#the implications. the connections. the way it ties into themes. man... oh man... And It Makes. Sense.

[detectivehannibal]

Pretty as a Picture

__

Hannibal Lecter x Fem. Reader

Warnings: Implications of smut.

A/N: Why do I keep disappearing from this blog?? I’ve had this idea for FOREVER. Fun fact about me, I sometimes recycle my works from other blogs. So if you’re curious, this is from my Harry Potter blog @seriouslysnape and here’s the original work.

Word Count: 1,738

“It’s not much...just a little something for your birthday.”

__

On the surface, surprises don’t really seem to come to mind when you think about Hannibal Lecter. The esteemed psychiatrist always came off to you as an open book. He was usually willing to share all aspects of his life with you, which naturally left you believing that there weren’t any secrets lurking further within himself. 

Oh, how wrong you were.

Despite all the things that you didn’t know about Hannibal, you knew him well enough to know the sorts of things that he has a fancy for and the things he doesn’t. As high maintenance and temperamental as he is, he is shockingly easy to please. It’s a bit of an ironic statement, but still the truth nonetheless. 

You could gift Hannibal with something as simple as a pair of socks or with something as extravagant as a brand new luxury suit, and he’d always have the same genuine, appreciative reaction. If something came from you, he would surely love it with his whole heart. 

This gift, however, was on a whole new level.

The idea had honestly come to you at random when you were brainstorming birthday present possibilities. Even though he would never admit it, he was a bit bored of you buying him a new tie for every occasion. He had a tie for every color, pattern, and even he could ever dream of. You wanted to think outside of the box this time. You wanted to come up with something that he would never ever think of. 

On the flip side, you also wanted to be sure that it was something that he could have for a long time and something that would have some real meaning to him. You could always go down the culinary appliance route, but he already had absolutely everything he’d ever possibly want or need. You were in a bit of a rut, but that’s when you got a wonderful thought.

Hannibal didn’t own many personal pictures. Most of the photos in his house were custom made art pieces that were worth more than the price of your left leg alone. Hannibal never struck you as the kind of man to have plethoras of pictures of loved ones, but you still found it odd. It’d be a win-win in your eyes. You’d supply Hannibal with some photos to hold on to, and it’d be a thoughtful gift.

Then your plan took a sultry turn.

You had picked out a large photo album that would match the aesthetic of his house, and an album that would have plenty of pages to fill up. You kept it stashed away in your closet until you were ready to put pictures inside of it when another idea came to mind. 

What if you made a sexy photo album for him?

At first, you were a little sheepish at the idea. Boudoir style pictures showing off only the dirtiest of contents? It seemed like that might be too much and even a bit weird. The longer you thought about it, though, the more and more the idea sounded good. Maybe Hannibal wouldn’t necessarily jump at the gift, but at least he’d have something to jerk off to when you weren’t around.

You assembled as many outfits as you could, some coming from your personal collection and some were purchased as a specialty to the production of the photos. You’d need some help actually having the photos taken, which is why you recruited one of your closest friends.

You could’ve had them professionally done, but you weren’t sure how comfortable you were with a photographer and group of modeling experts studying over your naked body for an entire day. Your friend was stoked for the project and dedicated a whole afternoon while Hannibal was at work to help you out. 

You took probably about a hundred pictures, all with varying poses, outfits, and locations around the house. You even took a few more innocent photos of you just smiling or doing candid things. You figured that you needed some sweet to balance out the spicy. 

You decorated the pages to add some pop and flare, ultimately thrilled with the final product. Hannibal’s birthday was only a few days away, and you were itching to show him what you had made for him. 

“You’re fidgety tonight.” Hannibal spoke from where he was laid out underneath you on the living room sofa. 

It was true, you had been extremely jittery for the last hour and a half, trying to compose yourself. Hannibal had told you that he had wanted nothing more than to have a quiet evening in for his birthday, which you found as a blessing because he’d definitely want to stay around the house after seeing his gift.

“Sorry. Just excited.” You admitted, seeing this as the perfect opportunity.

He raised a brow, looking down at your frame that was practically trembling with explosive animation. 

“I feel as if I don’t need to inform you that my birthday comes around every year,” He joked; “What’s gotten you so elated?”

You smiled up at him with a brightness that was almost blinding. You scrambled off of the sofa at your cue.

“Wait right here. I’ll be back.” You announced as you dashed up the stairs.

Hannibal chuckled to himself, already guessing as to what you were plotting. You returned shortly after with the picture book in hand, complete with a bow on top. You sat with your legs crossed in front of him, eagerly handing it to him.

“It’s not much...just a little something for your birthday.” You explained.

Hannibal sat up from where he was settled into the cushions, eyeing over the cover carefully. It was a beautifully crafted book, the dark leather was absolutely gorgeous. He pushed the bow off of the sides, opening to the very first page to see a sweet note you had written him, signed with your signature and all. He turned to the first page to actually contain photos on it, and a smile of pure joy spread on his face.

You had put all of the non-sexual pictures in the first two pages to disguise the actual reason for the book. You were smiling happily in each of the first several photos, wearing different casual outfits and in different places. 

“Darling, these are wonderful,” He complimented; “They’re stunning, they-”

His heartbeat quickened when he made it to the third page, and he noticed they had taken on a new theme. The scandalous photos were enough to knock him speechless. For the first time ever, you saw Hannibal’s cheeks break out into a deep blush. His fingertips trailed over one in particular where you were wearing one of his white work shirts with all the buttons undone. The only thing you were wearing underneath was one of his ties settled between your breasts. 

In other photos, you were wearing different sets of lingerie. There was one lacy, red colored set that almost made him faint right then and there.

He was knocked speechless, unable to string together a single sentence. You were beginning to feel a little self conscious, and you went back to your original worry that this was a bad idea. You had honestly expected him to completely attack you with feverish kisses or fuck you right then and there. The fact that he was completely silent was unsettling, because Hannibal Lecter always had something to say. 

Your voice was thick with uncertainty as you spoke to break the silence.

“Hannibal, do you...like them?” You wondered aloud.

His eyes never steered clear from the book in his hands and the photos presented in front of him. He turned to the next page, a rush of arousal flushing over him at one in particular where you were completely naked, stretched out on the massive kitchen counter and giving a look so seductive that it made his belly flutter. The sight of you naked in his culinary world where he spent so much time was a sight to behold.

“[Y/N], I love them. These photographs...they’re beautiful, well produced, and so, so sexy.” He breathed out.

You exhaled a breath of relief, feeling a sense of anticipation as he continued to rake over them. He turned to a new set of pictures, his hot blush growing even deeper onto his cheeks. He couldn’t look away from the scandalous photos, each one becoming dirtier than the last. He was riled up and he was already looking forward to having this book at his disposal.

His lips parted slightly ajar as he loomed over them. Your waiting was patient as he finished looking through them, his pupils dilating more and more by the minute. He closed the book once he was finished, his eyes finally flickering up to you. He had grown a very prevalent erection, and his eyes were filled with an intense amount of lust. Your suspicions had been correct after all. 

He was going to rock your world.

Hannibal usually didn’t try to make the first move. He always wanted you to initiate sex first. He believed that sex was a passionate, romantic connection that shouldn’t always be fueled by burning want and desire from outside resources. Based on the way he was looking at you though, you could tell that he wanted you BADLY. 

He nonchalantly rolled his hips forward to create some kind of friction. The sneaky grin on your face was almost maddening. The way that your body leaned in and your lips brushed over his just ever so was intoxicating. Your lips traveled to his ear as you purposefully let out a wanton moan to tantalize him. 

“Touch me, Hanni. I know you want to.” You coaxed.

That was all he needed. 

Hannibal lunged forward, smothering your body with his and suffocating you with hot kisses. He kept your hands pinned above your head, leaving open mouthed kisses on your neck as he intentionally drew the most wonderful sounds out of you. 

“What are the chances of you wearing one of those outfits under this sweater?” He said in a steamy voice.

You squirmed against his hands, but to no avail. When Hannibal didn’t want you to go anywhere, then you wouldn’t. You bit down on your lip in a seductive way, breathing out your response to send him into full on love making mode.

“Why don’t you find out?”

[mrsblackruby]

Hey👋🏿 hope you’re having a nice day 😊

Sorry for cross tagging but the harassment is getting out of hand. Okay I’m a Billy Hargrove fan willing to make a cross tag post [which turned into a 5 part series ] discussing how to treat and respect fans in the strangers things community. I’m hoping to showcase behavior we shouldn’t engage in when we see someone who likes a character who we dislike. I’m also hoping to start a respectful discussion to help anyone on tumblr who doesn’t understand Billy fans but wants to understand them.Let’s hope this doesn’t become overwhelming 😳

I’m open to fair criticism. Let me know if you interpret a post differently than me if you want. Please let me know your opinions if you have them.

Don’t worry I also want to be respectful to those who don’t like Billy because you have ur reasons to not like his character and connect to fiction however you want to connect to fiction. I want to make things clear I’m not trying to make a moral condemnation of anyone who has engaged in the behavior I critic in this post. There are much bigger problems in the world but I’m so passionate about this one because I’m a person of color who connects to Billy’s story arc and the way some antis treat Billy fans is just cruel. Billy fans are real people who exist and their stories have real life consequences. Online harassment in fandom is not excusable because it is still harassment.

This post is long as FUCK and will have different parts but even tho it’s long I find the conversation to still be interesting so keep that in mind if you read I’ll try to reblog it and pinned it on my blog for ease. There’s a lot to discuss and this conversation should be dealt with care. I will also have the different parts linked at the end of each post. ( I’m also a stupid teenager pls be kind)

I worked so hard on this.

Please share this if you want because I believe our fandom can combat the environment of harassment online we see. Nobody deserve this type of treatment for hyper-fixating on a fictional character that gives them comfort!

Tw for all parts// harassment, racism, discussion of abuse, and abuse apologia, death threats, spoilers for strangers things season 1-3

Tw for this part// harassment, racism, fictional suicide mentioned

I have taken screenshots to reference and prove the behavior I critic but I have gotten rid of all identifying content as to avoid further harassment. Please don’t go out looking to harass anyone. Let me know if I need to add any warnings. this is a somewhat serious, heavy, and layered discussion. We are talking about how humans connect to fiction here so it’s bound to be complex.

[important Note for entire series] All these posts are recent by the way just to show case the harassment is still and ongoing issue even tho Billy has been “ dead” for quite a while now. He might have killed him self but Billy is still my rat man. let me love 😍him.

The Harassment of Billy Hargrove Fans #1

“Okay let’s get started”

Assumptions and cruel judgments of Billy fans

In this Twitter post someone makes the assertion that being a Billy Hargrove fan is a red flag. I’m aware that this is not a tumblr user but I have seen some of this sentiment on tumblr. I will begin by criticizing this post because someone being a fan of a fictional character doesn’t make them and inherent threat to anybody’s personhood. I get that the person who posted this may even agree with what I just argued, that Billy fans aren’t a real life threat, but that’s not what is being communicated at all when someone reads this especially when a fan of Billy reads this. And if someone out there does believe this for one reason or another I’m going to continue to dispute your claim. Some Billy fans might engage in problematic behavior but to hold a layer of apprehension towards all fans of a character because of this might be something you need to reevaluate. Making a moral judgment on real human beings because they like a character is not okay especially if you don’t even know the reasoning.

Just because someone likes a character that might be a mass murderer in fiction doesn’t mean that now they support massacres, correct? Same logic applies here if someone does interpret Billy as racist but still likes his character that does not mean they think racism in the real world is okay ( or bullying, harassment, or anti feminism either) and that does not mean they can’t organize against real world problems effectively.

This is a crude assumption

First things first not every who likes Billy ships Harringrove

As a Harringrove shipper I can only speak for myself and say I could give less of a fuck if Billy is “good” or “bad”. That’s doesn’t mean he doesn’t want to smash king Steve. That’s also doesn’t mean he can’t be queer and it doesn’t mean I can’t like the ship. And it doesn’t mean that I can’t connect to Billy on a disastrously queer level ( got that phrasing from a grade A post on this hell site)

Believing Billy can see the errors in his ways and can heal and become a “good” person… doesn’t have to be a byproduct of being a shipper. it can just be a read someone has of a character so “anon” no disrespect to ya but your thinking is wrong.

Okay this is gonna be lengthy

Fine some Billy fans ignore the shit he did… but that’s not inherently bad. Fans can headcannon Billy into a completely different portrayal than what we see on screen and love him I don’t see a problem with that especially when they aren’t excusing any abuse.

The Duffers brothers failed at exploring racism in their show if that was their intention. Point blank period since this is a form of art it can be interpreted in many different perspectives. Especially if it is not tied to any explicit themes on racism in the text. I interpret Billy’s actions as racist but no one has to do so if they connect to the story in a different manner. I felt the weight of Billy’s “ certain type of people” comment. However it was only and implication not a confirmation. Stop being mad at people for not interpreting something left up to interpretation.The writers didn’t explicitly tackle the issue they wanted to tackle.

This might be helpful 2 know …I interpret Billy as racist, I’m also black, I also Stan Billy Hargrove.

Okay here we go… no-one has to interpret Billy’s actions as being racist so why assume that if someone likes Billy it’s because they’re racist just like him… if they don’t even think he’s racist. I hope that makes sense

I think Billy is racist 4 sure the story flows better for me that way and it makes a lot of sense to me. Now let’s talk about racism in the real world … racism is something that is taught. Racism is a big large system we are all conditioned into. Racism is something we must all unlearn in the real world. So in the fictional world I think there is an entertaining plot line that Billy can go down and unlearn his racism +stop beating up on children Billy 🤦🏿‍♀️. Because I see that potential growth that is why I like his character. Oh and no one ever talks about this but I head cannon Billy as fat phobic because of the “lard- ass” comment so my version of Billy is working through that as well.

I don’t wanna sound all high and mighty I can understand why someone might express this sentiment. I’m not gonna demonize someone who is black like me (black people have dealt with that enough). I also get why you would not even like Billy if you interpret him as racist. [Someone could have the same analysis of Billy as me and still not like him because how we connect to fiction is somewhat irrational.] I would just ask that we don’t jump to conclusions about anyone’s politics because of how they like a fictional character. That we treat other members in our fandom with respect.

I can never and will never excuse racism because if I do I would be turning a blind eye on a system that kills my loved ones. Your allowed to not like Billy Hargrove honestly I don’t see any Billy fans who care? Stop making crude assumptions about people who do Stan Billy Hargrove ur “ joke” is a hurtful misrepresentation.

Lol like #notallbillyfans am I right guys 👉🏿

*crickets sounds and booing*

okay sorry let’s move on…

The problem I hope i highlighted is that you can not make inherent claims to thy morals of a human being because they like a fictional character.😂

Stand alone post: Me reading to much into the politics of Billy Hargrove/ Harringrove

THE 5 PART SERIES ON HARASSMENT:

#2 #3 #4 #5

[paranoid-throwaway]

still want to do a fifthist jerma scp. needs a really good twist though to keep it from being a generic ive streaming cognitohazards thing thats been done before. you know, something really absurd and surreal. i suppose something fourth wall breaking could work but i kind of feel that detracts from the horror.

i think like the greatest example of a professional production that captures a fifthist feel is being john malkovich. not overtly horror, but still deeply weird and unsettling when you consider the implications. and of course celebrity status is also an important theme of that movie. hmmmm, maybe the scp could something of a report on this like fifthist attempt to convert jerma. i mean they have to get all these celebrities to join somehow. although of course the much better and creepier interpretation is rather fifthists become celebrities, not the other way around. but yeah, something that sort of starts off showing these weird fifthist attempts to convert him that eventually culminate in the artifact or phenomena the scp is for. actually, it might even be good to have it be just like normal fans(or rather, non famous fifthists), trying to convert him. you know, something something parasocial obsession. ending would definitely leave it ambigous as to whether or not jerma really was converted and if hes plotting something right now, although that is a rather generic twist as scps go. 

still cant really think of a proper story arc, but i can already see how a lot of things can be tied to it; sus face, psycho streamer, catboy, heck you could probably involve the debt. another thing id like to involve is how often when he turns his webcam on theres a weird freezeframe cause he always forgets to clear obs.

i do really like the antimemetic-fifthist connection as described in 3125 and five five five five, but i don;t think its been directly addressed in the clearly fifthist scps. i guess the scp even could just straight up be a meme, or maybe even one of the meme characters. as far as this idea goes, like all good fifthist scps, the meme/character can be barely be described. a really complex thing would be somehow having or just implying the meme was just like your cliche ‘purple starfish jerma’ edit but its deftly intimated that the real thing was much worse and thats just a smokescreen. have no idea how you’d effectively convey this though. i’m still not really in love with this idea, but while im brainstorming maybe it’d be something like _______ jerma or [REDACTED] jerma. i want to keep the tone of this scp as spooky

actually, a fifthist scp that really examines just how soulless celebrity is could really work. of course, there’d be a lot of my personal biases involved though, i guess i’d have to be careful to keep that from showing to strongly. but where exactly will the horror stem from. i think a good theme is the artificiality of celebrity and obsession but how to work it in? i guess a personal example of an inspiration would be these really weird posts you see obsessing over a character or whatever and making all these very strange and virtually pornographic comparisons. though obviously thats not weird or unnerving to everyone. oh man, you could even have like a series of posts or whatever from one of the fifthist jerma fans detailing their obsession and descent into madness. yeah, i think the base concept is like these obsessed fans trying to turn their idol into the godhead(this might have been done before).”hes my little purple starfish” buried in poor little meowmeow word salad. idk. on a deep level i do think watching jerma is kind of pathetic, and i say this as a fan. on some level it is afterall mimicking a level of companionship. I am reminded of this most clearly when jerma is like “did i ever tell you guys about”... or stuff like that. and Jerma isn;t even leaning into and taking advantage of the parasocial stuff like a lot of other streamers. i still cant think of a really good hook and plot arc though! i want to avoid this just being like a series of jerma references in an scp. where does the scary come from! that sick feeling of seeing deeply misguided perversion and being powerless to stop it? i need to keep the whole scp from revolving too strongly around him. the creepiness of five five five comes from the idea of this omnipotent evil. the part of it i love the most is the description of what happens after 3125 manifests. so creepy, this shift into a universe that is somehow even harsher and uncaring than this one. the way it turns everything into something horrible and alien and the dread of its omnipresence. the fact that it can instantly corrupt, or retroactively erase all knowledge of a person. hmmm perhaps a fifthist entity attempting to manifest through jerma?(though this would only be the surface interpretation. it would hint at something much deeper and vague)

hmmm. i suppose one of the fundamentals of parasocial as relating to horror is the crazed fan. this could be related to the aforemention fifthist themes by having a person obsessed with jerma be convinced that hes their SO and doesn;t understand how all of a sudden he isn;t. the scp could imply that they’re from some sort of alternate dimension where fifthist practices are mainstream

 actually another idea i just had is a vtuber scp. that’d really be taking the streaming cognitohazard concept and running with it.

the designation would absolutely have to be scp-#985. can be any series number but the last three digits would have to be 985

going to try to remember to come back to this

[4ragon]

if these are closed it’s fine but can you do Lang for the character analysis?

Nah, man, I’m always happy to ramble about these characters when I have the time.

I’m just going to come right out and say it, Lang was done so dirty by these games. Like I know I complain about how they handled Athena, but at least Athena takes a central role in DD and is present throughout SoJ. Lang plays a major role in THREE cases total, over two games! And that’s it! Like you can’t do this to me, you can’t present me with this fun, interesting character and give him nothing to do most of the time! It’s not fair!

