#this arc is VERY good and I'm very excited to see the rest of it unfold as the season comes to and end

[hellolulu]

[Spoilers for Mob Psycho 100 s3e9]

After last week's disappointment (the aliens), I'm glad to say episode 9 brought me unending pleasure! So, here's a list of things this episode did that brought me joy:

We actually got much more of tsubomi's pov in the anime, than we got in the manga. I understand that Manga Tsubomi is strictly through Shigeo's (and now and then Ritsu's) eyes and that is cool in its own way, but whew, it's really nice to see her being a character instead of just the idea of one. (I'm going to write a full post about her - I'll let you know when that's up!).

Serizawa is pretty much the only person who seems to genuinely see Reigen's true self, but rather than going along with his ruses/lies for the sake of "the flow", he just seems to accept that people don't actually have their shit together - that he didn't waste as much time as he'd thought, and by going to school and working with s&s, he's actually able to live a pretty normal life. He's happy with the way things are, not just complacent like he was with Claw. (I will also make a longer post about this - I'll let ya know when!)

Okay, serious points are said, from here on they're a bit dumb ahaha!

Takenaka revealing Tome isn't a girl 😱😱😱 this is a joke but I like thinking Tome is agender like me, so even though his comment was more along the lines of "ugh as if she knows what girls want, she's a weirdo 🙄" it just gave me fuel for my headcanon, sorry! Agender person who uses she/her because tbh we like these ones well enough, and have much more important things to think about (like the occult) 😩😩

RITSU SITTING SO FORMALLY IN FRONT OF SHIGEO I CRIED oh ritsu if you want to be closer with him,,,, you,, you have to act normal around him,,,, lmao. And oh Shigeo feeling more confident because Ritsu is nervous for his sake (aw I love my favourite brothers ever) and the little 🙏🙏 Ritsu does while Shigeo's on the phone, this guy is so funny for no reason

The... The shot of Shigeo playing football with ease :((( parallel to our first meeting :((( the very first episode :((((( he's all grown up :(((( gorgeous :(((((

Ending at the car-crash: AS IT SHOULD BE!!!!! I thought it might end the episode there for shock value and oh it did NOT disappoint!! The way everything just stayed static there for like.. a full minute with the crosswalk tune playing? Masterpiece! Also RIGHT after he used his powers in FULL public???? Of his own choice??? Shigeo really did grow so much!!! Like I said!! S3 is about his finale of self acceptance and it's coming in like a steamtrain!!!! (And also maybe it's unnecessary to mention and I'm sorry, but him saving the cat vs being unable to save the cat during the Mogami arc is a parallel I'm unable to remove from my mind)

Side note, anime-onlies I'm SO sorry for the whiplash you received/will receive at the end of the episode!! I'm sending you the strength to survive until next Wednesday!! I remember the crash happening in the manga and me going feral about it haha! This arc is So Good.

Also I love the body improvement club so much they're so silly I'm so glad Shigeo knows them and has them in his life 😭

[girlscience]

okay okay okay okay. I KNEW that the fight between Luffy and Usopp was going to be different from the rest of the show so far and I knew I was going to have thoughts about it but oh my god I did not expect it to FEEL so different. Like up to this point they have faced some fucked up people and had some serious fights, but the Strawhats themselves haven't really felt serious. This alone feels like it legitimized Luffy's captaincy and proved how the crew will trust and follow his decision making. (which is why I really really love Zoro's part in it because even Luffy was having a hard time doing this and Zoro told him he couldn't waver because if he did who could they trust? and I have so many feelings about that) Anyway, this was really the first incident related only to the crew themselves that has felt actually serious and I really appreciated that.

[am-i-the-asshole-official]

WIBTA if I tried to get my friend's character killed?

🎾🐕 for recognition.

I (19M) and my friends (all 18-early 20s, 5 players incl. me but not the DM) play Dungeons and Dragons from time to time, usually once a month.

We just introduced a new player to the campaign, who we'll call Evan (21M). Evan's character seemed a little Mary Sue-y to me when she was displayed to the rest of us, but I don't usually have beef with characters based off of that and just chalked it up to having different tastes which isn't bad at all.

My character has been working very closely with the BBEG and has basically joined their side in their conquest to y'know. Do the thing that makes them the Big Bad Evil Guy. I was super excited to see what the BBEG was up to.

Well, this was our 8th session, and we were about to wrap up Arc 1. My character had finally reunited with the rest of the party at the BBEG's lair, and Evan's character was introduced as being a traveling assassin/Sorcerer that happened to recieve a tip that the rest of the normal party was here.

