), may I present Oscar Isaac and his flawless facial hair as a mostly magnanimous leader? Actually there are lots of beautiful options in this movie, and the casting in general is quite good.

Very little, strictly speaking, Happens in the first movie. It's mostly worldbuilding and character development. In a 2.5 hour movie, this might seem to threaten boredom. However, the pacing works perfectly, and I came away with the right balance of intrigue and follow-up questions. (The second movie moves much faster, while also deepening character arcs and expanding the political context, and that also worked really well. Despite my reservations, I did not spend one second of the almost three hours impatient or bored.)

The Themes! All the ones sci-fi does best, really. Love me some exploration of colonialism and generational trauma, the ways trying to control the future WILL backfire, devotion turned to obsession, questions of what home and family mean in a personal and social context when you've never been fully allowed to embrace or exist in either, the dangers of manipulating religion for political gain...

Meme comprehension. You know you want to understand why we're all snickering about worms all the time.

Most importantly, I will be making a nuisance of myself about it on your dash for the foreseeable future, so might as well join in and be part of it!

[weirdmageddon]

any dave music hcs? :) my playlist for him mostly consists of relatively popular rock music. besides wacky but awesome garageband beats, i personally think he’d be a rocknroll radio hits kinda guy, at least for pre-sburb dave, i don’t think he’d have as much freedom to really explore music the way he wants before then. some of my favorites for him are all mixed up (311), superman’s dead (our lady six), bound for the floor (local H), everything to everyone (everclear), inside out (eve 6) and birds (butthole surfers). i also think he’d like metal too! particularly nu metal. even if mixing music and rapping is an outlet for him, i see him relating to these types of songs a lot and maybe at the time when his #ironiccoolguy persona is most prevalent + affecting his interests/personality heavily, he’s embarrassed about admitting his popular favorites b/c it’s not cool to him to like what’s mainstream. but you know character arc! and besides when the earth explodes no music is really popular anymore LOL. btw i liked your davejade music posts ^_^ so i’m very curious if you have any thoughts for dave music on his own!

one of the first things we know about dave is “You like to rave about BANDS NO ONE'S EVER HEARD OF BUT YOU” but its never brought up again. so i can see him having a bit of a punky existence. but its pretty impossible to list bands that people havent heard about but him. it doesnt mean he can’t like known acts. pink floyd are one of the most well known music artists of all time but i think he would like it for instance

but of those known acts i know his ass does not listen to fallout boy or whatever

idk dave he strikes me as someone who listens to both brian eno and death grips but at the same time theres a lot of stuff i CANT see him listening to

i think he probably likes beastie boys. paul’s boutique (1989) is probably one of his top albums. deltron 3030 (2000) too. both experimental hiphop, paul’s boutique utilizing plunderphonics while deltron 3030 is a bit more epic and psychedelic.

i think both wouldve changed his life. paul’s boutique for for his pragmatic bent (sampling)

and deltron 3030 on the psychological / reflection / journey / listen and close your eyes rock opera side (“It is a rap opera concept album set in a dystopian year 3030. The album's story casts Del in the role of Deltron Zero, a disillusioned mech soldier and interplanetary computer prodigy rebelling against a 31st-century New World Order. In a world where evil oligarchs suppress both human rights and hip-hop, Del fights rap battles against a series of foes, becoming Galactic Rhyme Federation Champion. Del the Funky Homosapien's lyrics veer from serious social commentary to humor to epic sci-fi battles, while producer Dan the Automator creates an eerie and dense atmosphere.”)

come on man

nmesh dream sequins is another album i can see him listen to, the cream of the crop for experimental vaporwave (the type of slowing samples in vaporwave was a technique pioneered by dj screw who i think dave would also dig, as it essentially manipulates time and thats Cool). probably likes oneohtrix point never too, an experimental electronic artist who also took inspiration from screw

maybe a bit of biting tongues, one of my favorites. he couldve been led to it going down the eno hole. probably his favorite album being recharge (1989)

as for rock i’m pretty sure dave strikes me as a psychedelic / experimental rock type of dude. so yeah pink floyd is still on the table especially early with syd barrett (the piper at the gates of dawn (1967) and a saucer full of secrets (1968)). but i think he can like later after that (of COURSE he feels drawn to the song ‘time’ lol i bet he’d want to replicate the atmosphere of the song’s beginning in his own stuff). he likes this kinda sound. he i can definitely see him being a ween fan for sure, especially quebec (2003) or their satire art/prog rock album the mollusk (1997) —the latter of which i could see him bonding with jade over DEFINITELY just listen to the titular song — but really the whole discography. or a zappa fan. maybe a dip into metal if its experimental or funky like primus or zillatron (bootsy collins alias)

i have to mention that these are all bands i like to some degree because to know what they sound like and if they fit dave ive had to listen to them lol. but yeah so that could put some bias into it and theres surely more stuff he would listen to i dont know but heres a portion of what i see from where i am

the common denominator between all the music i talked about was that theyre experimental