But here’s the thing: despite that, Lang is memorable as hell. Like, he’s not given nearly enough time to shine, but he shines on anyway, because he’s Shi-Long Lang and he’s that fucking great. Lang is far and away one of the best parts of AAI, aside from maybe Kay. Everyone I know who’s played these games enjoyed the hell out of Lang for the short ride he was there for. He’s great, and he’s frustrating, and he has a kickass theme song, even if I’m not crazy about the harmonica version.

Lang as a character is so fun. He’s weird as hell, he has this whole wolf motif going on, he’s loud and brash and confident. He’s a really fun rival! Like, he and Miles have great chemistry, in part because I feel like they have so much in common, despite their differences being so pronounced. They’re both very stubborn people, and they both have strong senses of justice. They both care a lot about their jobs, and while they’re not friendly or trusting, once you’re in their good graces, they’re willing to do so much for you. But Lang is absolutely one of those “Act first think later” kind of people, while Miles is a much more careful man. Lang isn’t necessarily stupid, but he is very reckless and doesn’t really have his worldview challenged in any meaningful way until AAI.

And I know I just said he’s not particularly friendly, but that’s not completely true. He’s not friendly to the people outside his ‘pack’ but once you’re in, he’s loyal to a fault. I think it’s probably his greatest strength and greatest weakness. Like, who didn’t watch the scene with him demanding all of his subordinates think of themselves as number one and go “Oh! Okay, he’s actually a pretty cool dude.” And who didn’t feel for him when he was giving it his all to defend Shih-na from accusation. Like, of course what he’s doing and saying is ridiculous nonsense almost all of the time, seeing as he’s a ridiculous nonsense man, but that’s part of the charm! And it’s clear that his ‘pack’ all loves and respects him right back, even if he’s still a bit of a hardass with them. He’s hard working and passionate and cares about the people around him so deeply.

And I love seeing him grow to appreciate Miles’s perspective, and learn to start trusting in him, even if he’s still not sold on trusting prosecutors as a whole. He doesn’t exactly change as a person, he’s still this bizarre wolf man, but there’s still growth there, you know?

And I think that’s why it’s so disappointing that we never really get enough time to really explore him in as much depth as I would like. Honestly, I think part of that is just how Nothing the smuggling ring plot ends up being. It’s supposed to be his main motivation, this hugely important and insurmountable enemy that he’s fighting, but it has nothing to do with Lang’s internal struggles, or with his mistrust of prosecutors and Miles. Like, if you look at other main rivals, their character growth is inherently tied to the main plot of the game. Miles’s growth is tied to the anger, grief, and guilt that’s explored in that final case. Franziska’s growth is tied to her self perception and her views on perfection that get tested in that final case. But Lang’s growth I feel is almost incidental to the main plot. It has nothing to do with the smugglers, in part because most of the smuggler stuff outside of Shih-na is very boring.

We never really go that deeply into why he feels so responsible for the broken economy of Zheng-Fa. It’s his main goal, but it has nothing to do with the rest of the plot. And on one level, we the players can understand the importance of what Lang is trying to do, but I don’t think any of us can connect in a way that makes this struggle meaningful.

And then, as I’ve mentioned before, we never really get time to see how Shih-na’s betrayal affects him. I think that’s more important to his growth as a person than finally taking down the smuggler’s ring, or at least it’s the one that has the clearest implications. Like I said, he’s loyal to a fault, and a betrayal like that could easily be enough to shake the very foundations of who he is.

[Minor aai2 spoilers in this paragraph] Continuing on, we never get to explore how no longer having his men affects him in the sequel. His ties to his men was one of his defining feature, and while we can see that he’s unhappy about it, we never really get the chance to explore why. And then we never get to explore his feelings toward his father or toward Di-Jun Huang. We don’t get much closure with him in the Blaise Debeste situation either. We can see that there’s so much going on just below the surface, but he just sort of fades into the background.

I wish they did more with him in AAI2. I understand why they didn’t, and Justine and Sebastian both were such fantastic characters both as rivals and as characters in general, but Lang could’ve still been relevant! I don’t know how, but he could’ve! I guess I would’ve been happier with him in AAI2 if AAI had featured him throughout, but. Man, I don’t know.

Also, those sunglasses suck? They suck, right? Those are bad sunglasses. Sir, who told you those were good sunglasses? Was it Shih-na? Shih-na, why would you encourage him to wear those sunglasses? I can’t believe they were gunning to have Lang wear those fuckings double eye patches...

[terramythos]

TerraMythos 2021 Reading Challenge - Book 17 of 26

Title: The Other Wind (Earthsea Cycle #6) (2001)

Author: Ursula K. Le Guin

Genre/Tags: Fantasy, Third-Person, Female Protagonist (Kinda)

Rating: 5/10

Date Began: 7/8/2021

Date Finished: 7/12/2021

The sorcerer Alder is haunted by a recurring dream. Every night he stands at the border of the afterlife, and the dead call to him from the other side, begging him to free them. Fearing that he may unleash evil upon the world, Alder seeks out Ged, a living man who once escaped the land of the dead. Alder finds himself central to a vast mystery; the origin of the afterlife and how it relates to mankind’s ancient connection to the dragons.

“I think,” Tehanu said in her soft, strange voice, “That when I die, I can breathe back the breath that made me live. I can give back to the world all I didn’t do. All that I might have been and couldn’t be. All the choices I didn’t make. All the things I lost and spent and wasted. I can give them back to the world. To the lives that haven’t been lived yet. That will be my gift back to the world that gave me the life I did live, the love I loved, the breath I breathed." 

Content warnings and spoilers below the cut.  

Content warnings for the book: Death, suicidal ideation, references to child abuse, reference to misogyny, mentioned animal death, mention of slavery.

Man oh man do I wish I enjoyed this book more. It’s not horrible, and there’s stuff I liked, but I found it really hard to get through at times. The Other Wind feels different than anything else in the Earthsea series— to its detriment. There are three main issues I have with the book, all of which I’ll get into.  But ultimately I consider it a mediocre conclusion to an otherwise great series. 

First, this book has unusual pacing. The Earthsea books are generally slow, with a gradual buildup and gratifying conclusion that ties the themes of the story together. The Other Wind is more like a reverse bell curve; it has a great beginning and finale, but the middle meanders and stalls. The novel is split into five chapters, roughly the same length, and the middle three are a slog. There’s the barest whisper of an interesting plot, but not a lot happens— and what does happen isn’t very compelling.

The closest thing to a story in the middle is a subplot involving Seserakh, a Kargish princess. She’s sent to King Lebannen’s court with the expectation he’ll marry her to secure an alliance. A stock idea to be sure, but I can see how it might provide political intrigue. But it’s just aggravating. Tenar is in this storyline for some reason, and she feels contradictory and out of character. She wants to live a simple life and leave palace politics behind— but she also wants to push the literal king into a marriage he doesn’t want. Lebannen gets framed as The Absolute Worst because he (1) doesn’t want to get married to a woman he’s never met, and (2) is distracted by other stuff. There’s an implication that the match is a great choice, yet Seserakh and Lebannen don’t have a conversation until near the end. Of course Lebannen falls madly in love with her the moment they talk. No need to… develop their relationship? Normally I can gloss over a weak subplot, but since so little happens in the middle, that’s impossible here. It’s irrelevant to the main story, so it’s a shame Le Guin spent so much time on it. 

There’s a lot of talking in this book, but little action. Dialogue-heavy characterization isn’t necessarily bad. Le Guin is usually great at that kind of writing. But here, it emphasizes my second problem with the book: there’s too many major characters. Previous books focused on 1 or 2 people, allowing for intimate connection and character growth. LeGuin clearly tries for that here, but there’s so many people and relationships that everyone is underdeveloped. Perhaps this would come off better with a single perspective character, but Le Guin instead chose a shifting POV between 5+ characters. An alternating POV isn’t inherently bad, but it wasn’t a good fit for such a short book. I found myself wishing for focus on Alder (the protagonist!), who’s a genuinely compelling character. Alas. 

My third problem with The Other Wind is exposition. This book resolves several plot threads from previous entries. Obviously, there needs to be some context from the series to tie everything together. But the sheer amount of recap is unreal. So many scenes boil down to a character explaining something that happened to them in a previous book, then connecting it to the current plot. It’s not subtle and sometimes happens with the same event multiple times. It genuinely feels like Le Guin didn’t trust the reader to infer ANYTHING on their own. Having just read the rest of the series, this was especially irritating. I can cut a little slack here; this series began in 1968, and perhaps some returning 2001 readers wouldn’t recall key events. But regardless, The Other Wind is one of the most over-explained things I’ve read in a long time. It’s especially odd because the previous books aren’t like this.

There are things I genuinely like about The Other Wind. On a prose level, Le Guin's a great writer. Even the plotless parts of the book are full of interesting writing choices and philosophical observations. One nice thing about Earthsea is the characters age over the course of the series. Ged started A Wizard of Earthsea as a young boy, but as of The Other Wind is a seventy-year-old man. It’s cool to sit back and see just how much each character developed over time. Earthsea itself changed with them; each book’s events have serious repercussions for the world as a whole. And this book has the most significant change of all. 

When the The Other Wind’s plot is relevant, it’s one of the most interesting in the series. I think it’s a fascinating way to tie up two disparate plot threads. As much as I love The Farthest Shore, it does present a glaring conundrum regarding Earthsea’s core themes. True immortality is only obtained through death— not because of an afterlife, but because the dead become one with the rest of the world. So why does the Archipelago have an afterlife at all? Why is it so bleak and depressing? Why are there no plants, animals, or dragons there? Speaking of, there’s the revelation that dragons and humans were once the same species. Tehanu introduced this idea with various folktales, and the eventual reveal that Tehanu/Therru is a dragon. This idea is newer to the series and thus more malleable, but I like the idea of an entity being two creatures at once, and the mystery behind that.

I think the integration of these two ideas is interesting. Dragons and humans were once the same, but decided to split into two species to pursue different goals. They formed an ancient bargain to rule different aspects of the world. Fire and air represent the dragons’ realm, freedom— and water and earth represent the humans’ realm, ownership. But some humans learned magic and broke that covenant, binding everything to its true name. This established a form of freedom— immortality via one’s name. The afterlife is a result of that; it shouldn’t exist, which is why it feels wrong. Everything links back to the desire for immortality without change as introduced in The Farthest Shore. On a meta level it’s weird that none of this came up in that book; the explanation that dragons suddenly remembered this great wrong is a little retcon-y. But I understand Le Guin probably never intended to expand on these ideas, and it’s nice to see the contradiction of Earthsea’s afterlife resolved in the end. I went into this book expecting the titular “other wind” to be the other side of Earthsea, not another plane of existence; and I think that surprise is pretty cool! I like the metaphysical aspect of this other realm and how it connects to the  dragons. 

Even though I didn’t love the book, I do think it works as a series conclusion more than Tehanu did. Tehanu drops such a huge, unresolved bombshell in its ending that I’m surprised Le Guin intended it to be the final book of the series. The Other Wind does create some open-ended mysteries, but they’re the kind that don’t need a resolution. 

Despite that, I find myself wondering if this book was necessary. The Other Wind ties together some threads, but I wasn’t a fan of the execution overall. If the dragon and afterlife plot was a heavier focus, maybe I’d like the book more. Instead there’s a bunch of filler and extraneous detail. The book feels forced, like a novella stretched into a full novel— yet also like something’s missing. Perhaps The Other Wind works better on a reread, but I’m inclined to skip it in the future.

[horde-princess]

A Meta on Catra’s Relationships with DT, Scorpia, and Adora

I’m so excited to write this finally ljsdflkj okay so. I’ve been thinking about why the creators would choose to center a whole season around this new character Double Trouble. They drove the plot and played a major role in a really important part of the story, Catra’s redemption. So I wanna think more about the purpose of this character and go deeper into a couple of their scenes with Catra.

tbh Catra and DT’s very first interaction says it all: DT literally takes the form of Scorpia and tells Catra “I’m about to become your new best friend.” As the season goes on, Double Trouble replaces Scorpia as a sort of artificial confidant for Catra. But it blows up in her face and the purpose of the whole thing is to shed light on Catra’s main internal conflict: her desire for love vs. her fear of heartbreak/vulnerability.

In other words, I believe Double Trouble was introduced as a foil to Scorpia. But if we think about how Scorpia is also a foil to Adora, then that means DT is like... a foil to a foil. So they’re not directly associated with Adora but a lot of what they do relates back to her. Yeah there are a lot of layers here lmao but basically what I’m gonna analyze is how Catra’s relationships with these three characters intertwine and build off each other in season 4 to set the stage for Catra’s redemption (and catradora endgame hollaaa)

So in the beginning, Catra and DT both understand their relationship to be a business arrangement. When does that start to change for Catra, and why?

Catra’s History With Betrayal

Just think about Catra’s relationships at the start of s4.. After the portal, Adora had basically severed whatever was left of their relationship, and that was shown to be weighing on Catra all season. Scorpia and Entrapta were the only other people she cared about, but Entrapta betrayed her (first by monopolizing Hordak’s attention then by refusing to open the portal), then Scorpia dared to question her decision to send their friend to die and her presence became a constant reminder of Catra’s guilt. In fact, the mere mention of Entrapta’s name in 4x03 causes Catra to snap and yell at Scorpia “we are not friends!” ... which of course isn’t true. Catra may think Scorpia’s annoying but she confided in her, her loyalty made Catra feel like she could trust her.. and that’s exactly why Catra always tried so hard to push her away. All the betrayals in her life scarred her so deeply that she wanted to avoid emotional intimacy at all costs. I’m about to get Jungian up in this shit bc we see a deep disconnect between Catra’s outward actions (her conscious) and her inner desires (subconscious) this season and it’s this i believe that leads to her breakdown in 4x10. It’s an unsustainable way to live.

Why Catra Trusted Double Trouble

So by 4x04, Catra had sabotaged her only two relationships. She was utterly alone, and vulnerable, and Double Trouble was in the right place at the right time offering their loyalty to her.. so Catra did what any emotionally stable person would do and subconsciously used a hired mercenary to try and fill the growing void in her heart. I don’t think Catra actually cared about DT much at all, like sure they got along and that matters on some level, but I think it’s more that Catra was in a vulnerable place and DT was the only one around.

So why does Catra trust Double Trouble when she won’t let herself trust anyone else? I’ve seen some posts saying it’s because Catra is self-destructive--i.e. she only seeks love from people who won’t give it to her because she doesn’t believe she deserves love--which is super true.. but I think her motivations can be better explained by saying that Catra knew from the start that Double Trouble didn’t really care about her, and that’s why the partnership was attractive to her (at first). She thought it would be safe--no vulnerability, no risk of heartbreak. But the truth is Catra’s just not as disaffected as she wishes she was.

The moment Catra really let her guard down was when Double Trouble saved her from the collapsing building in 4x04. 

can we just!! talk about this scene!!!! the way her voice shakes when she says “saving me” just, oh my god... like what a touchy subject for her, right? Shes spent her whole life resenting how Adora was always trying to “save” her from everything. I’m not sure but I think White Out (2x05) was the only other time Catra thanked someone for saving her life, and she just says “thanks for getting us out of there.” So her use of the word “save” here is special and it illustrates how deeply vulnerable Catra feels this season, and more importantly it’s a sign of character development! It’s no coincidence that the theme of saving is connected between DT, Scorpia, and Adora. It’s leading up to Catra learning to replace her resentment towards Adora with something closer to gratitude. 

But while the scene connects these relationships, it also highlights their differences. After Catra displays an astounding amount of vulnerability with DT, they coolly reply “well, I live to serve... for a price, of course.”

This right here is the first step of Catra’s breakdown. Suppressed desires making themselves known, one half of her heart rebelling against the other. She was pushing away her real friends and finding hollow companionship with someone she thought she wouldn’t get attached to, but it happened anyway.

The difference between Double Trouble and Scorpia must have become glaringly obvious to Catra in that moment. Whereas Scorpia was loyal to Catra out of love, DT was mostly interested in getting paid. And she was surprised by how much that hurt. She fucking hated how much it hurt, you can see it written all over her face. It’s why she fails Scorpia’s little test in 4x06. Because of Double Trouble, Catra’s true desires were threatening to break free, so outwardly she fights against it and acts more resistant than ever to being friends with Scorpia. She castigates her, calls her annoying and incompetent, harsher than we’ve ever seen... but she didn’t expect Scorpia to hit back (we did, tho. Scorpia’s an icon).

In four words Scorpia teaches Catra a hard lesson about what it means to earn someone’s loyalty. She knew she must’ve really fucked up if she somehow managed to push away the most loyal person in all of Etheria. And again the fake nature of Catra’s relationship with Double Trouble provides a reference for her to see why Scorpia’s loyalty, based in love, was so valuable, and why she shouldn’t have taken it for granted. It also relates to Adora because, similar to Scorpia, Adora had been trying so hard these past 3 seasons to connect with Catra, but she refused to forgive her and her behavior eventually forced Adora to cut ties. So Scorpia calling her out pushes Catra towards accepting some personal responsibility for everything that happened with Adora, too. Man there are just.. a ton of implications here.

Then Catra gives Hordak a fun pep talk but really it’s just her self-projecting all over him:

At this point her hateful actions and her goal to conquer Etheria are extremely out of line with her true desires and we can see it’s really affecting her mental state. It wasn’t just one thing or person that caused her breakdown, it was a combination of Adora severing their relationship, and Scorpia’s disappointment in her, and Double Trouble’s indifference towards her. All three of these situations were playing off each other and chipping away at Catra’s carefully crafted armor, revealing a desire to be loved hidden underneath... which she continued to fight against for as long as she could. Adora and Scorpia were playing their roles in helping Catra learn to take responsibility for her life, but those relationships wouldn’t have been so effective had it not been for how they were contrasted with Double Trouble’s indifference. Anyway have I mentioned how amazing and complex this show is????

Catra Loses DT and Scorpia Around the Same Time

4x07 is the last time Catra talks to Double Trouble before they get captured by the rebels. Coincidentally, Catra realizes that Scorpia left her just one episode later, which once again points to a connection between these two characters. From 4x08 to 4x11 Catra is completely alone, feeling like she has lost everyone in her life. It sets the stage for her meltdown in 4x10. But my fave part about Scorpia leaving is how it changes the way Catra thinks about betrayal. 

Even if Scorpia didn’t tell Catra where she was going in the note she left, Catra had to have assumed she was leaving to join the Rebellion because where else would she have gone right? So the two people Catra loves most have now BOTH abandoned her to join the rebellion. I don’t even wanna think about how triggering that betrayal must have been for Catra.. I don’t wanna think about how the next time Catra sees Scorpia she’s going to be a full blown princess with powers and everything, just like what happened with Adora. 

But there’s a key difference between Adora and Scorpia. Catra knows at this point that Adora didn’t want to leave her behind, but she did anyway to pursue some destiny that Catra wasn’t a part of, which left her feeling betrayed. Scorpia, on the other hand--the very definition of ‘loyalty’--left her specifically because Catra pushed her away. Her fear of vulnerability manifested as anger towards someone she refused to admit that she cared about, and it pushed her away.

Once again I think Scorpia is teaching Catra a lesson about taking responsibility for some of the shit in her life. It’s a privilege that Adora lost after being careless with Catra’s trust, and thus Scorpia was the only one in a position to reach Catra and help her. But I think that the things Catra learned from Scorpia are going to play back into her relationship with Adora and allow them to reconcile (when Adora deals with her own issues too).

We can also say a little about how Double Trouble’s betrayal contrasts with Scorpia’s and Adora’s. I think their complete emotional detachment is the perfect frame of reference for Catra to be able to acknowledge that even though Scorpia and Adora left her, they DID love her, and they never stopped trying to reach out to her--at least, not until Catra crossed a line with both of them. At some point, Catra went from being justified in her feelings of betrayal to overdoing it, placing too much blame where it didn’t belong and closing the door to forgiveness. So I think that’s the role that Double Trouble played there, helping Catra see that difference. Like even if someone leaves you, hurts you, it doesn’t always mean they don’t love you. Relationships take work and understanding and forgiveness and you have to learn how to handle that or you’ll always be alone. Scorpia’s the pure embodiment of that lesson, and she’s lighting the way for Catra to navigate the much more nebulous waters of her grudge against Adora.

Double Trouble’s Betrayal

So now Catra is feeling abandoned by Scorpia and Double Trouble (her only friends) and we see the disconnect between what’s in her heart and the front she’s been putting on come to a head in 4x10 when she has that meltdown. She’s kind of losing it because her fear and heartbreak are driving her down a path that she doesn’t actually want. It’s like watching a car crash in slow motion. In 4x12 she continues to hold on desperately to the idea that beating Adora will make her happy, because at this point she doesn’t see any way to turn the car around.

There’s an absolutely fantastic scene early in 4x12 that sets up Double Trouble’s betrayal beautifully, like really it’s a masterpiece. Catra’s childhood friends walk in on her in the locker room and they’re laughing and joking around and for a second it’s like... Catra longs to be a part of that again.. To have friends, to be happy. But then Kyle accidentally kicks one of Scorpia’s old doodles (a painful reminder that she’s gone) and Catra freaks out and attacks them. Kyle’s like “we used to be friends, why are you treating us like this?” So she lets them leave, feeling alone and miserable, and THAT’S when Double Trouble waltzes in... having had just made a deal with Glimmer to double cross Catra.

God it hurts so much. The contrast between her pushing away Scorpia and her real friends, and then her childlike relief upon seeing the person who just sold her out.

This scene gives me fucking chills with the nightmare-ish music and everything.. It’s like, at this point DT is just fucking with her, they’ve already got Catra figured out. This face touch is so cruel and fits with the show’s motif of manipulative affection, too. For me it felt very disconcerting to see Catra like this... unaware that she’s been defeated yet she’s so emotionally vulnerable here, she’s like putty in Double Trouble’s hands. Scorpia leaving cracked her open and, as they’re the last person left standing with Catra’s trust, Double Trouble’s in the perfect position to come in and break her.

So the next episode 4x13 has that crazy scene where Double Trouble totally obliterates Catra and I’m not even gonna talk about it lmao because yall have already done a great job analyzing it. But I do wanna draw attention to the fact that this is the only thing she says in this whole scene:

Can you believe that’s what mattered the most to her in that moment? Not that literally everything she had been working for for the past 4 seasons had just turned to dust before her eyes, but the fact that this random mercenary she hired betrayed her. And there was no anger at all, just... heartbreak.

And then look at what she says to Glimmer afterwards (setting aside the fact that Catra is basically giving up on life...) she says nothing about the war, nothing about winning or revenge. The only thing she’s thinking about is how lonely she feels.

So by the end of Season 4, I think Catra did finally figure out what she truly wanted in life. She didn’t want to be on top just for power’s sake, she wanted people to respect her, to love her, so that no one could hurt her anymore. But she was so obsessed with winning that she ended up losing everyone’s respect. Wow haha if only she could get a second chance to earn it back the right way.... like say if, idk, she was trapped in space jail and forced to team up with her sworn enemy to survive and they came out best friends or something <:)

To sum up, Double Trouble’s role in Season 4 was to break Catra’s mask and force her to consider what she truly wants. I think their betrayal taught Catra to really appreciate what a terrible mistake she made in pushing Scorpia and Adora away. It taught her the difference between someone leaving her because they don’t care about her, and someone cutting ties with her even though they do care for her very deeply, they just couldn’t take Catra treating them like crap anymore. It showed her that what Adora did was nothing like what DT did. That’s what a betrayal feels like when the person doesn’t care about you. Someone who doesn’t care about you isn’t going to beg for your forgiveness for 3 seasons and risk being obliterated from existence just to get you back.

But the real beauty of season 4 was how Catra hitting rock bottom had almost nothing to do with Adora. With the help of other friends Catra has begun to find her own reasons to change, she’s acknowledging her guilt and heartbreak and discovering the person she wants to become. She’s learning to take responsibility instead of just blaming other people. And this character development had nothing to do with romance, just like how Adora breaking free of her destiny and learning to let go of control had little to do with Catra. I love the different perspectives on love that they give us with Catra, Adora, and Scorpia. I love how this show takes the “love conquers all” trope and subverts it, saying that sometimes.. love breaks you. Sometimes it’s not enough. Sometimes it’s used as a weapon. Sometimes you have to let go of people you love, but it opens up space for you to figure out who you are and what you want and to conquer your own demons. You’ll come out the other side with a better understanding of what real, healthy love is supposed to look like. And maybe in the end, the love you always sought will find you again, in its own time, in its own way. 💘

[saladejin]

Call An Uber? | 21

BTS x Reader | idolverse au, uber driver!Reader, translator!Reader | Fluff, flirting, super slow burn, angst and hurt/comfort, mature themes and eventual smut

Summary: Your normal life with a normal, yet inconsistent job gets drastically changed when your dreams come true. Sounds boring right?

What happens when all of this occurs, but you’re still doing something you love AND getting a large sum for it? Now there’s something to think about, and it’s definitely not what you’re thinking.

Warnings: Angst with some fluff, cursing

Word Count: 3k

A/N: Re-reading this through is so weird to me. I’m sorry for all the angst, I hope you guys forgive me T_T

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 Books, clothes, equipment… It didn’t matter what was, if it was in my way it was getting shoved in my haste to reach the phone. It was like I could feel the storm of anger awaiting me on the other side of the hotel door, but priorities did come first. Soojin could go fuck herself for all I cared at the moment.

My thumb hovered over the tiny green telephone symbol for longer than necessary. Was it urgent enough to put above my job at the moment? I wouldn’t be surprised if my mother had just pocket called me or drank a little too much. It was too strange to have any positive implications. To be frank, I was probably trying too hard to convince myself otherwise because the opportunity to stall was too tempting to ignore.

Anyone who knew me well would know just how much I loved to procrastinate problem solving. Long lasting ones weren’t an exception in any case.

“(Y/n), you finally showed up.”

What? Fuck, I must have tapped it while I was lost in my brain.

“Mother,” I responded through gritted teeth. 

Trepidation weighed my tone down to the floor.

Then there was a silence that made me feel as unsure as ever. If you asked me to explain the feelings caused by the echoingly empty sound, I couldn’t tell you. It was as if she was carefully handpicking her next words. Tiptoeing so cautiously around her thoughts, just in case I didn’t like what she had to say and barred myself away once more.

She’s too foolish to understand that I can see through her, even if she’s not physically here.

I fiercely fought down the urge to grind my teeth in anger and chose to wait patiently instead. If she had to take the time to think about what she was saying, then she obviously wanted to be in my favour somehow. I could not for the life of me understand how she’d possibly thought that was a scenario that existed, but apparently it did.  

“Honey … how have you been these days?”  

A surge of bile bubbled up through my windpipe. This problem was becoming borderline toxic.

“You better get to the point before I hang up,” I seethed. The plan was to keep my tone calm and neutral but there was no way the hurt wasn’t going to seep through the cracks. Hearing how fake and desperate she’d become just single-handedly destroyed what little snippet of respect I had left, buried deeply somewhere there in my heart.

She scoffed almost soundlessly before heeding the request.

“Fine, if it’s really going to be this way. I need money. Your dumbass father has gone and crashed the car again, but this time he’s pretty messed up. We can’t afford all these bills and I really need some booze if I’m gonna stay sane in this shithole. You’re the only child still attached to us so you’re going to be the one to get your dunce of a dad out of debt.”

I felt my chest tighten the longer she spoke, albeit rather roughly, but the words were still heavy with wrenching information. I didn’t know exactly how to feel, but I knew this whole situation would be a hell of a lot easier without the tugging family ties making me second guess everything.

“Hold on, how bad is the accident?” I growled, trying to ignore the rest of her sentence about alcohol and shitholes. The thought of my own father being severely injured made my heart skip a beat in sudden fear. It wasn’t too bad, was it?

“Pretty damn bad, I guess. He was in the ER, and I’m sure the doctor said something about rehab? Acute rehab? Ugh, can’t remember.”

This is terrible, and she can barely bring herself to care!

Tears unwillingly pricked at the corners of my eyes and I furiously blinked them away.

“Is he on life support or something?”

“Not anymore. Dunno why he’s still being a dickhead and drink driving everywhere. Something was bound to happen eventually, and if it was up to me they should have slapped a band aid on it and sent him on his way. These fancy doctors just want to leech money from us.”

“You realise that money is what kept him alive, right?” I murmured in disbelief. There was a raging war of conflict taking place in my mind, and I couldn’t even fathom how she was being so nonchalant about all of it. Her own husband had almost died, and she was blaming the hospital for their crippling poverty.

“(Y/n), darling…”

There it was again, that wickedly sweetened voice that could only be a feeble attempt at manipulation at this point.

“I’m only going to think about it for the sake of life and death, I literally can’t believe how fucking disgusting you are. Don’t consider me attached to you ever again,” I choked out in a haze of fury. I could feel every shred of dignity and hope I had left for my family burn away into cloudy ash before me.

“I should have known better.”

And with that I hung up. The silence was too deafening, too close and invasive to be even remotely comfortable. I didn’t even know why the disappointment and vindication was hitting so hard and fast either, because in the back of my worrisome mind I always knew that nothing good could come from such a reach.

Wishful thinking. It seemed to be something I lived by too closely.

My eyes blurred with a watery film as I brought the phone screen upwards again. Soojin was waiting for me like a brewing storm outside, but I knew that I just couldn’t stitch myself back together for a meeting mere minutes after feeling my tendrils of a childhood slip away from me.

‘Can you come in here for a minute or two? It’s okay if you and Yoongi left already.’

I sent the text to Namjoon after a second of hesitation. I knew normally I would’ve dealt with the emotion and carefully hidden it away to move on with my working life. I wouldn’t have allowed anyone see past the drawn curtains into the darkness behind, but things had changed drastically over the past few months.

Since I had pulled that stupid stunt and distanced myself from everyone I cared about, things had changed. Yoongi’s words rang clearly through my head again and again like a broken record.

“You could’ve talked to us, we wouldn’t just ignore you if it was about something serious. Jesus, especially if you were feeling depressed. (Y/n), please…”

Then Taehyung’s.

“This is why you can’t hide your feelings. At least talk to one person, a close friend or something, because I know you haven’t…”

“I’m here.”

I sniffled in surprise as the hotel door clicked shut suddenly. Namjoon was by my side in less than a moment, breaths coming out in quiet pants even though he seemed to be trying his best at controlling the strained puffs of air.

“Oh God, you really ran back here for me?” I sighed, trying to tip my head back to get rid of the annoying things called tears.

“I was only down the hall, trust me,” Namjoon assured softly, taking notice of my sorry state of emotions and instantly switching his gaze to one full of concern. I watched as his perceptive eyes trailed down the length of my arm to the phone clasped into my shaking palms.

“(Y/n) …”

I almost jumped in my skin when he moved to slowly unclasp my fingers from around the warm device. The man took the rectangular object and slid it carefully onto the surface of the bedside table before taking a seat beside me on the bed. His honeyed voice was nothing but soothing to the ears.

“Hey, what’s going on?”

Then I spilled it all, like a broken dam rushing to meet what physics required of it. His eyes hardened as I spoke about my mother and her overall attitude, but softened when I couldn’t help voicing my newfound conflictions. I wasn’t surprised to find myself cradled into his broad chest by the end of it.

“A-and Taehyung had just pretty much convinced me to try reaching out to them last night. Now I’m forced into making a decision I don’t even want to find myself making. It’s just that…if he dies I will never forgive myself, and I really, really fucking hate that.”

I was almost ready to openly cry into the flimsy polyester shirt he wore, but once again I found myself holding back in fear of losing face. I never knew why I just couldn’t let it all go for once in my life. Maybe it was something too utterly routine after years and years of practice.

“Nobody can blame you for feeling that way about your own father, (Y/n). It’s like a natural instinct to try and protect those closest to you,” Namjoon murmured lowly. I let my eyes droop shut as I tuned into the rumblings coming from his chest.

“That’s the thing. I’m not close to them at all.”

A hollow sigh was next. His body relaxed further as he grew used to the feeling of my tears sinking through his exercise shirt, because even though he was the one to bring me into the reassuring hold, he still wasn’t accustomed to such a close proximity with someone other than his bandmates. I felt so indebted to him in every way.

“Even so, it’s family. You feel this connection that no-one else can, and even if you don’t like who they are as people, there will always be a love there that you might think is just too unexplainable. Now that I think about it, your nature to care about others probably made you even more susceptible.”

I couldn’t help but widen my eyes. He was always able to just come out and spin my thoughts into the words I couldn’t come up with. He just seemed to understand the very world we lived in, along with all of its nasty people and ideologies, in a way I struggled to. I was shocked at how he was able to take any point of view, turn it around to see the other side of it, and grasp the concept just as easily. An optimistic part of it, nonetheless.

“Namjoon, why are you just so amazing?” I chuckled after a minute of contemplative silence. He’d fidgeted slightly when I hadn’t responded, wondering if he’d done something wrong or made things worse. He was a little goofy sometimes, but nobody could deny how brilliant he truly was as a person.

“I’m not really,” He huffed bashfully, and I was shocked again when I felt one of his large hands come up to stroke my hair in comfort. It was so weirdly easy to be comforted by him after such a stressful morning.

“It’s just easy to see why you’re feeling the way you are. Take my advice and think hard about what you want to do about it.”

I felt the pad of a finger wipe away the last of my salty tears from my skin. The action was so sweet I couldn’t help but lift my head to meet his heartwarming gaze. The sight of his slight smile and tiny dented dimples made my heart almost stutter to a halt.

“In the end, they may only be using you and may only continue to turn a blind eye to the wonderful daughter they have, but at least you know you did what you believed was right. Use the love they may not feel to love yourself and the person you are.”

“Namjoon, stop before I…”

Taehyung I wish you could look, because this is me opening up. It’s ugly isn’t it?

More tears suddenly flowed and for once I couldn’t hold it back anymore. Namjoon’s face fell as I sobbed loudly into his chest, the liquid remorse tumbling out unstoppably. I couldn’t see his saddened expression of relief, but I knew I wasn’t alone in feeling the pent up tension flow away along with the waterworks. His muffled ‘shh, it’s gonna be fine’ and gentle strokes of encouragement to my head began gradually replacing the emotions with joyous ones.

I felt so much appreciation and love for the man it almost hurt.

“I haven’t cried in front of anyone since primary school, up until this morning in the hallway and now here,” I whimpered after a few minutes, almost letting myself doze off to the feeling of his presence enveloping me. How long had it even been?

“I’m just glad you even told me as much as you did. Taehyung might have mentioned that a few of us could see your pain, even if you didn’t know it was there yourself,” Namjoon said after clearing his throat slightly. I felt bad that I’d forced him into staying with me through the bout of misery, but his words violently struck more than one chord.

Yeah, and he also mentioned something else.

I was suddenly reminded of Taehyung’s big revelation from the night prior. The feelings they all had for me. I forced myself to keep my eyes trained forward, but there was no way Namjoon hadn’t noticed the way my body tensed up all of a sudden.

I can’t ask him about it now, or confirm it. They’re in the middle of a busy schedule and I also have stuff to deal with. I’m going to have to wait until we’re back in Korea to confront them about it.

I relaxed again and finally removed myself from Namjoon. He looked up at my standing figure with slight confusion, not really being sure of my stability or composure just yet. I could only sigh to let us both know that I was feeling a hell of a lot better than before.

I took one amused moment to glance over his slightly ruffled black tresses, probably having little to no effort put into the style for a day such as this one. Soft hours were now open in the messy hotel room.

“Thank you so much, I really needed … all of that,” I smiled crookedly, indicating that I was ready to move on with my life and away from the dilemma of my family for now. Namjoon got to his feet quickly after almost knocking over the vase of flowers on the bedside table. He grunted in surprise while I laughed and grabbed for his flailing hand to help keep him steady.

“It’s fine, you know it always is. You’ve been through more shit this morning than most go through in a week or months. I’d say you deserve a shoulder to cry on whenever you need one,” he spoke seriously and nodded, averting his widened eyes down to where I still held his hand within my own. These guys really did love a lot of hand attention, I did come to find after all this time.

“You’re sent from the heavens Joonie,” I chuckled airily, feeling so many feelings but nowhere near as crushingly as I had earlier.

“You confused me with you, angel,” He replied abruptly, moving with a confidence I rarely saw to shift a stray lock of hair away from my face. His smile was so warm and his line incredibly cheesy, but I felt something within me snap. The love was too intense for me to overlook.

I stepped forward and reached up to cradle his smiling cheeks into my palms. There was a need to rise onto my tiptoes before my lips finally grazed his in a very restricted but needy kiss. I fought back a smile when I felt his muscles slacken in absolute shock, but then he was returning everything wholeheartedly. His large hands pulled me closer by the waist and his lips started moving against mine just as surely, as if it were something that had been waiting to happen for too long.

I almost felt myself get lost in the sensation, but something nagged at me the further I slipped away into the moment.

“Shit, I’m sorry,” I gasped, pulling away reluctantly and squeezing my eyes shut in burning shame. I was embarrassed of myself for not upholding the pact I’d created about leaving the whole feelings thing until later on, plus I had basically thrown myself at him without giving anything resembling a warning.

“Why are you sorry? I think you just made me the happiest man on Earth,” Namjoon protested in shock, eyes wide and hands spread open to anticipate any sudden movements I made to escape. His cheeks were flushed a rosy pink and I found it undeniably gorgeous to contrast his complexion.

“I promised to leave it, but I just couldn’t control myself. Can we finish this-”

I made a little circular motion with one finger.

“-once we get back to Korea? I just have to speak to everyone.”

Namjoon nodded and agreed tentatively. I could tell by the way his brows furrowed slightly that he’d probably figured out the reasoning behind my request, but he would have to wait to question Taehyung at another time. I inwardly thanked him for his overarching awareness.

“If you see Tae, tell him I’m alright and that he needs to stop blaming himself. I know he’s probably taking the whole Soojin thing badly. I’ll fix it all,” I continued in a more level tone of voice, bringing back the sense of professionalism as I began thinking of how I was going to go about this predicament.

“Of course. Good luck out there,” He gave my shoulder an awkward pat before moving towards the door. I sighed regretfully as the leader left without another word, the strange tension lingering but somehow not becoming an overpowering force.

It’s your own fault. You went and kissed him, so now you’ve gone and confused everyone and yourself.

I didn’t know what lay in store for me now, as the news would surely spread like an untamed wildfire; stemming from Tae and Namjoon undoubtedly. What a bloody dumb thing to do, considering I’d just been accused of fucking around with one of them already.

My phone vibrated against the smooth surface of the bedside table loudly. Surprisingly, or maybe not so much, being the devil incarnate herself.

‘We’re waiting in the office area downstairs, I suggest you make it snappy or I’ll get on with this on my own.’

          Copyright © 2020 by salade. All rights reserved.  

tagged:  @joyful-jimin​​​​​, @l4life​​​​​, @gee-nee​​​​​, @m0chilattae​​​​​, @rossemayme​​​​, @doilooklikeinoe​​​​, @jeon-joker​​​​, @topthis808​​​​, @justyouraveragerando​​​​​​, @booklover240​​​​, @midnight1199​​, @k-popin-hoe​​, @xctvme​

[darkest-fluid]

That beautiful writer ask meme: Imagery, Juxtaposition, Symbolism, Allegory, Repetition

This got long, so I’m putting it under a cut.

Imagery: How much do you worldbuild in your current writing project? How do you make your setting seem real and vivid?

I have to admit: world-building is actually not one of my strong suits as a writer. I think I’m better at crafting characters than I am at crafting the worlds they live in. Which makes fanfic pretty great for me, because I can be lazy and piggy-back off of an already established world. 😉 I don’t have to do much world-building for Undertow, since a lot of that is already done for me, but I do have some original projects that involve more creativity on that front. I think when I do world-building I often focus most on cultural things: local beliefs and ideology, art, politics, etc.

As for the setting, I like to highlight sensory/impressionistic details as the character experiences them. The same setting can be experienced very differently depending on a character’s frame of mind and what sorts of things they tend to pay attention to. Specificity is also really helpful in making the world seem real. I like to try and zero in on a few small/specific details when writing my descriptions.

Juxtaposition: Do you include subplots in your writing? How do you balance them alongside your main plots?

I usually do have subplots. A lot of times what I like to do with my stories is focus on an overarching theme, and then find ways to express those ideas on both a macro and micro level, or as both symbolic and literal. With Undertow, that theme is trauma and recovery, specifically how it relates to personal agency and growth. And so I have multiple interwoven plot threads that all deal with that same theme. So it isn’t so much like... separate plots, as it is one big plot tapestry.

Symbolism: What does writing mean to you? How has it impacted your life?

Oof, man. This is a big one. I think growing up I always really struggled to express myself and to have a voice. And writing became my outlet for that. I wasn’t naturally good at it, but I kept working at it, and over time I improved a lot. I think a lot about narrative, and the role it plays in human culture. Both as individuals and as a society, we define our reality through storytelling: the stories we tell ourselves, and the stories we tell to others. I very much want those stories to be as real and true and organic as possible, even when crafting these totally fantastical, fictional realities. Because every story we tell and every story we consume influences our reality... even if it’s just in these subtle, fractional ways.

So there’s the personal, of course: I want to have a voice, I want to be able to reach out to people and show them what I see and feel. I want to be able to point to something and say: “Look at this. This is important. This matters.”

Then there’s the social: knowing that people are engaging with the things I wrote and making it their own.

Then there’s the bigger narrative: I want to make a ripple in our shared reality, even if only a very small one.

But I struggle to do that. Because... well, because of a lot of things. Mental health, physical health, life circumstances, etc. So writing is both this super important thing that I love and a lifelong struggle to overcome massive personal obstacles.

But I genuinely believe that I would not be alive today without it.

Allegory: What is the theme of your current writing project? Is there a message you’d like readers to consider?

I talked about this a bit under Juxtaposition, so I’ll try not to get too repetitive. I also don’t necessarily want to state all of the messages outright, because as a writer I kind of like to just let the subtext speak for itself. But yes, there are definitely themes and messages that I hope readers will pick up on. Some of it involves a bit of meta-criticism over the whole good vs. evil, black and white worldview of D&D and similar fantasy worlds. Which ties into the overarching trauma theme because... hmm, how do I explain this? We cannot as a society take ownership of our sins if we refuse to claim them. People are not inherently good or bad. It’s our actions that matter.

Also, trauma doesn’t have to mean an end to things like love and happiness. Sometimes those things just come to us in unexpected and complicated ways.

Repetition: Is there anything you find you repeat across your witting projects? Symbols, tropes, descriptions, themes? 

Oh gosh, so many things. I use water symbolism a lot. I talk about trauma a lot. Most of my writing is pretty angsty. I also have a penchant for using theories in astrophysics as emotional metaphors. 😏

I love to plant little seeds that end up bearing fruit later on in the story. Like, a character will say something, and then that thing will get repeated later by another character, but with added nuance/weight/irony. I love to connect things. Seemingly disparate characters and stories might all eventually link up in some way.

I tend to use a lot of subtext. The things characters don’t say are often just as important as the things they do. That can also be true of the narrative itself. I convey a lot of things by implication. (I tend to stress a lot over whether any of that is actually clear to readers. Ideally I’d like to be one of those authors who rewards close/repeat reading, but it’s also possible I’m just being way too opaque.)

A lot of my characters have bad relationships with their parents.

A lot of my characters have intense/complicated sexualities.

I use a lot of visceral imagery. I often talk about the body (and the breaking open of it) as a metaphor for emotional intimacy. (Hoo boy is this relevant for my current fic.) Blood isn’t just blood. It’s also feelings.

[halfusek]

Death Theme in Showdown Bandit

It’s obvious things aren’t so peacful in the Showdown Valley.

They surely weren’t also with the showrunners themselves.

I’m going to go off two theories: with Buddy Bublik’s implied death and BUddy BUblik being the King Bubu clown. (Both written down by @thedreamfisher with some help from @some-random-ghost and Arty Does Poiks).

I’ll go through a pretty deadly list under the cut.

[It’s a theory post but it deserves some warnings so tw for possible death, murder and suicide.]

1. The noose.

On 2nd of September theMeatly shared with us a tweet with a very chilling message.

The implication is that trying to fight the strings gets you dead. Yet, it’s a choice which then implies it’s a suicide.

In today’s (20th September) teaser another noose appeared.

It could be just a lasso (to be fair, it seems like it’s lackin the characteristic kind of knot), but the way it’s hanged resembles a noose. Not to mention the noose hangs from the word “DEATH”.

Another thing worth nothing is that gallows existed (punishment for caught bandits which was a death by hanging).

It goes along with the idea of Bandit and Buddy having some sort of connection if he really did die by hanging because of being framed (referencing thedreamfisher’s theory post).

“Buddy” in relation to Buddy Bublik. “Bad guy” referencing a “crime” he could have been accused of.

This way we have a bandit and a crime to hang him for.

2. The aforementioned upcoming expansion goes along with a video which opens with one of lines we know already from Undertaker.

After beating the Episode and backtracking we can witness this message on Undertaker’s doors.

It has also been teased by TheMeatly shortly after the release.

We are most likely going to find out in that extension/get to open the coffin/get to know why we couldn’t open it yet/play a segment as Undertaker as Bandit is supposed to be doing other things during that time.

3. The Stringless

The Stringless seem to sort of resemble zombies. They don’t seem to be thinking for themselves, unlike for example Grieves, who flees when Bandit is able to use his gun/traps them in a bear trap/Faceless is nearby. Brainless (stringless) zombies coming for Bandit’s strings too.

It’s possible that the strings don’t carry life force, just the conscience, we don’t know if Bandit’s deaths are meant to be canon up to any point (although everyone makes sure to beat it into Bandit’s head that he’s pretty much very replaceable).

Also, Davy and Betty, once conscious puppets, died of starvation. Aside from the curiosity of puppets having to eat, their corpses don’t seem to resemble... anyone specific. Just naked puppets. It’s possible that some of the stringless are simply reanimated dead puppets. If not all of them.

“Wandering dead” ah, there you go.

Someone has been hanging dead puppets up. We don’t know who that someone may be or what their motives are but we can see what they could have possibly done so far (if it’s all one person/puppet behind it).

Like that...

...and like that. That Bandit does not seem alive in the slightest.

What is he for? For the new Bandit to leave his gun? Oh, my, someone left flowers there, what a curious decoration that has appeared several times around graves and coffins too.

Someone possibly tried to reanimate that Bandit too. Didn’t work.

This is a note nearby that other hanged puppet (there’s more of them throughout the game but this one appears in the room with this note).

What was a dark day in Showdown Valley? Seems like someone important has passed away...

And they couldn’t bring them back.

Last sentence is going to lead to another point at the end of the list.

4. King Bubu.

The Smile Clown. That is not smiling. Curious.

It’s definitely a frown which can lead to multiple conclusions but... let’s go with one that’s tied to one of the creators.

Buddy Bublik and Bubu share a suspicious set of “bubu” letters. It’s not impossible for Buddy to have been playing the role of the clown. The worrying part about it is: why was he so sad even on a poster?

Maybe Carl HANDler really took care of puppeteering while Buddy was the clown? Or both of them but Buddy also had to take this role he wasn’t happy with? Or the role was fine but Buddy wasn’t because of other things?

The sad implication is if Buddy really did commit suicide, it’s because he has been blaming himself for the crime people blamed him for too.

Did Carl frame him? Did Carl understand him in a twisted way, knowing truth?

Did Carl regret whatever has happened?

Buddy ‘til the end.

No such end if...

5. The show must go on.

The phrase that has been beaten into Bandit’s (and ours) head at this point.

Since Undertaker is the puppet that seems to be obeying the rules the most and her job is literally dealing with the dead, I feel like we should pay a lot of attention to her words. Even the puppeteer uses her to conveniently bring Bandit to life once again.

It sounds like she was apologetic for “waking him up”. After all, their lives are hell, aren’t they?

But if you’re here, then it’s best to obey, because the fate of losing that life is worse than just staying asleep.

(Also, it’s nice how she’s point up when talking about the puppeteer.)

Then she exits the scene with our beloved phrase.

Why exactly? We don’t know. But it must. No questions.

And everyone who has been a part of it is involved. No exceptions.

Absolutely... none.

This area is called “Forbidden”. As a whole. Both this one and the very last one.

What is the reason for this part to be called as such? Why are we going in here? Didn’t Undertaker sort of direct us here? Why?

Is it what the puppeteer wants? Then we surely shouldn’t get punished, right?

The previous area is called Dead Man’s Gulch. It’s all about the cementary, yes, but the title is rather interesting, don’t you think? Titles.

Why are we teased with King Bubu’s stuff right before meeting the puppeteer? Not to mention both of these rooms were previously locked, that’s why we had to get two keys.

Both belonging to Undertaker, both deadly themed. Let’s keep in mind that Undertaker is following what the Puppeteer wants.

There is one last note in the first Forbidden room.

That screams melancholy. Very fitting place to put it before the entrance to the stage.

Seems like the puppets weren’t in any way upset with the way the show was going, even though they were aware (at least Banker’s wording implies that). And Banker would be one of the characters to possibly complain, right? Because he got the short end of the stick, getting robbed? Nope. He looks back in a positive way.

It was good when the show was happening.

So, it would be good if it still went on, right? If it goes on, the puppets can’t be mindless, they can be alive and okay... better than the stringless.

The show must go on. Get it into your head.

Because someone has it in their head.

Someone who gets it into everyone’s heads.

The show. Worrying how it got suddenly cancelled despite being a massive hit.

The show. Created by Buddy and Carl.

Featuring Bubu the clown.

But if Buddy is dead then so is Bubu.

How can the show go on without Bubu? Such important part!

Maybe Buddy was puppeteering too. Who knows, if he’s a clown, he surely can do funny voices, maybe he puppeteered and voiced Bandit.

Then he should be Bubu and the one puppeteering Bandit right...?

Ever noticed how lifeless the hand is at the end?

[wheremytwinwatches]

[Where My Twin Watches]: Full Metal Alchemist Brotherhood Episode 14

Fighty fighty fight time!

For the record, I chat with a coworker about shows every now and then, I’ve gotten him watching RWBY and update him on my Brotherhood progress. He was quite happy to hear that I’d gotten to Greed, and the implications thereof. I had been under the assumption that all the Goths were working together, but Greed is clearly working on his own plans independent of the main group. That accounts for the main Goths (Lust, Gluttony, Envy) and our immortality-seeker (Greed), which leaves Sloth, Wrath, and Pride unaccounted for. Looking forward to how they’re represented! Episode 14 - “Those Who Lurk Underground” Huh, same intro. We’re definitely past the midpoint (14/26), does Brotherhood not change? Hey, it’s Central! Overhead shot like when Mr. Freeze was casting a city-wide TC. Roy’s walking through a hallway as a bunch of Shadowy Officers gossip. Roy finds their skepticism amusing. Time to talk with the boss… only Fuhrer Bradley’s away? “Inspecting the South”? But that’s where the Elrics went. Maybe I’m being suspicious, but that’s an awfully big coincidence right after Bradley pushed to keep the Philosopher’s Stone experiments suppressed. In the sewers now, Dolcetto’s leading the Chimeras with Al in tow. Sudden sniffing (man that place has to stink even worse for Dog-Man), and they tense up, Roa just says it feels like old times. Ayup, there’s the eyepatch. Bradley’s outside the Devil’s Nest, not looking too happy. “What an interesting discovery for such a routine inspection.” Oh, oh my. Looks like Bradley’s in fighting mode, and he brought Armstrong and some mooks with him. I knew Greed was gonna get stomped by Izumi, this is overkill. [Bradley]: “Move in!” Ed and Izumi are facing off against Armored-Greed now. Who starts laughing at “a housewife and a hotheaded brat.” Yeah, let’s see how funny you find it after oh come ON! Don’t you run away you coward, we’re just getting to the good part. Bleh, what a time for Izumi’s internal injuries to act up.

Ok good the troops are here. Medic for the lady! Back to Al, who’s struggling against Martel. Worm your way to freedom, buddy! Aw, but Greed just showed up. Still love his smarmy attitude and how he nonchalantly says things have gotten “a little out of hand”, but you’re still holding my boy Alphonse. [Bradley]: “I can’t let you do that.” Ooooh! Was disappointed when Greed split and Izumi keeled over, but maybe we’ll get a good fight scene this episode after all! The Fuhrer is here, swords already drawn. Bradley starts monologuing about how it sucks getting old. Body stops moving the way you want it to, so he’d rather get this over quickly and go home. Greed just laughs and says he should retire- goodbye armor hand! Fight fight fight! Looks like Greed’s hand is regenerating, but nowhere near fast enough to take on Bradley who’s beating him like a pinata. Elsewhere Roa is going hand-to-hand with The Mighty Armstrong (who shed his shirt offscreen, of course). Or rather, hammer-to-hand. Actually, make that majestic statue-to-hand since Armstrong morphed the hammer into something far more fetching. [The Mighty Armstrong]: “Behold! *sparkle sparkle* You have just had the rare pleasure of witnessing the famous Armstrong statuary technique!” Gasp! Roa, how dare you simply throw away such a piece of art! The uncultured barbarian Hulks out to the point that even a direct Armstrong punch to the face doesn’t stop him. This one might take two. The Gun Mooks are dealing with the rest of the Chimeras as Ed and Izumi are taken to safety, per the direct orders of Bradley. So confirmation that Bradley knew there were at least Human-Chimeras there, if they’re carrying out prior orders. But how did he know? Oh dear, Armstrong is still facing Ogre-Roa, slammed into the wall. And may Leto smite you for the damage to Armstrong’s temple by scraping his face against the wall! Trading punches, The Mighty Armstrong commends his adversary, and in his mercy offers Roa a chance to surrender. But Roa oh come on you Mooks! I know you’re following Bradley’s orders but just wait a second and you might get a prisoner to question! Or just shoot the guy whatever. Until sudden rescue from Dolcetto, he cuts a pipe and the Chimera’s make their escape in the steam. Back to Greed, who’s pulled a Deadpool and regrown his hand. Punching, he knocks Bradley’s eyepatch off? But immediately gets sworded through the neck. [Bradley, with a scarred white eye]: “I understand why you’d think you have an advantage over a man like me since I possess neither your impenetrable Ultimate Shield, nor an Ultimate Spear that can pierce any substance. But I’ll tell you a secret. Do you know how I managed to distinguish myself amongst the storms of bullets on the battlefield time after time, to rise to my current position?” [Greed, who’s been better]: “Y-You’re…” Wait Wait wait wait His eye, his scarred eye, the one the eyepatch was covering Uruboros, his pupil is the uruboros symbol WHAAAAAAAAAAAAAAAAT?! Bradley’s a Goth?! One of the Homunculi? Ok ok hold up, let’s recount. We’ve got the Main Goths (Lust, Gluttony, Envy) and Greed on his lonesome. Greed knew of the others in that they “didn’t talk anymore” but not that they had access to Soul Armors like Al. And he didn’t recognize Bradley, so no connection there. But Bradley knew enough to come hunting Greed when the Elric Brothers got close, so the jury’s still out on him working with the Main Goths ala the Lab and coverup. Which implies that he’s connected to Hughes’ death but that’s a whole ‘nother thing, we’ll come back to that. So Bradley’s a Goth/Homunculi, possibly connected to the Main Goths pending confirmation, separate from Greed and seeking to kill him for unspecified reasons. So if we’re sticking to the Seven Deadly Sins naming theme, which is he? Sloth? Maybe a play on his super-speed power, but all the others have powers connected to their ability rather than in spite of it. Wrath? Again, generally calm attitude but maybe it’s a mask and he certainly gets angry when our characters haven’t been around to see it like here and against Mr. Freeze. And oh my Leto if he actually is Wrath I am going to scream, I was calling this asshole Fuhrer Fury just based on the eyepatch. If “Fuhrer Fury” was Wrath all along I’m done, I’m just done. That leaves Pride, which I can see as being the top dog of the Military, ties into his speech just then about distinguishing himself. So minor ironic support for Sloth, combat ability supports Wrath (uuuuuugh!), and status supports Pride. [Bradley]: “I may not have the protection of your Ultimate Shield, but I clearly see your weakness with my Ultimate Eye.”

The Goth of Undetermined Name withdraws his swords, and Greed collapses to the ground. [Bradley]: “Now then, Greed. How many times am I going to have to kill you before you stay dead?” Ok, creepy shot of Bradley’s Uroborus eye glowing in a shadowed face. Far away from the Reveal, Martel’s keeping Al put, wondering where Greed is. Footsteps? Hey, Greed’s coming back looking a bit worse for wear. Bradley let him go? Nope, just led him along with a sword through the neck. Jeez, just finish him off already, don’t drag it out. Oh, Al’s keeping Martel from getting out, saying that Bradley will kill her. Trying to protect your captor? Bradley says he’s killed Greed 15 times now, wonders how many more it’ll take. But don’t fret Greed, help has arrived! In the form of severely wounded Dolcetto and Roa. Huh. Despite them being kidnappers and failing to appreciate fine art, I can respect their loyalty to their boss. Misplaced and bound to get them killed, but still. Respect. And even before they go to die against Bradley, they tell Al to protect her. Cue heartwrenching screaming as she pleads for Al to let her out to help her friends. And Bradley cuts them down. [Greed]: “Whoa, that was a little excessive. Killing me is one thing, but they’re not coming back.” [Bradley]: “Pitying the lost lives of your pawns? Pathetic.” [Greed]: “Excuse me? Are you senile? Did you forget who I am, old man? I’m the living incarnation of greed. Those weren’t my friends, Bradley, they were my possessions! Money! Women! Henchmen! They’re all possessions! So killing my henchmen is the same as stealing from me! And I don’t let people take what’s mine!” Ok, you’re still overall a bad guy and I want you to lose, but damn if that wasn’t one of the most Slytherin things I’ve ever heard. It’d be better if you saw your henchmen as, you know, actual people. But still, that is an excellent way to phrase the Slytherin ideal of self-interest.

[Bradley]: “Greed… you grow more pathetic by the second!” The Fuhrer unleashes on Greed now, a lovely fluid fightscene until Bradley stabs Greed again and tells him to stay put, he’ll be right back. Guuuuh, I’m getting shivers of seeing this man who just slaughtered the Chimeras walking towards Al with sword drawn, even as he calmly asks if Al’s been hurt and if he can help him at all. And then Martel uses her control of the armor to grab Bradley by the throat. Oh. Oh jeez. Al was pleading for Martel to stop, Martel was screaming for Bradley to die… and Bradley just put a sword right down through the armor. There was *shunk* noise… and then blood started gushing out of Al’s armor. That’s… that’s a thing. Guh blood’s splashed onto the sigil in the armor, that if anything is Al’s physical form that is him wait what? Blood-triggered flashback? Al’s getting his memory back! He did meet Truth like Ed, went through the gate and saw things as his body was torn apart, right at the end he saw Mama Elric? But Truth is smiling that creepy smile and Ed’s grabbing onto his own body what is… Oh god. The viewpoint is looking at young Ed from inside a Transmutation Circle. The Transmutation Circle. And a blackened limb is reaching out. … Al snaps out of it to the sound of Ed’s voice. He asks if Al’s ok, Al asks if Ed’s ok. He’s covered in blood- Ed’s been opened up. The body’s been removed, but the blood is still there. [Al sobbing]: “I couldn’t save her.” Ed tries to tell Al it wasn’t his fault. But this isn’t something you can just brush off with a “Let’s go home, ‘kay?” Bradley’s walking up, saying that he needs to ask them both some questions before they can leave. He asks if they’d known Greed before. And if they traded any information with him. Ed says no, and the military was never mentioned. But I thought when Greed talked about Human Chimeras- [Bradley]: “That isn’t my concern. Let me be more specific.” The Fuhrer has an awful lot scowling armed guys behind him. [Bradley]: “If you arranged a deal or shared any knowledge with him… Then I’ll execute both of you right now.” Ed still insists nothing was said. Now Bradley’s pressing about his metal limbs and any connection to Al’s armored body… before he chuckles about Ed being an honest kid and leaves, telling Ed to take care of his younger brother. ...what’s your game, Bradley? Why are you doing all of this? At the butcher shop, Izumi’s in bed while Bradley visits her in his dress blues. Offering protection? Wait a minute, he’s seriously trying to recruit Izumi as a State Alchemist while she’s bedridden from internal injuries. Ah, so it’s “protection” he’s offering. When Izumi doesn’t bite he just says he’ll be back (quick zoom to his eyepatch), “perhaps you’ll have had a change of heart.” Outside, Ed’s cleaning Al’s breastplate and chatting with Armstrong, saying that Greed had a Uroboros tattoo. Like the Goths at the lab, that he told Armstrong and Hughes- Oh come on! This episode has been brutal enough, do not add “tell the Elrics about Hughes’ murder” to the mix! No, I think Armstrong understands that’d be too much for now. He just tells Ed to not do anything rash, and leaves. Now that they’re alone, Al tells Ed that his memories of Truth are back. A brief lighthearted moment when he imitates their “weird” teasing, but nothing about how to get their bodies back. Ed says that it wasn’t a bust, reminds Al about how there was unrest in the military about the Stone and that Bradley said he was looking into it. [Ed]: “Well Greed was obviously connected to them somehow. But if so… why’d the Fuhrer slaughter everyone? If he was trying to figure out what they’re up to, why didn’t he catch them and make them talk?” There’s only one answer to that: he didn’t want them to talk. He wanted what they knew to die with them. The Elrics don’t seem to have caught onto this yet, I guess not knowing that Bradley is a Goth like we know leaves it murkier. They don’t know, so they’re going to get closer. We return to Central, travel through some pipes, and hear a familiar voice. [Lust]: “Welcome back, Fuhrer. How was your inspection of the South?” Oh crap. Fuhrer’s saying that both “Fullmetal’s younger brother” and “their teacher” are candidates for human sacrifice. The leader of the Military is working for the Goths? At best I was hoping he was another independent Homunculi like Greed was, but this? This is bad. Not to mention that Izumi has a target painted on her back now, since apparently Bradley can see those who have met Truth with his Ultimate Eye. Oh, and he’s brought a present, a wayward Goth. Greed wakes up to see that “the gang’s all here”. Are all the Goths present at this little meeting? Confirmation that it’s Lust who has the Ultimate Spear technique in the form of her Fingers of Doom. Gluttony (still trying out diets) and Envy (“Please! For the last time, get a new outfit!”) are there too. Sloth is namedropped, Lust says he’s being kept working. Which brings Greed to the “new addition”, Bradley. [Bradley]: “I am Wrath the Furious.” Leto DAMN IT, he really was Fuhrer Fury. Come on! To the humans, he’s the leader of Amestris (holy crap did we finally get the name of this country?), but in truth he was created by Father for the plan. Greed is shocked at the idea of a Homunculus that can grow older. “Can”? Bit of teasing between Greed and Envy who does NOT like being called ugly- [Father]: “Stop your nonsense. Both of you.” Oho, the aforementioned Father, maker of the Goths! Methinks we finally get to meet the Big Bad of the show! Father chides the kids to act better- beard beard beard beard beard WHAAAAAAAAAAAATTTTTT!!!?!?!!? I know that facial hair! Is that- Are you- Father is Papa Elric?! [FATHER]: “You are both my son and you are a piece of my soul. So why would you betray your loving father?” Greed just says he was being true to his nature, he didn’t want to spend his life working for Father. And when asked to come back, he refuses. Father takes this… not well. As in, he sloooowly dips Greed into molten metal. Greed goes out yelling that he’ll see his siblings in Hell and he’ll give Pops a stomachache. Lots of pipes later, Father downs a toast to The Promised Day… and their undying loyalty. “Talk about cheesy” indeed. After this little family reunion, Bradley/Wrath is taking a walk when a voice called [Selim] calls out “Father!”. Right, Bradley did say in the first episode that he’d have a story for “his boy”. But how does this work, being a Homunculus and all? Tied into how it’s unusual that he can age? We end with charming little family chatter, [Bradley’s Wife] (yes, that is her official subtitle name) worrying about his age, and Selim getting all excited to hear about The Fullmetal Alchemist and saying that he wants to become a State Alchemist to help out his father one day. [Bradley]: “You never know, Selim. Maybe you will help me out someday.” Credits. ...AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

[fluffmugger]

introspectivenavelgazer said: I’m curious about your thoughts OH HOLD ON BB I GOT OPINIONS. ITS BAD. 

sabacc said: ah, the disturbing things bingo movie oh no. nononoo. Make no mistake. This was not a “nooope” situation.  There was precisely one moment in a teaser that actually triggered me, and that was so fucking poorly done in the end product I ACTUALLY ENDED UP LAUGHING. I’m  not exaggerating, check the post. First time I saw that it pulled a very hard visceral cord, and when the Kersh scene came up in the movie, I was huddled up in my chair, hoodie on, ear blocking ready to ride out that wave of programmed fear.   Instead, I fucking laughed because the whole thing was so fucking ridiculous. What was a deft, vicious piece of editing got completely fucking wrecked.  And that’s pretty much what happened to the story, that film was a hot mess of absolute bullshit.  It not only completely fucked up the overarching themes of the original story, it made no fcking narrative sense in and of itself as a movie verse Lo, there be spoilers...

While some parts I can understand for expediency - such as sidelining Audra and shifting Bill’s obsessive run to IT being based on a local child that he ultimately fails to save, why the fuck have Audra in it in the first place? A five second appearance so ...wha, you can make a running joke on Bill sucking at writing endings that’s just an endless sledge against King? What was the fucking point of that?     Likewise the inclusion of Silver, stripped down to a single cameo that only got vaguely saved because it put him in the place where he could meet aforementioned kid (now living in Bill’s old house in a most contrived of plot points but I will allow it because it works) and form an emotional connection. The whole reason for them standing to face IT is shifted from the pact they formed - the childhood vow they could never break - to Beverley instead somehow magically seeing the future while trapped in the deadlights, and realising that if they didn’t finish IT once and for all, even after the cycle they would all eventually take their own lives like Stan did, unable to live with the taint.  While this could be a interesting take in and of itself - if you do not face the demons of your childhood, they will destroy you one way or another - it completely shifts the core motivation to one of self interest.    Initially the Losers (especially Bill) did actually take on IT from a position of self interest (and young Bill actually has a moment of self agony over it, is he only leading  his friends into a deadly crusade because he wants vengeance for Georgie? Does he have that right? Is he nothing but a “selfish little shit waving a tin sword”), but it became so much more, and these children became monster slayers.   It’s the hero’s journey.   And shifting that makes it a corruption, not into a subversion.   It was also so damned messily handled - it could have been interesting , the idealism of childhood shifting to pragmatism of adulthood, but it was reduced to a handwave threat, and they didn’t need to be threatened.  The original story had a whole intertwined creep that was fucking beautiful, this veneer of adults in control of their own lives and destiny being stripped away in thin layers, with the Losers gradually beginning to dimly perceive they are simply parts  of some great cosmic machinery and their illusions of control and indeed  their entire lives are all just that - illusions. The undermining of reality and stripping of power were great Adult Fears that played fucking beautifully in the book.  The silent unspoken Imposter Syndrome, hinted at, but never directly addressed, that all their successes were simply due to being touched by IT.  In the movie? Oh man we’re all gonna kill ourselves if we don’t fix this and it means ...nothing to the characters. Seriously. They all still walk anyway.  And   way too much fucking time is wasted on characters abruptly deciding to leave only to Not At The Last Second.   It’s just a big fat clumsy mess.

They completely chunked out Bowers taking Mike out of the final battle, yet still included him in the film - Why? what was the fucking purpose?  They also intimated that IT was responsible for killing his father - ironically the one fucking murder Bowers did commit -   and adult Bowers was delightfully played, but he served  no fucking purpose whatsoever. Not to drop them to the lesser number of power (5 as opposed to 7), not to drive them into the sewers, what was the fucking purpose of having him there? He shows up, doesn’t even break Eddie’s arm (so there’s your other purpose of resetting the gameboard to the positions of the last confrontation) gets stabbed, gets killed, and they go on la de da.

Michael’s story is absolutely fucked into unrecognisability.  I’ve already ranted about killing off his parents - it’s a dumb fucking decision and I will never fucking excuse it. William Hanlon is a key player in the books, inadvertently preparing his son for his role of watchman.  This is completely lost to the most basic of fucking racial stereotypes.   Holy shit they actually refer to his parents as fucking crack heads  at one point (although this is later revealed to be a fake out by Pennywise), but what does it serve?   While you can argue that removing him is what destabilises Mikes character THERE IS NO FUCKING REASON TO HAVE AN UNSTABLE MIKE.   In the sequel, Mike is clinging to sanity by less than the skin of his teeth, drugging Bill against his will at one point, actively leading everyone into danger with a false promise of victory and generally acting like a desperate fucking madman. Why take a dignified black character and turn him into an unstable Kassandra?  You don’t need a fucking unstable Kassandra, the very nature of what IT is, and its horrific, aeons-long parasitic relationship with Derry is so fucking unbelievable in and of itself it does that for you.   

Likewise Eddie’s adult career  is suddenly changed to being a ...investment? insurance? boring person thing? what the shit? Why not have him own the goddamn largest fleet private chauffeurs? Why change? that one tied back into his navigation skills at least, and there’s serious coin in that shit.   And fucking hell do not get me started on fucking Myra fucking hell if you want to touch a complex and fucked up relationship like that, you don’t handwave it. His entire rampant hypochondria is shifted to  something closer to ...smart arse with some small neuroses?  Ok, but you’re telling me this..why? what is the purpose of this?

Completely out of left field, Richie is heavily intimated to be Queer. Ok.     But they then go on to jam in additional homophobia (and this is on top of Mellon’s death that to be fucking honest is shot way too fucking far on the side of “lookit the smartmouth gay get stomped”)  and Pennywise threatening to reveal Richies Great Secret to the point I literally leaned over and asked His Lordship “The script writer does know this is set in the fucking 21st century, right?”   It could have been a fascinating side story of a man whose trauma keeps himself in a cage even when he doesn’t have to, but it’s not. It’s a hot mess of what the fuck let’s throw a gay (but not too obviously gay we’ll do it so we can claim he’s not so it still sells in china and we have plausible deniability hide your queers, hide your queers!)  in just so we can kill the object of his affection.  YOU DON’T NEED TO AMP UP THE ANGST OVER EDDIES DEATH. WE ALL KNOW ITS COMING. AND IT HURTS.    You know what woulda been ground breaking? You’ve laid the groundwork with Beverley already, have Richie in the deadlights as he is, have Eddie do his Big Damn Hero Save, and then have richie see what’s coming and shove eddie out of the way.  Having Richie die instead of Eddie? Holy crap, no one would have seen that coming. It would have blown up fucking everyone, film, telemovie and book fans alike.   (Also holy shit adult richie, far from being the smart, funny man we all know is a wanker. His comments at the chinese dinner party have none of the genuine humour of the book or even the  Curry adaptation, he comes across as a mean spirited bullying dickhead that you’d all go to the toilet at the same time and climb out the window to avoid. In a kid it’s funny. Kids have no filters. From an adult, it’s fucking poison)  

We also have all these elements of childhood coming back, but there is no purpose to them in the film.  In the book, it’s the wheel turning, the gameboard sliding back to where it was last time they faced IT, a very real embodiment of unfinished business and an inability to escape your childhood - a fact the characters are very well aware of and in varying ways horrified by their own regressions -  but in the film it’s just leaving the audience wondering why are they doing that? why’s that there. what the fuck man. why have bill stutter? So you connect the adults to the kids by using the broadest fucking flanderised tropes possible?  It doesn’t even stand on its own two feet, it relies on way too much back knowledge from other sources. And it reeks as it they bolted on large chunks of some other horror movie script that was presented to the studio and changed the names.  There’s no psychological implications, there’s no deftness, hell there’s no fucking chemistry with any of the fucking actors.  It’s reduced to a jumpscare gore fest. It doesn't even compare to the first half.  It got so bad that by the second act I was literally pointing at the screen and BAM right on cue, there was the jumpscare. That’s how fucking predictable it is.   The CGI was shithouse (I actually burst out laughing during the Paul Bunyan scene as well as the Kersh one it was so fucking bad) the ending is..my god they literally prance around him screaming “fucking clown” until he shrinks, they pluck his heart and crush it. Fuck me, the Curry adaptation had its problems but the savage, ritualistic destruction of IT as they all fell to their knees around and tore it apart with their bare hands had fucking balls at least.  And BTW, it’s only the caverns and the house on neibolt street that get destroyed, the rest of the town is just fuckin’ dandy and it’s like DUDE THE TOWN WAS LITERALLY BUILT ON IT. DERRY CANNOT SURVIVE WITHOUT IT.  IT’S A PARALLEL FOR THE HORRIFIC CANKER  AT THE HEART OF EVERY “LOVELY” AMERICAN SMALL TOWN. THIS IS ABSOLUTELY SOMETHING TO PLAY WITH.  and then, THEN they end it with a letter from Stan. See, Stan didn’t kill himself because in one brief, horrific instant he remembered everything, and even as a child knew he couldn’t face it again and bailed, no... he knew he was going to buckle and killed himself so..he wouldn’t die they wouldn’t all die what. the fuck. was the purpose. of THAT.

In short, it was a phoned in, badly written, badly edited piece of shit, completely purposeless and not even worthy of its predecessor. 

[orionsangel86]

14x02 - Episode Review - Without the Bells and Whistles

Bucklemming colour me impressed. This episode was a rich character driven story that left me full and satisfied and that is something I NEVER say about Bucklemming. I am amazed at how character focused these first two episodes are and truly hope that Dabb keeps up the momentum among writers. It is a change of pace with the show, and a change of focus, but it is WORKING so far.

As always with BL episodes there were some pacing issues and clunky dialogue in parts, but damn Dick Speight Jr is doing a fabulous job making the show look beautiful. As with 14x01 there is a lot to discuss, though I will try to be brief as I have a desperate need to write a separate post about Cas because my angel had me in tears in this episode and he needs an essay written about him in it.

Without further adieu, a long review is under the cut.

Michael and the Bait

Firstly Jensen did spectacularly in this episode. Such a drastic difference from 14x01 and I’m not sure if that’s because of Dick being a more hands on director or Jensen finally making a choice but he has settled into the role and plays Michael as a sinister psychopath on a mission. Michael has far more personality in this episode. He is more interesting to watch and managed to hold my attention unlike in 14x01. This makes me happy.

So what’s the deal guys? Michael spends this episode focusing on his monster experiments, brags about owning Dean, and then just leaves? Obviously that’s not what happened. The clue is in the key moments:

“Why be the hunted, when you can be the Hunter?”

“Rule no.1 you can’t have a trap without bait. Rule no.2 Once the trap has been sprung, you don’t need the bait anymore.”

Michael’s plan has been set in motion. The scene with the vamp girl being foreshadowing for the bigger picture, the bigger goal. Is Michael going after the hunters? If his plan is to make a world where Monsters are in charge, then the hunters need to be eradicated. It makes sense. It also therefore makes sense that you would set your sights on hunter central – the bunker. So Dean was let free so Michael could keep a watch on the bunker and it’s residents through him. As far as the rules go, if Dean is the bait, then releasing Dean is Michael not needing him anymore directly. The trap itself is the mystery, but I suspect we will find out more about exactly what Michael has done in 14x03, and it will most likely all have to do with this mysterious scar. I don’t think Michael is hiding “in” Dean so much as has an “open connection” to him where he could jump back in at any time without Dean’s consent. But we shall find out soon enough I’m sure.

Mary x Bobby

Obviously I support this ship, but I support it even more seeing as they have now paralleled Mobby to Destiel in two episodes in a row.

“My FBI is a little rusty”

This week, Bobby is our Cas mirror and Mary is our Dean. The fond pat on the back was the only hint we got that this was romantic, but like with 14x01, I ask you to try to find a single viewer who doesn’t see “something there” between this generic heterosexual couple? They are continuing to show their relationship through nothing BUT destiel parallels and it continues to delight me that this is now the shows go-to way to portray romance.

On a slight side note, Bobby being from an apocalypse AU world, he is the classic hunter right now who only sees in black and white, and the way he went for the vamp girl even after she tried to explain how she had never harmed a human. Bobby’s take on things this season will be an interesting one as it’s a continuous theme in this show to explore what makes a monster, something that dates back to John Winchester days (the ultimate black and white hunter). Also his understandable suspicions about angels making the dynamic with Cas a potentially interesting one. I wonder if this Bobby will ever utter the phrase “family don’t end with blood”?

Nick – It’s a chicken and egg situation

*sigh* I’m still not won over, and I probably won’t be. I expected this episode to be Nick heavy, and the flashbacks irked me because I simply don’t care. But I get that they would be necessary for a general audience. My lack of care is my own issue. It doesn’t matter how much Mark P acted his arse off trying to give us a decent performance (his first in years), I’m still not gonna be a fan. I’m still gonna skip those scenes in subsequent re-watches but that’s just me. I just don’t find it interesting even if he is being embedded into the story in a way that is paramount to the plot and the characters own struggles and development. I will acknowledge that importance and move on. I suppose the take away from Nick’s role in this episode when not specifically tied to Castiel (which I will yell about later) is whether or not he murdered his wife and child before he was possessed by Lucifer. The set up in the episode, the scripting and the direction implies that yes, he did. Though that could be a misdirection.

At the beginning of the episode, when he was asking Castiel what would possibly make him say yes to Lucifer to begin with, he had seemingly forgotten all about the brutal murder of his family, until Cas reminded him. Perhaps he had just repressed the trauma to the point that he had removed it from his mind to save himself further torment – but then murderers do that as much as grieving widows. Interestingly of all the things we learn about the murder case, we never actually learn Nick’s whereabouts, only from Castiel saying “you weren’t there” which is entirely unreliable because how would he have known other than from reading about the case himself? We know Nick’s neighbour is jumpy around him, so what did the neighbour actually see? We know his wife and child were killed with a hammer – an extremely intimate murder weapon and one that has been meta’d before in relation to Demon!Dean. Strangers don’t murder people with a hammer. It’s the weapon of crimes of passion, of extreme emotional connection to the victims. There is nothing cold and detached about a hammer. People who pick hammer’s to kill seek out the mess and extreme violence that they cause. It’s horrific and so much more gruesome than a knife or a gun. To kill an infant with a hammer? Even worse. To then see Nick murder the neighbour in the same violent attack, it is very easy to assume that he was the original killer as well.

If we assume Nick was the killer what does this mean for the canon of the show? Is this how Lucifer picks his vessels? What does this say about Sam? Who had to consume gallons of demon blood before he could contain Lucifer, Sam who had to be “corrupted” from a young age to prepare him? Was Nick already corrupted enough thanks to his apparent violent streak?

OR was this new kill with the hammer a result of what Cas called Lucifer’s “influence”, the “damage on his psyche”? Did Lucifer create the monster? Or was the monster already a part of Nick? If the season is going to continue the themes of previous seasons in exploring the shades of grey between men and monsters, then Nick is a key component. Is he the innocent victim of the devil? Or is he a tormented killer, who just so happened to get what he deserved? How would this affect the boys? If they are already struggling to find compassion towards a man wearing the face of their abuser, how does this potential new bit of information fit into that story? Perhaps, if Nick really is the killer, once this is found out it gives the writers an easy way to ultimately have him killed off without any guilt of tormenting and villainising an innocent. My money is actually on this theory. Plus it gives me a reason to continue hating him for the hell of it. But hey, that’s just me.

Castiel – The Angel with Too Much Heart

Oh Cas. What DON’T I have to say about you in this episode? I was amazed by Bucklemming’s dedication to Cas as a character and devotion to getting him right for once… I feel like I have slipped into an alternate universe because of this.

In 14x01 Cas was physically beaten, and in 14x02 he is emotionally beaten. I can’t help but wonder if this spells gloomy foreshadowing for Cas in the coming episodes. I want to write about this in depth as this episode is a fascinating insight into Cas’s psyche and his character arc going forward BUT I am leaving that for a separate post so in this review I will just sum it up:

Consider what happens to Cas in several points:

He overhears Bobby saying “angels ain’t known for their veracity” about Jo – that he doubts she was telling the truth. Cas shrugs it off and “tends to agree with him” but the awkwardness is obvious. This isn’t the Bobby who saw Cas as a son after all.

He is told he cannot go along on the mission to save Dean because his “angelic presence would be sensed by Michael” therefore his grace has rendered him useless.

He is made to relive his own possession by Lucifer “you were in a lot of pain, and Lucifer saw a vulnerability and he exploited it” though not talking about himself, the implication is obvious to anyone with a good memory of previous seasons.

He is made to relive another dark chapter of his history when his grace was stolen and he was human. Cas gives Jack a heartfelt positive speech that does show he is in a better place now “I had Sam and Dean, but I had something else that was extremely helpful. I had myself. Just the basic me, as Dean would say without all the bells and whistles” (which btw is so so good for human!cas meta) but the truth is actually far more depressing than Cas lets on, and the pain of what happened at that time, how Dean kicking him out of the bunker only encouraged the view that without his grace he was useless and unwanted by Dean – hence jilted lover.

He is surprised by Nick trying to “snap” him to oblivion which could easily be a trigger for Cas bearing in mind Lucifer has blown him up before via that very gesture.

He had to relive his “greatest regret” and what he did to Jimmy and his family. “You’re just a stone cold body snatcher, you’re no different from Lucifer” and you can SEE how much that pained him. How much Nick twisted the knife at those words.

He was told by Jack that he wanted to meet “The only real family that I have left” which is a slap in the face to poor Cas who sees Jack as part of his own family (and his reaction to that line is heart breaking).

Then the worst thing, he is made to face the possible conclusion that Dean may have to die to save the world. “Dean doesn’t matter” oh boy. No hate to Jack who doesn’t really have any real reason to put Dean ahead of the world, but to Cas, who is in love with him? Yeah that’s the killing blow right there.

Right at the end Jack says “Do you think he’d want it any other way?” and Cas KNOWS Dean wouldn’t, because they have been in that situation before as well, and when that happened Dean asked Cas to take him out. So he had to relive that painful moment as well. One that he refused, and because he refused to fight Dean, got beaten to a pulp after proclaiming that he would “be the one to watch you murder the world”. I have no doubt that Cas would still take that view over the alternative.

So Cas was emotionally beaten all episode. Forced to live through his worst moments and biggest regrets, and then have to face the fact that putting Dean above saving the world just isn’t right and he needs to prepare himself for that eventuality. If this episode and the last have told us anything, it’s that Cas is once again in a pretty low place. That much beating, both physical and emotional, are going to have an impact, and I am now really concerned about where Cas disappears to in episodes 4 to 6.

There is so much more to discuss, specifically in relation to what his view of his grace as “bells and whistles” could mean for human!Cas meta writers, not to mention the basic fact that any argument now about Cas hating being human just isn’t true. He still had himself, and he still believed in himself even when human, and even if he didn’t back then, he does now. He doesn’t see that period of his life as a total negative. That is HUGE.

Summary

A+ episode for Cas development. Amazing as that is being a bucklemming. It has also left us with lots to speculate and theorise which is always a great thing - keeping people tuning in. The Michael!Dean mystery as well as the Nick mystery probably won’t get revealed any time soon, but are enough to have people talking about them for a while. 

Sam was still very much in Leader mode, though didn’t really get to do much this episode, but the way I see it, 14x01 was for Sam, 14x02 was for Cas, and I fully expect 14x03 to be a Dean heavy episode (which is fair since I am sure we are all missing him by now). Jack is also one to watch. His inner turmoil is textually acknowledged several times over and seeing as he is basically a mini Cas, the possibility that Jack could decide to do something drastic is probably very likely. I wonder if we will see Kelly’s parents again any time soon - I kinda hope not as I reckon that would spell certain doom for them. 

It was a strong episode, and I enjoyed watching it (other than the Nick stuff). Probably my second favourite Bucklemming episode if I was to rank them all now which is very impressive (11x18 will always be top imo).

That’s all for now, as I am in the mood to write some Cas stuff. As always if you read this far kudos and please reblog and comment and send me asks as I love all that stuff. :D

[queenofcarrots]

Rey, Finn, and Kylo Ren in The Force Awakens (a meta)

This is a meta about Rey, Finn and Kylo Ren and their interactions in The Force Awakens. I don’t write much meta and this isn’t intended to be a work of scholarship, I just want to investigate the relationships that these three characters have with each other. One million thanks to @red-applesith and @thisgarbagepicker for talking through this with me and being so encouraging.

There are lots of great meta about Rey and Kylo Ren, particularly coming out of the Reylo fandom. There are also good meta about Finn, but several of those I’ve seen come from an anti-Kylo direction. There does seem to be a general preference in the fandom to keep the dynamics between those characters neatly split between "Finn and Rey" vs. "Rey and Kylo". I haven’t seen an extended meta that focused on these three characters equally, so that’s the space I want to fill with this meta. I’m interested in considering these characters together, not setting them up against one another. 

Rey, Finn, and Kylo Ren / Ben Solo have strong connections with each other as pairs and as a group of three, culminating in the showdown scene in the forest on Starkiller at the end of The Force Awakens. This scene and the one that immediately precedes it (the bridge scene, in which Kylo kills Han Solo), along with the kidnapping scene on Takodana, are the only scenes in either of the two sequel movies in which these three characters appear together on screen. But these scenes are only the culmination, so let’s start by looking at the scenes where these characters either appear together or refer to each other.

Rather than break the scenes down by character pairing or grouping (Kylo/Finn, Finn/Rey, Rey/Kylo, or Kylo/Finn/Rey) I’ll move through the film chronologically, marking each scene which includes a pairing as KF, FR, RK, or KFR. This way we can see how these relationships move through the movie, and in some cases how they affect transitions between scenes, or how groupings change within scenes. I’ll mark the scenes with minute marks, mostly in order to make sure to keep things in order, but also to make it easier for people to check on this if they want.

There’s not only the grouping, there’s also the running theme of Family: Kylo’s issues with his family, particularly his father, and the Skywalker legacy lightsaber, Rey’s mysterious background, and Finn’s utter lack of a known family. I think family is so important for these three, and this theme also has an impact on their relations with one another. So I want to bring this out in the meta as well.

The first several scenes we’ll look at are KF scenes, apart from one. Kylo and Finn are the first of these characters to meet, in the first extended scene of the film, and this meeting has serious implications for the film moving forward (arguably it’s the catalyst for the rest of the movie - nothing would have happened as it did if Kylo hadn’t let Finn go on Jakku). I think it’s relevant that the first scene takes place on Jakku, where we find out later that Rey is living only miles away from the current action. So although she isn’t physically present in these scenes, and we won’t even know she’s there until later in the film, her presence is arguably relevant to this scene. (Heck, one could argue that even this early scene is a KFR scene, because of that.)

Minutes after landing on Jakku (5:47), Finn is marked by the blood of his fellow stormtrooper, after which he has a bit of a breakdown. (I can’t help but think of a baptism by blood when I watch this scene.) As @secretreylostan pointed out to me in a recent ask, it’s only after this bloody handprint that Finn has his breakdown; up to this point he appears to be doing what all the other Stormtroopers are doing.

Kylo shows up immediately after.

He does these things in short order, each of which tells us something about him as a man or what he wants to do:

Demands the map to Luke Skywalker (his objective) (7:10)

Kills Lor San Tekka after being challenged about his Family (his sore spot) (7:30)

Freezes the blaster bolt (his strength in the Force) (7:35)

Orders Poe to be taken in for questioning (his objective, his ruthlessness) (8:19)

Orders all the villagers to be killed (his ruthlessness) (8:31)

Senses Finn disobeying a direct order, doesn’t do a dang thing about it (his compassion) (8:54)

He’s just been built up over two minutes as being absolutely strong, deadly, ruthless, and then his introduction ends with Finn. There’s no reason for him not to strike down Finn right then and there. But he doesn’t.

He does release the blaster bolt that he’d frozen earlier, which could be interpreted as a warning shot to Finn (and I’ve seen it interpreted that way in other meta). But it’s clearly not meant to touch Finn or hurt him physically.

At this point we interrupt our KF fest to meet Rey (10:43). Her entire introductory scene is Rey by herself, but we do get the theme of Family here too - that is, it is apparent she doesn’t have one. She works by herself, lives by herself, depends on scavenging for her food, and she counts the days by carving notches in the wall of her home. Hundreds and hundreds of them that we can see.

The next scene that I would call a KF scene is blink-and-you-miss-it (19:25): When Finn goes into the chamber to get Poe, he tells the stormtroopers guarding him, “Ren wants the prisoner.” The other stormtroopers let him take Poe away. Does this imply that Finn had worked directly with Kylo before? Or perhaps as suggested by @red-applesith (and as the novel confirms) it simply demonstrates that Kylo is indeed a high-ranking member of the FO, known by the stormtroopers, a person of enough importance that his name alone conveys authority. In any case, the guard doesn't question Finn's motives or request any kind of proof.

The next KF scene is when the FO discovers that Poe has escaped, and Kylo knows immediately that it was FN-2187 who helped him (22:24). He says, “The one from the village. FN-2187.” I think he’s being reminded of his act of compassion on Jakku, and of the consequences of such compassion. Note that he doesn’t indicate to Hux how or why he noticed FN-2187 on Jakku. Perhaps because he considers it a weakness. [Going out of order for a moment, on p. 237 of the TFA novel, Snoke takes Kylo to task over his compassion for Rey, berating him with: “It isn't her strength that is making you fail. It's your weakness.” - his weakness being the same compassion he showed to Finn at the very beginning of our story.]

The next scene I want to mention is technically about Finn only (and he’s not even in it), but it includes that theme of Family so I want to be sure to mention it, because it ties in with Rey’s earlier introduction (23:42) - perhaps this is an FR scene after all. This scene happens directly after Finn and Poe are shot down over Jakku, when Phasma and Hux are talking about FN-2187. We learn he was sent to reconditioning after Tuanul, and that he had no prior signs of non-conformity. We also see a picture of wee Finn in the lower left of this shot - our first indication of his childhood.

The next scene is a KF scene and begins with an interesting transition: From Finn looking down on Niima Outpost to Hux and Kylo talking about getting the droid (26:12). I think it’s interesting because it brings us into the scene with Finn on our minds - much as Finn is apparently on Kylo’s mind. At this point Kylo is still focused 100% on BB-8-and the map, but he also wants to talk about the capability of Hux’s soldiers. He doesn’t trust them now, and makes clear references to FN-2187 committing treason, although he doesn’t call him by name. In this scene Kylo is thinking of two things: getting the droid (and thus the map to Luke Skywalker), and the treachery of FN-2187. Regarding the theme of Family, it’s in this scene we learn that the stormtroopers under Hux’s command are “programmed from birth,” so we can make further assumptions about Finn’s childhood, and his lack of a family (similar to Rey).

Finally, our first FR scene, when Finn and Rey meet meet on Jakku (28:00). Once the FO come calling they escape from Jakku on... the Millennium Falcon, aka Kylo’s dad’s ship (31:42). Can we call this Family? Can we really stretch and call this scene KFR? 

Finn and Rey have met, so now it’s time for Kylo to learn about Rey. I think this scene is particularly interesting because it begins with assumptions of what’s important up to this point: update on the droid, oh no there’s FN-2187 messing things up again. But then we have “The Girl” and things get really interesting. (I think of this as a KF scene that shifts to KFR).

After Rey and Finn escape from Jakku, poor Mitaka is sent to give the news to Kylo. He tells him three things:

The Droid escaped on a stolen Corellian YT Model freighter

FN-2187 may have helped

They were accompanied by A Girl

Kylo’s reaction to each piece of news is really interesting. Hearing about the escape on the freighter, he makes a joke (The droid… stole a freighter?) - although surely he is reminded of his father, even if he doesn’t believe this is his father’s ship? So I’m also tempted to tag this scene with Family.

Hearing about FN-2187 helping the droid escape sets Kylo off; he lights up his saber and destroys the console. He is angry - not only has this trooper escaped but he’s actively thwarting him in his quest to track down Luke Skywalker. 

But hearing about The Girl changes his demeanor. He still seems angry, but it’s a focused anger rather than the violent anger of a moment before: Dragging Mitaka across the floor, holding him up by the neck: What Girl? 

This is the beginning of the change in Kylo’s objective, set in his very first scene, from finding Luke Skywalker to finding The Girl.

In the very next scene of the film (37:45), Finn and Rey run straight into Han Solo - Kylo’s dad - pulling him into the story - pulling Kylo’s Family into the story. They help him escape, in the Falcon, along with BB-8 (don’t forget BB-8, he still has the map to Luke Skywalker!)

The next scene is with Kylo, Hux and Snoke on Starkiller (49:27). This scene does three important things: first, it reminds us that the objective is still to find Luke Skywalker. We can’t forget that this is still supposed to be Kylo’s main mission! Second, in this scene we discover that both Snoke and Kylo are aware of an awakening (perhaps having to do with Rey, making this a RK scene), but but also, third, Snoke informs Kylo that BB-8 is on the Millennium Falcon, along with Han Solo (and, we can presume that Kylo himself connects the dots at this point: The droid was with FN-2187 and a girl in a stolen freighter on Jakku, now it’s with Han Solo on the Falcon, ergo FN-2187 and a girl are with them now). One might argue this makes this a KRF scene, and also there’s that Family again, getting more and more wrapped up with everything else.

In the next scene (51:19) we have Rey, Finn, and Han. First, Rey helps Han stabilize the Falcon, then we have Rey and Finn learning for the first time about Luke’s wayward apprentice, although neither of them realize who exactly he is. (Note that the camera is solidly focused on Rey as Han says (53:02), “One boy, an apprentice, turned against him, destroyed it all”, and my Reylo heart sings a little song). The entirety of this scene brings Rey closer to Han (Family), and I label it KFR because it includes Finn and Rey, but Kylo is there in spirit.

The next stop for this group is arriving at Takodana (54:48), and meeting Maz. 

There are important conversations between Han and Finn and Han and Rey in the scenes right after they land, and they serve to bring both of the younger characters closer to Kylo’s dad. I choose to tag all of these both with FR and with Family:

Han arms first Finn (55:00), then Rey (55:32)

Han knows Finn is lying about who he is (I’m talking specifically about his admonition: “Women always find out. Always.”) I have heard that Han recognized his boots as stormtrooper boots, but I have no reference for this.

Han offers Rey a job

They all go in and meet Maz (57:39), and then the very next scene is Kylo’s scene with Darth Vader’s mask (58:52). I think these two scenes are interesting contrasts, the first with Finn and Rey, along with Kylo’s dad (FR, Family), hoping Maz can help them; the second Kylo alone, begging for his grandfather (Family) to help him.

Takodana is where Finn and Rey finally separate: first Finn decides to run away to the Outer Rim, and then Rey is kidnapped by Kylo Ren. This first part of the Takodana story is FR with a dollop of Family.

Finn, who has at this point been on board with helping to get BB-8 back to the Resistance, picks back up on his plan to run away when he learns the FO is probably on its way, asking her to go with him (1:02;15); he also finally tells Rey the truth about his background, and we as an audience learn that he was - like all of the stormtroopers - taken from his family, and he never knew them. 

As Finn leaves the building, Rey has the first hints of her Force vision, hearing her own voice as a child calling out from the basement (1:04:00). Recall that at this point although the FO is preparing Starkiller they are also planning to attack Takodana, so as Rey has her vision, Finn is preparing to leave and Kylo is preparing for his arrival.

The force vision is the first time we have RK scenes from Rey’s point of view. This is when Rey first sees Kylo Ren: in the rain (saving her?) (1:06:07), then in the forest (1:06:29). Both times he is masked. 

At the moment Starkiller fires (which is visible from Takodana for reasons unexplained by science, but I’ll allow it) (1:09:47):

Kylo Ren is watching from the Finalizer. He does not appear to approve. (1:10:07)

Finn is packing to leave, but pauses to watch with the others. (1:10:19)

Rey is running through the forest, away from the lightsaber, but ends up being followed by BB-8. (1:11:06)

While Rey is running away, she has her first in-person experience with Kylo, RK, when she sees his ship from the forest (1:11:39). It’s after she sees his ship that she runs back to the castle, accompanied by BB-8.

Immediately after this, Maz gives the Skywalker lightsaber to Finn to give to Rey, effectively forcing them back together (1:12:09). She could have given it to Han, but she didn’t. He really can’t leave now; FR are back together again (with a Family connection to Kylo provided by the lightsaber)

While Finn and Han fight stormtroopers, Rey comes back to the castle with BB-8 (still concerned over that map to Luke Skywalker! Don't forget!) but is presented with stormtroopers - which she shoots (1:12:45). She’s just found out that Finn was a stormtrooper. Does she think about him at this time? If she does, it doesn’t stop her from shooting. Does this count as FR?

Kylo comes off the ship and heads to the fight, but when he’s told that the droid was seen with a Girl he immediately heads into the forest (1:13:06). Is it because of the mention of the droid, or the mention of the girl? I’m pretty sure it’s the girl, but either way, solid RK scene.

Finn takes the lightsaber as his weapon and fights with it for several minutes (beginning at 1:13:54). I’m going to count these scenes as KFR because at this point the Skywalker lightsaber is so caught up with Kylo, and Rey, and Kylo’s Family.

The next relevant set of scenes are Kylo and Rey meeting in the forest (beginning at 1:17:13). There has been so much written about these scenes so I’m not going to say much here, except that it’s so very clear that his objective for getting the droid (and thus the map) has been completely overtaken by his objective to (literally) get the girl. Up until this point it hasn’t been clear but his actions here make it absolutely so. Kylo uses the fact that Rey’s seen the map as an excuse to take her and leave. We know from previous scenes that Snoke doesn’t want the map in the hands of the Resistance, so even if he takes Rey he really should still take the droid! But he doesn’t, because he’s in awe. Our first extended, in-person RK scene. 

Finn and Han are distraught watching Rey carried away by Kylo (1:18:45): KRF with a big helping of Family. This is the first time that Han has seen his son in our story. The circle of Rey, Finn, Kylo, and Kylo’s family is beginning to grow tighter. 

Then we have more Family: Leia, Kylo’s mother, arrives with the Resistance (1:19:47). Poe brings Finn to Leia, and Finn has now met both of Kylo’s parents (1:22:24). 

There is a brief scene where Han and Leia talk about their son (1:24:10), a good Family scene, which segues directly into the Interrogation scene.

As with the Takodana forest scene there’s been so much good Reylo meta written about the RK Interrogation scene (beginning 1:25:38), so I won’t dwell on it too much. For the purposes of this meta I will say that Kylo’s line “Murderers, traitors, and thieves” is clearly a reference to Finn (he’d referred to his treason in his earlier conversation with Hux), but also (per @thisgarbagepicker and @red-applesith) ‘thieves’ could be a reference to Han Solo and/or Maz (who had the lightsaber, perhaps stolen at some earlier point from Kylo), and ‘murderers’ could refer to Han Solo as well; in any case we have both KF and Family. I’m also interested in his unmasking (at 1:26:15) vs. Finn’s unmasking. Rey has only met an unmasked Finn; how might she have felt if she had met him masked? Is she thinking about Finn when Kylo takes his mask off and she first sees his all-too-human face? 

Much of what Kylo says to Rey in this scene is projecting, but I want to note especially his line “so lonely, so afraid to leave.” (1:27:06) I’d like to think that this is not only him reading her mind and thinking about his own loneliness, but that it’s also a callback to his interaction with Finn on Jakku: KF. That was a man who was not afraid to leave, and who in fact left.

After digging around in Rey’s mind (including touching on his own father, Han Solo, although it’s not clear that Rey knows their connection - Family again) Kylo finally gets around to looking for the map (at 1:27:52), at which point Rey turns the tables on him because she’s a fucking badass, and he never gets the details of the map after all. He’s so far from where he started, his objectives are so thrown off, and it’s all because of that dang stormtrooper.

womp womp

Kylo immediately goes to Snoke (1:29:10), but he just wants to talk about The Girl (it’s an RK scene); it’s not until Hux comes in that they talk about the droid and the map (remember, his objective?). Hux wants to use Starkiller to destroy the Resistance, but Kylo asks for more time, and “guidance” to get the map from The Girl (it is unclear what kind of guidance he thinks Snoke may be able to provide). At this point Snoke seems more interested in destruction, but he does ask for The Girl to be brought to him.

RK scene: Kylo returns to the room to discover that Rey’s escaped, presumably on her own and using her Force powers, and has a tantrum (1:31:27).

Meanwhile Finn is reporting to the Resistance about Starkiller base, in a pretty solid FR scene (plus Family, since both of Kylo’s parents are present) (1:32:12). They figure out how to destroy Starkiller, but Finn is insistent that he must be there on the planet to disable the shields. I really love this scene because Finn is being quite devious. He wants to get to Starkiller to rescue Rey from Kylo (he admits this to Han later), and he uses his knowledge of the base as leverage to get them to send him there. Finn is joining with the Resistance in order to 1) take care of Rey; 2) escape (he still hasn’t forgotten his own objective, but he won’t leave until he knows Rey is safe).

As Rey attempts to make her way out of the base (beginning 1:35:04), both Finn (with Han and Chewie) and Kylo are searching for her, Finn having come with Han on the Millennium Falcon. After they land Finn finally admits that he’s only there for Rey, although he does help get the shields shut down. These are several scenes that fit together, KR, FR, Family.

Once the shields are down, Finn and Han first come up with a plan to get Rey, who they still think is being held captive, then find her wandering the ship (1:40:59). Note that Rey can’t tell Finn how she escaped: “How did you get away?” “I can’t explain it, and you wouldn’t believe it.” - she can’t tell him. This is between her and Kylo. A FR scene with K in the corner.

Then we get to the bridge scene (beginning 1:44:36), which is where the shit really hits the fan. It’s the first time since Takodana that we have Rey, Kylo, and Finn (KFR) together in the same physical location (although Finn and Rey are at a distance, according to the script for TFA they can see and hear what is happening on the bridge, and Kylo can see them).

Other metas have mentioned Kylo’s unwillingness to challenge Han, and the appearance that he’s actually trying to run away from him as he crosses the bridge. I want to think about this scene considering those two things, and everything in this meta up to this point, particularly Kylo’s interactions with Finn:

First was Kylo’s willingness to look the other way when when he sensed FN-2187′s disobedience on Jakku, which led directly to:

FN-2187 escaping from the FO, with their Resistance prisoner

FN-2187 saving the droid and somehow ending up with Han Solo on the Falcon (Family)

FN-2187 bringing Han Solo to Starkiller, where Kylo has basically just been forced to kill him

After killing Han, Kylo looks up to see Rey and Finn (1:50:13). The camera focuses a close-up on Finn. At this moment, Kylo Ren has just killed his father. We know from TLJ and from the script and the novel that 1) Kylo didn’t hate Han, and 2) he immediately feels that the killing has weakened him, not made him stronger. No wonder he’s so angry at Finn! Look at how much he’s lost from that one, single act of compassion.

Now we come to the Starkiller forest (beginning 1:51:00), which, again, there has been a whole lot of Reylo-focused meta written about. This scene moves from KFR to KF (after Rey is knocked out) then to RK (when Finn is knocked out) then finally to FR (when Kylo is knocked out). That seems really poetic when I write it out like that.

The opening conversation is very focused on Family. I’m not certain about Kylo’s opening “We’re not done yet,” (is he talking to Rey, referring to what happened during the interrogation, or to Finn, referring all the way back to their interaction on Jakku, or is he speaking more generally about what just happened?) but his next lines, “It’s just us now. Han Solo can’t save you,” seems to me to be both a threat to them, and a reminder to himself that he’s just killed his dad. 

Kylo knocks Rey against the tree first, presumably to keep her out of the way while he dispatches Finn (KF). Finn takes the lightsaber (Family) and the fight proceeds. Kylo doesn’t kill him immediately, instead he prances around, taking his time. He wants to cause Finn pain - this is personal for him. He burns Finn’s shoulder just because he can. Once Finn actually gets a hit in Kylo knocks the lightsaber out of his hand, punches him around, and cuts up his back. Oddly enough he doesn’t spear him though or cut off a limb, which he could have done easily. Interesting, right? Is he dealing out compassion for Finn even now? (Or, as @thisgarbagepicker and @red-applesith suggest, it this Kylo being an arrogant twat, considering the murder of Finn a waste of time, considering that the planet is about to explode? A cat playing with a mouse, up until the mouse bites back? I kind of like this idea too.)

Next is all Rey and Kylo (RK). After she is able to call the Skywalker lightsaber (an example of Kylo being denied his own Family), he fights her very differently than he fought Finn. He isn’t trying to hurt her (in the novel he states "I could kill you right now. But there is another way."), and he even offers to be her teacher in the Force. Then she kicks his ass and takes Finn to safety (FR).

She does take a moment to look at him over her shoulder, Skywalker lightsaber in her hand (Family), as she follows Chewie and Finn onto the Falcon (FR, RK). (I find this an interesting parallel with the end of TLJ.)

But the movie’s not over!

The final relevant scenes are all FR and Family. First, Chewie, Finn and Rey arrive at the base (2:00:09), and Rey meets Kylo’s mom (Family) - another nice hug for Rey.

The last FR scene in the film is Rey saying goodbye to Finn in the hospital (2:02:32).

Leia (Kylo’s mom, remember) and Rey say goodbye, too (at about 2:03:10) - Family.

Then, finally, our last bit of Family, Rey (with the Skywalker lightsaber) meets Luke on Ahch-To (2:05:55).

Coming after the climax in the forest these small scenes are a bit of a letdown, but they set Rey on her way for her next journey, and push her deeper into Kylo's family/story - setting her up for her next chapter in The Force Awakens.

In conclusion, we can see that the characters of Rey, Finn and Kylo Ren are tied together in various groupings throughout The Force Awakens, particularly around Kylo's family, especially his father, Han Solo, his father's ship The Millennium Falcon, and the legacy Skywalker Lightsaber. Additionally, @thisgarbagepicker pointed out that throughout TFA, Finn, Rey, and Kylo are all given the chance to leave something destructive behind. Finn succeeds at Tuanul, leaving the First Order; Rey succeeds in leaving Jakku (although she’s forced into it, a bit, and it’s not until her conversation with Maz that we’re sure she’s not going to go back), and Kylo fails - and he’s still working towards it at the end of The Last Jedi.

I started extending this meta into The Last Jedi, but it became clear pretty quickly that the addition of the Force bond and the characters of Luke Skywalker and Rose Tico change things, especially around the concept of Family, so eventually I’ll do a second meta looking at the same themes in TLJ.

[comicteaparty]

June 29th-July 5th, 2019 Creator Babble Archive

The archive for the Creator Babble chat that occurred from June 29th, 2019 to July 5th, 2019.  The chat focused on the following question:

Whether intentional or not, what would you say is the central theme of your comic?

snuffysam

The central theme of Super Galaxy Knights Deluxe R http://sgkdr.thecomicseries.com/comics/ is, to put it in a word, acceptance. Accepting that you can't change the past, accepting that you can't control everything that happens in your life, accepting that other people come from different walks of life and experience different hardships from you, accepting that you can't change other people's hearts, and learning to accept yourself even when others don't accept you.

Attila Polyák

The story of Tales of Midgard https://talesofmidgard.com/comic/book-1-cover-page/ does have a central theme, but most of the story mostly follows events that allow the exploration of the world. That said... If you look at it closely you'll notice that the story does involve themes about free will and the results and consequences of an actions taken.

Respheal

Kinda hit me just now that the central theme of Galebound (http://www.galebound.com/) might be "real change comes from a place of love, not hate". Basically, even if you have "good" goals, trying to achieve those goals from a position of hatred will just destroy everything around you, while doing something because of love elevates everything. Also row row fight the power(edited)

Jonny Aleksey

The Undefeatable J-Man ( http://jonnyalekseydrawscomics.com/thelatestpage ) So when I starting writing up the series years ago the idea was always going to be about the relationship between J-Man and his father. J-Man having idolized his officer dad when he was little but growing more distance after he becomes a hero and does his own "cases" (like a kid trying to be grown up). The inclusion of sidekick Sleepy Bear evolved from a fun silly idea into being a sort of little brother to J-Man, forcing him into a guardian role before he's really ready. I guess in short the theme has become maturity and hero worship.(edited)

ErinPtah (Leif & Thorn | BICP)

If Leif & Thorn (http://leifandthorn.com/) has a main theme, it's "communication." Partly because the characters don't share a first language -- and even as Thorn gets better at speaking Leif's, there are huge cultural differences that they need to figure out and talk through.

On top of that, if you dig down far enough, a ton of the problem-of-the-week type conflicts can be traced back to miscommunication! Someone hasn't explained themselves, or tried but didn't get it across very well, or explained it clearly but the other person didn't want to listen...

(The other problems are pretty much all about financial exploitation. Something goes wrong, it's either miscommunication or capitalism. Or both!)

But I'm A Cat Person (http://bicatperson.com/) is about broke recent college grads living on their own for the first time, but still making new connections and getting by with help from their friends. Also, immortal shapeshifters who need to be bonded to a human Master and will literally run down like a rusting machine if they don't get regular orders. There was a point when I figured the theme was "independence," but it's really more "interdependence."

...It's very political, but it takes place in 2010-2011, so the in-universe references have to be specific to that era. If they didn't, I'd be saying "stronger together" a lot more.

keii4ii

Heart of Keol (https://heartofkeol.com/) is about being let down by the one person you trusted, when you needed them the most. The feeling of "I'd thought they would care, but I guess that was too much to expect........" It's also about how you change (which hopefully includes healing -- though that isn't the case every time...) after such an experience. How that relationship changes afterward, and how it affects your other relationships.

Mharz

The Angel with Black Wings http://blackwings.mharz.com/ main central theme is "forgiveness" whether it's towards others or towards yourself. We've all been hurt before and sometimes depending on how tough it is, it can sometimes be so hard to forgive anyone even yourself. Some had so many tragedies happened to them that they had formed hatred towards the world that they just want to see it burn. Many of us formed self-loathing because we haven't achieve this kind of status we wanted for ourselves, or maybe we have blamed ourselves for something bad that has happened in the past. Forgiveness or lack thereof can greatly affect someone's mental health... and it doesn't just affect ourselves, but the people around us. CHAMPS http://champs.mharz.com/ aside from the slow-burn lesbian romance that's going on is about which victories are more important? The main characters, being athletes they'd want to win any match they can... but winning doesn't necessarily mean a satisfying victory. Sometimes you need to make a choice.

NeilKapit

What is this theme? Is it, according to that one guy from the Game of Thrones show, something for eighth grade book reports? Everyone knows storytelling is all about random shit happening to keep people in their seats, regardless of why.

Tuyetnhi

ha?

keii4ii

I think NeilKapit was making a joke about themes in general

Tuyetnhi

o

keii4ii

Not sure but my guess is he was sarcastically mimicking those who uh, don't "believe in themes"

Mharz

oh I thought it was pertaining to mine... becos my message was before theirs

I'm like did I say something wrong?

keii4ii

Nah, you're fine

Mharz

Ty keiiii

NeilKapit

It’s a joke based on a quote by David Benoit (sp?), one of the game of thrones showrunners, about how he approaches storytelling

It explains a lot about why the show went south so hard and so fast once they ran out of book material to adapt

Sorry if it sounded like I was dissing you or anyone here, I wasn’t

keii4ii

Thank you for clarifying

Mharz

it's good, bud. : D

NeilKapit

In all seriousness, the theme behind my comic We Are the Wyrecats (wyrecats.com) is coming of age in the worst possible way, with the protagonist having spent ages 18-22 in a coma, and awakening to a world where all the common sense heroism she and her friends tried to do ended up receiving a vicious backlash from the powers that be, where her friends have had to morally compromise in the name of survival, and where she realizes that people only allow you to do good on their terms

And what to make of things upon learning all of that

Nutty (Court of Roses)

In Court of Roses http://courtofroses.thecomicseries.com/ I'm trying to show the love, beauty, and power in self-expression, especially of the artistic kind and how versatile it can truly be. My bards will have a lot of challenges thrown at them to be solved uniquely with their talents!(edited)

Nutty (Court of Roses)

I wanna expand on that once they all start traveling together, as well as showing the importance of being able to seek help and comfort from others when you need it most.

Capitania do Azar

Haha central theme of my comic (www.sarilho.net/en/) is cooperation and this was super intentional because themes are super important and that's is why I spend so much time dealing with characters engaging in battle (edited)

MJ Massey

Not sure if this counts, but Black Ball (http://welcometoblackball.com/) is a deconstruction of the Great Gatsby and other 1920s literature which involves a lot of ironic tragedy. Emily is the common sense friend you wish all those characters had, because she has no time for that nonsense, and inadvertently comes in and makes people face their problems and, through that, become stronger, better people. While this is going on, she doesn't even realize that she's having an impact on people. Emily starts as sort of a passive doormat, being dragged around where her parents or the plot take her, but by the end she will find her own confidence and will become a more assertive person

Tuyetnhi

The main themes for OIYD! (http://oiydcomic.com/) is a combination of Fantasy vs. Reality, Truth and Lies, the scope of love, and the sacrifices or consquences made from those choices. Escapism, fantasies, and delusions often infer how we precieve our reality. And sometimes reality structures how these mindscapes are dictated. I want to explore such things under a romance between a dreamer and her dream, implications of trying to please your family and yourself, and what to do when your dreams can turn into concrete existence.(edited)

kayotics

Okay, so after some thinking, I think one of the main themes in Ingress Adventuring Company (https://ingress-comic.com/) is that healing isn't linear, and it can take a long time. That goes tied with the theme that sometimes there's more to people than what they show you. These aren't, like... SUPER obvious as themes yet, especially because most of the comic right now is a pretty light-hearted adventure story, but I think i'll get around to it.

deo101

Millennium's (http://millennium.thecomicseries.com/) main theme is really all about love, and overcoming great struggle through it. It's about healing and growth and finding your own family!(edited)

Jurinova

In it's core Home is a Distant Wish (https://tapas.io/series/hiadw) is about healing and finding one's own place in the world. It is about home but not just as a physical place but home as a feeling of belonging and safety, and most importantly about the right people. It is in many ways about people disconnected trying to connect again. There are more underlying themes that are a bit darker but I do like to think that the more hopeful themes are the dominant ones.

[iliketowrite1996]

Dear Lover

Loosely Based on ‘’Dear Lover’’ by Little mix. Inspired by @starsshines-blog     story and our conversation about Little Mix.

TRIGGER WARNINGS- Sexual themes but not explicit,  unrequited love, friends with benefits relationships, insecurities, emotional unavailability, secrets, heartbreak

THIS is my first time writing something like this so constructive feedback is welcome! I will proofread later.

   The bodies on the dance floor move in rhythm with the music, the bass making the entire floor thud against you. The bodies are pressed together, moving in time and swaying to the words as the singer on the stage croons a sultry, seductive song.

   This is a scene that is familiar to you wherever you go. You love to travel see new places, see new faces. Thankfully, your job as a traveling writer allows you to do so. You get to try new foods, meet new people. And go to fun and exciting events. The world is your oyster, and you are not tied down.

   But you always return to one place when you have free time: Wakanda.

   The culture, the people, the life. It’s so beautiful. You’ve been fascinated with places outside of Wakanda ever since you toddled over to a map of the World when you were three.

   Now, you get to make the world you’re home. Every day is a new adventure.

   Yet, you always find yourself traveling back to Wakanda for two reasons- your family, and him.

   He’s home in every way- warm, inviting, lovely.

   He’s smart, handsome, kind, and, strong. He calculates everything, looks before he jumps, but dives in when he’s committed.

   You are smart, beautiful, kind,and strong. You love to dive right in, see new things, explore [possibilities.

   Opposites attract, and you two are magnets.

   He is T’Challa Udaku, the Prince of Wakanda.

   You are Y/N, journalist and photographer and blogger.

   So how exactly did our life become a high-rated  made-for-television movie?

   You’d met in high school, and clicked instantly. He was there for you when you got your first boyfriend and got broken up with. You were there for him when Nakia left him right before college. He was there for you when you didn't’ get into your first choice university. You were there for him when the pressures of being a prince weighed down heavily on him.

   You new three things that would comfort him- your words, your embrace, and your lips.

   He was your first kiss, you were his. He was the first guy you ever fell in love with, but kept it under wraps like the secret that it still is. You’d tease him endlessly, avoiding the real issue at hand- how were you in love with the future king of Wakanda?

How. did the girl who couldn't’ imagine putting down roots fall for the man who will be the most rooted individual in Wakana as he becomes king?

It’s something that you’ve held onto. You wouldn’t say that you have a friends-with-benefits relationship- you make out a lot, you’re on the cusp of boyfriend and girlfriend physically. But that’s all it’s ever been- physical.

   You two haven’t actually slept together- there was just kissing, a lot of heavy petting and a lot of talking. It’s just a friendship. He calls you, or vice versa, and there it is. But that’s all it can ever be.

   At least on his end.

   It’s a secret. Hell, you tried to hide it from yourself that you're in love with him. You pushed it away, told yourself that, no, you are in love with the attention. But when that attention shifted to Nakia, then other women, you found that you still craved him.

   You feel a connection towards him, and it is more than just physical attraction. He is your lover in nearly every sense of the word- he is your best friend, your confidant, your equal. He treats you like a lady, never an option.you knew what this was when you first kissed him telling him you just wanted someone to make out with.

   You knew he was lonely, that you were numbing the piece of him that still ached for Nakia. He never left that wound alone, poking and prodding it over and over again. The way you would roll your tongue over the spot where you lost your tooth when you were younger? That’s him with Nakia. He keeps making the same mistakes, pining for a woman that has found her calling outside of Wakanda.

   That makes you feel like a hypocrite, and your bitter mood is in sharp contrast with your sweet drink.

   How very dare you want him for yourself when you don’t even want to be in Wakanda? Who do you think you are?

   Well, you’re Y/N Y/L/N , and the heart wants what it wants. Your heart just happens to want T’Challa Udaku, son of T’Chaka Udaku. Your heart wants your best friend, the Prince of Wakanda, your best friend.

   Your heart wants your lover.

   You down the rest of your drink, tip the bartender, pull your purse over your shoulder, and head out.

   The rain is beginning to come down when you climb onto T’Challa’s balcony.

   ‘’One of these days, Okoye or Ayo is going to discover me. You’re gonna be sorry when they do. No kisses for you.’’

   ‘’It is good to see you, too, Y/N,’’ he chuckles, helping you up, ‘’Especially when you bring my favorite pizza and wine. Although I would appreciate if I didn’t have to find out that you are back in town from Shuri or my mother. I thought that we we were...close enough for you to tell me anything.’’

   You ignore the implication of his words, willing yourself not to blush under the glow of the moon.

   ‘’I knew you’d text me essentially. So I went to see my family and then went dancing. And of course I brought you pizza and wine. Only the best for you, my prince.’’

   ‘’Stop that. Come on in,’’ he opens the door, sets the pizza on his bed and opens it, ‘’Ugh. It is so cheesy.’’

   ‘’Just like your jokes.’’

   ‘’Did I do something to you? Why must you tease me,’’ he questions, a smo;e playing at his full lips.

   ‘’You tease me all of the time.’’ you purr, the double meaning of your words heavy in them.

   ‘’You do the same to me. Now, are you going to come eat this pizza with me? Or do I have to finish this by myself?’’

   ‘’Save some for me, my prince.’’

   You lounged across T’Challa’s bed with him chewing on the pizza in silence.

   ‘’Adede and I broke up.’’

   That’s the first thing that he’s said to you in fifteen minutes.

   ‘’Oh?’’

   ‘’Yes. Today. And it’s weird, because I don’t feel what I did when Nakia broke up with me.’’

   There he goes again. Nakia this. Nakia that.

   Not that you don’t like her as a person. She doesn’t have a mean bone in her body. She is fierce and strong, kind and smart. She’s who you’d want for T’Challa if you didn’t want him so bad. You don’t despise her, just the fact that she always had what you wanted: T’Challa’s affection.

   ‘’Well, I don’t think you liked her, T'Challa. I think you just liked the attention that dating her brought’’ you turn the sealed wine bottle in your hand, ‘’She deserved better than that. So did you. You’re trying to fill the void left by Nakia.’’

   He kisses his teeth then, lolling his head back so that it is resting in your lap, ‘’I guess you’re right. That was wrong.’’

   It makes you wonder what you’re doing here, then. Because you know what your relationship is- that he doesn’t see you in any real way. That you’re gonna hurt all over again when he attends another social event outside of Wakanda with another ‘’eligible bachelorette’’. That he’s not gonna let things work out with her, because he’s not over Nakia, That you’ll get another call when you’re in town. That this secret ‘’relationship’’ will continue, stolen moments and kisses and conversations behind closed doors. And it hurts, because every time you see him you hurt a little more.

   ‘’Come here,’’ you crook a finger toward shim, discarding the now empty pizza box.

   He crawls into the bed then, snuggling closer to you, head on your shoulder.

   He craves attention from someone, and you’re here.

   You want affection, and he’s here.

   You're tiptoeing on a strange line, dancing with danger and flirting with a man who’s definitely no stranger to you. He was your first, you were his. You know him inside and out and he knows you. So he is your lover in every way.

   Except officially.

Most of the time, you two talk. You talk, he comforts you or vice versa, and you kiss.

A lot.

‘’I’ve missed you so much,’’ T’Challa breathes out, his breath hot on your neck, ‘’So, so much.’’

   He doesn’t miss you.

   He misses this closeness.

   That’s what you tell yourself as his hands move to your waist rolling you on top of him.

   ‘’Be here for me?,’’ he asks, and you know he doesn't mean for it it sound a selfish as it does. But it stirs something inside of you, and you do your best to push it down.    

   ‘’I really care about you,’’ he continues, and you feel yourself freeze under him.

   You bring your lips back to his, silencing his voice and focusing on the tension between the two of you.

   There’s more to this feeling for you.

   And you know there is for him.

   But you can’t save him. You can’t keep saving his heart. Not when he keeps giving it to girls who are so far beyond not good for him.

   But he’s home tonight. He looks like home tonight. And while you’re reminding yourself this is just casual, you know he means a lot to you. And in a way, you mean a lot to him. When the moment, you will walk away a little bit closer to him

For that reason, you don’t mind playing hero for one more night.

In the morning, you awaken to the sun streaming into T’Challa’s window. It bathes you in it’s golden light, and it makes T’Challa’s skin glow as he sleeps suddenly next to you.

You sigh, deciding to dig further under the covers and into this warmth before you go back to your apartment that you keep for the weeks that you’re back in Wakanda.

‘’Staring is rude, Y/N.’’

‘’People stare at art all of the time, T’Challa.’’

‘’Yes, when they can’t touch it. You can touch me, Y/N.’’

‘’Shhh,’’ you kiss him, enjoying the way his lips move so effortlessly with yours and the light smack when you pull apart, ‘’I have to leave soon.’’

He answers back nonverbally, letting you connect your lips to is again.

He falls asleep again a half hour later, and you slip out of his bed, pulling the clothes he’d let you borrow off and slipping your own back on.

   You’re holding your breath, because you know this is the last time this will be like this.

   And, it is with a heavy heart but a determined mind that you right this next part.

   Dear T’Challa,

   My dear, sweet lover, I can’t keep saving you. I can barely help myself. I’m in love with you, and I know you know it.  And you didn’t do anything wrong. I fell in love with you despite setting the boundaries. And I don’t want to be rooted down. I also can’t act like it doesn’t hurt me when I see you with other women. Please, be with someone that values. That would take care of you the way I did. And please, please don’t hate me for leaving without  a proper goodbye. This is best for all that’s involved. I kept trying to convince myself that there was more to this feeling. I promise, I wish there was. But thank you for the moments that we did have, because memories like that won’t ever leave me. This is as hard as it is necessary. Please believe that, T’Challa. This is it. We can be friends, but nothing more than that. Please.

   Sincerely,

   Y/N.

   And it is for the best.

   That’s what you tell yourself as you board a plane a week later,having ignored all of T’Challa’s phone calls.

   You need to get over this, and you will.

   And you have a year later, when you’re taking pictures of an event in New York City and staying in an apartment. Your friend would be for the length that you’d be there, and he’s letting you stay in his cozy, studio apartment. It beats the cost of a hotel, and you know where everything is.

   You’re comfortable. It’s been almost six months since you’ve spoken to T’Challa. It’s been five months since he’s become king. And you know that he’s probably moved on, probably gotten back with Nakia, but it’s cool. Someday, you’ll look back on those memories with fondness and not longing. You love him, but you also love you.

You hold onto that thought for six more years, when you’re not speaking to T’Challa. You see him on the news, hear about press conferences and such, wonder how he is. If you should call.

Then decide not to, because you’ve both moved on.

You believe that until he’s at your doorstep exactly six years from the day you ended things with him.

‘’T’Challa? W-what are you doing here?’’

   ‘’Can I please come in? I… I really need to talk to you.’’

   You hesitate, but let him hin.

   And you talk.

   And talk.

   And talk.

   ‘’So what is this? Why are you here?’’

   ‘’I’m not saying I want you to just drop everything and come back to me. I’m saying that maybe we can try this, For real this time. We’ve both grown up. We’re not who we used to be. ANd I know you’ve dated and had offers from guys that would give you this lifestyle. I can’t promise this. I wish I could but I can’t. All I could do is love you.’’    

   And here is the king of Wakanda, offering you the most precious, immaterial thing that he could give you.    

   You’re doing well. You’ve published two books since you’ve lost spoken to him, settled down a  bit, travel when you aren’t writing. But you did it on your terms, and you know he knows that.

   You’ve seen so many places.

   And you’ve seen so many faces.

   But T’Challa looks like he could be home right now.

   ‘’Y/N,’’ he asks, and you can hear the nervousness tingling his voice the way that the sunset is ringing the sky red, ‘’I could leave if you want. I can give you more time to think.’’

   Time to think. A respite from the way your mind is whirling around.

   ‘’Please. I will let you know my answer at the end of the week then.’’

   T’Challa nods, exiting your house and gracefully and quickly as he entered your life.

   It takes the full week to make your decision.

   You’ve been a lot of places- all round the world. You’ve met new people, but everything comes back to him.

   He looks like home.

   And you had to consider that and weigh it against the cons, and decide what was best for you.

   And you know he’ll understand when you call him to tell him your answer.

   ‘’Y/N,’’ he says after the first ring, ‘’Hello.’’

   ‘’Hello. T’Challa. I’ve, umm… I have made my decision.’’

   ‘’Oh? And what would that be?’’

   That’s the moment when you decide to go home.

   And that decision was well worth the ten years it took to finally be able to make it.

   It’s a year later that you leave another note for T'challa, beginning to much the same way the last note did:

   ‘’Dear T’Challa,

   My dear lover.

   I can’t wait to see you at the altar.

   Love, Y/N.’’

   And as you walk to the altar and see him beaming at you, you can only thing one thing: ‘’He still looks like home.’’

   And that’s enough for you to be glad to seal that letter, and move on to the book that you two are going to write together.

Disclaimer- I do not own Marvel, any of the characters or their fictional worlds. Those belong to rightful and respectful owners. I ALSO DO NOT own Little Mix or any of their songs, they belong to the rightful and respectful owners.

If you want to be tagged please let me know!

@airis-paris14 @starsshines-blog @kumkaniudaku

[mst3kproject]

814: Riding With Death

Oh, goody, another compilation movie.  Who thought these were a good idea?

The super-duper high-tech Backstory-O-Matic introduces us to our hero, Special Federal Agent Sam Casey.  He’s not very interesting but he does have one superpower, the ability to become invisible.  Rather than make any use of this, however, the spy organization Intersect assigns him to drive a truck transporting a sample of Tripolodine, a new fuel additive that could revolutionize the transportation industry.  What nobody’s told him is that Tripolodine is dangerously explosive!

Having survived that, Casey’s next assignment takes him to a racetrack in Ontario, to seek the ultra-elusive saboteur Robert Denby.  Denby also has something that blows up – an unstable metal called dutrium that goes critical when it hears a certain radio frequency.  He has smuggled this stuff into the USA by having it built into a racecar, which is exactly where you want to hide an explosive. Once again, Casey finds himself having to get out of a vehicle before an experimental substance on board blows it up. Apparently the writers could only think of one plot.

All those shots of the super-duper high-tech Backstory-O-Matic are actually from Colossus: the Forbin Project, which Joel said in Master Ninja II was his favourite movie.  I wonder what he would have said about their appearance in Riding With Death.

If you’ve ever encountered The Gemini Man outside of this MST3K episode, it was probably on a list of the fastest-cancelled tv shows in history – only five episodes made it to the air, and it most definitely did not leave legions of disappointed fans clamoring for plot threads to be tied up in a movie.  Unfortunately, they gave us a movie anyway.  Rather than film a proper one, however, they made Riding With Death out of one episode that was on TV (called Smithereens) and one that never made it (Buffalo Bill Rides Again).  The result is… well, you can kinda see why they cancelled this.

I like to say at least something nice about these movies, so I’ll start by noting that direction and photography actually aren’t bad.  The Smithereens half is quite competently shot and while dialogue scenes get a little long, the more actiony sequences are nicely edited.  Despite what Mike and the bots have to say, the part where the truck has no brakes and Agent Lawrence is desperately trying to keep the Tripolodine from exploding is tense and holds the attention.  I quite like Lawrence’s resourcefulness, using the torn-up laundry bag to suspend the Tripolodine bottle.  The Buffalo Bill Rides Again half is not as well-made – the stock footage does not blend well with the stuff shot for the actual show, and there’s a distinct lack of tension in both the race and the scene of Casey and his friend Buffalo Bill trying to get the car away from people before it explodes.

The special effects are very limited, but not awful. Besides extensive pyrotechnics, the only effect they need is Casey vanishing and reappearing when he activates his invisibility watch.  There’s nothing special to the effect they use but it works well enough. In terms of just getting stuff onto the TV screen, the people who worked on The Gemini Man were good enough at their jobs.  That’s really, really faint praise, but I’ve seen so much worse doing this blog that I feel I do want to mention it.

On to the bad stuff.  The biggest problem with Riding with Death is that the characters just aren’t engaging.  I suspect part of this is because we never get to meet them properly. Instead, we arrive with the plot already getting underway, and the movie is much more interested in making sure we know why Tripolodine is important than telling us who Sam Casey or Abby Lawrence are.  There are a couple of flashbacks, but they just repeat stuff from the Backstory-O-Matic. About the only personality trait given to either of them is that they’re competent and committed to their jobs, remaining calm under pressure and finding workable solutions to the problems presented to them.  This is a good characteristic for secret agents to have, but it’s all we get.  It doesn’t help that Ben Murphy and Katherine Crawford, not among the world’s more charismatic actors to begin with, don’t seem to care very much about the project.  They turn in just barely enough of a performance to get a paycheque.

Not only do we get no idea of who the characters are, the relationships between them are also left more or less mysterious.  Is Lawrence supposed to be Casey’s love interest? One tends to suspect she is, since he thinks fondly of her in his flashbacks and even today female characters in action movies are primarily love interests.  They never have a ‘moment’, though, and Murphy and Crawford have no romantic chemistry.  The scientist in Buffalo Bill Rides Again who berates the head of Intersect, Driscoll, for harassing Denby obviously feels he has a right to lecture his boss, but if it’s because they’re old friends we’re given no clue.  There is apparently a long history between Driscoll and Denby, but this is narrated at us by the angry scientist guy rather than shown.  All this stuff would be fine on TV, where backstory has to be filled in quickly to stay in the time slot and not every episode can follow something like the romantic arc. In what’s supposed to be a movie, it just leaves us with a lot of unresolved threads and stuff we’re not sure why we ought to care about.

When I watched Cosmic Princess I noted that the attempts to marry up the two disparate episodes into one story actually worked surprisingly well.  In Riding with Death, they… don’t.  The halves are connected as both feature a guest appearance by comedian Jim Stafford as Buffalo Bill, a man whose many non-talents include trucking, country and western songwriting, and racecar driving, but neither Wild West showmanship (sadly) nor tailoring human skin (fortunately).  Buffalo Bill comes across as not too bright and somebody you’d probably find annoying if you knew him in real life, but his eclectic interests and the enthusiasm with which he tackles them does give him a lot more character than Casey.  The friendship between Casey and Buffalo Bill is also the only relationship in the story that feels even halfway real, because we see it develop rather than just being told about it.

Choosing two episodes with a character in common seems like a pretty good start – that was how Cosmic Princess did it, picking two that both featured Maya!  Like Cosmic Princess, Riding With Death also does some editing and ADR to help connect the halves, but in this case it is disastrous.  Take, for example, everybody’s favourite line – you’re as elusive as Robert Denby.  If they wanted to establish the existence of Denby in the half taken from Smithereens, they should have suggested that villain Dr. Hale was talking to him on the radio or something.  That would have implied that he was also behind Hale’s scheme, making him the overall big bad of the entire movie.  In fact, this seems to be what they’re trying to get across when they have Casey’s boss tell Denby he’s going to prison with Hale.  Throwing that 'elusive' line in the way they did is jarring and mostly just emphasizes that Denby has nothing to do with what we’ve seen so far.

Even worse is what they did with the fact that Agent Lawrence wasn’t in Buffalo Bill Rides Again. The obvious thing to do with that would have been to make an excuse for her absence.  Say she’s on vacation, on another case, on maternity leave… anything would do. Instead, the editors put in random scenes of her somehow watching what’s happening via surveillance footage at Intersect.  Why did they bother?  It only draws attention to her absence, which is the very thing they were trying to paint over!  I don’t think this could have been less competent if they’d tried.

One place where Riding with Death does manage to resemble Cosmic Princess is an unfortunate one – they have one cool idea and they don’t do anything with it.  Sam Casey has the ability to become invisible for fifteen minutes a day.  Maybe in some of the episodes that did not become part of Riding with Death, this was more useful, but in this movie he doesn’t do much with it that he couldn’t have done without it.  Any half-decent secret agent in a movie can take a couple of guys with handguns or sneak into a car unseen.  James Bond or Black Widow wouldn’t have broken a sweat. Hell, even Super Dragon could probably have pulled it off, but Sam Casey relies on his invisible wristwatch.

This is especially annoying when the opening credits claim that this story was inspired by H. G. Wells’ The Invisible Man.  That was a novel that explored the corrupting influence of power, and even the worst film adaptations of it generally try to do something with that theme.  Riding With Death never even touches it, or indeed any other theme besides a brush with the 70’s energy crisis.  Again, maybe other episodes did something with this, but in Riding With Death Sam Casey is never troubled by his ability to become invisible, never examines the implications of it, never feels any temptation to use it for personal gain. It’s a big part of what makes him so outstandingly dull.

The main impression I get from Riding With Death is just that nobody really put any effort into it.  The writers didn’t bother to come up with an interesting way to use their ‘invisible guy’ premise, and stuck to mindless, often action-less plots that end in something blowing up.  The actors didn’t bother trying to infuse their characters with any personality. The bad guys’ goals are never quite clear.  It’s all very lazy and dumb, but at least it makes for good MST3K.