By the end of the session, Evan's character had spent a third of the game time monologing at the BBEG before slicing his head off. My character is currently half blind and mute thanks to Evan's character [she tried to kill my character and I didn't roll the best on my roll to move out of the way of her blade so now she's missing an eye, and Sara's character cut out her tongue as punishment for working for the BBEG while my character was knocked out], and was kidnapped by Evan's character.

I was and still am PISSED. I'm trying not to be, but it's been driving me insane. Evan keeps on bragging about how he killed the BBEG and keeps on revelling in the scene, and I'm the only one upset by it. He was the BBEG, and you KILLED HIM YOUR FIRST SESSION?! It just seems like a silly thing to be upset about, but it's been really upsetting me and me alone (everyone else saw the BBEG just as that, a maniacal mustache twirler). Everyone is making jokes and laughing, but it was really upsetting me.

My character is very fond of revenge. Anything she has to deal with, she tries to get even with anyone no matter the cost. One of our characters died back in Session 4, and my character ended up being the only one that learnt about his character's backstory: he's a prince, and his family would do anything to give proper punishment to his killer, and his character told mine what to do to make this happen before he died. I am the only one in-game with this information.

We're now on Session 16, almost done with Arc 2, and the current plan is [the DM mentioned we'd have to wait until Arc 3 to act on the prince's last words] to rat out Evan's character as being the killer [she isn't the killer, my character would be framing her, but the BBEG was the true killer and my character is loyal to him] and hope that she's persecuted. Most likely, this would end up with Evan's character dead, but I'm not sure due to how much he's been Mary Sue-ing all over the place [not a bad thing, but his character does virtually have no flaws that have presented themselves opposed to the rest of our party each with a glaring flaw that the DM made us all add in when we first started playing, and her stats are leagues beyond the rest of ours due to what her Sorcerer powers granted her].

I haven't told this to anyone, but I have asked the DM questions about how to execute this plan. I feel like it's going to be a real dick thing, but I think it's well within the realms of what my character would do and I honestly want to knock her down a peg. I don't know if the DM will let me do this anyways, and as I said I don't think Evan's character will even die because she's just got too good of stats so unless Evan rolls Nat 1s she's probably fine.

WIBTA for acting on this?

What are these acronyms?

[prismatoxic]

cause I need to hear more of your sweet thoughts bout those two freaks, favorite laichil moments that have been stewing in the back of the mind?

oh gosh ummmmm

well now that episode 11 is out i am so very deeply fond of laios's visual pan from kensuke to chilchuck's dawning, rage-filled horror at what's happened

i think the swearing was better in the manga--not because the anime let him say actual words (bc i think that's awesome) but bc in the manga i thought they were still running while chilchuck was doing this. good visual

OF COURSE THE BEST EPISODE 11 CHILAIOS MOMENT... TO ME... is when chilchuck tells laios they're going to have a Talk later

the dub delivery kind of disappointed me (as it always does) BUT IN THE SUB the way laios immediately agrees is so very much, to me, a "yes sir" moment. and if you read my fic you know i'm very into this

i have a lot of little canon moments that i'm super fond of and am very excited to see in the anime... my faves are often when chilchuck is being a hostile little goblin but i'm so fucking excited about what i assume will be episode 13. you know. because

um

okay i have a lot of thoughts actually (MANGA SPOILERS I'M SERIOUS)

so. chapter 30.

chilchuck goes to get the party's supplies from where they were abandoned in the house they had dinner with falin at, having his own character arc along the way. we have seen him try to convince both leed and senshi that the smartest thing to do will be to lie to laios and marcille so they can return to the surface. trying to continue in this state will kill them, but neither of them will rest if they think they can still find falin. neither senshi nor leed agree with chilchuck's plan, and leed insinuates he's a coward. chilchuck stays firm. even after he's clearly pushed off kilter by leed saying he should just tell the truth, we don't have any concrete reason to think he will.

then they return and senshi is struggling to keep a now-awake laios down. laios is wounded and weak and senshi is a dwarf but laios is so deeply, fervently determined to get falin back that he's very hard to stop.

chilchuck, by contrast, is not strong at all, but somehow his added presence gets laios to sit back down. chilchuck rests a hand on laios's shoulder and even before he says anything, laios is looking at him. he knows something is coming. i think he resents chilchuck for it, too--the implication that there's anything to be said here.

we don't know at this point what chilchuck intends to say. senshi still thinks he wants to lie and intends to stop him, but i think it's clear in this moment that chilchuck has changed his mind.

he kneels--proud, all-too-aware of "how his people are treated for their size" chilchuck kneels between laios's legs. and i'm not pointing this out for horny reasons, for once.

he's bringing himself closer to laios--assuming a position associated with pleading and willingly making himself not the authority in this interaction. he believes, wholeheartedly, in what he wants to do and what needs to be said, but...

he also knows laios is hurting.

laios is... devastated. he's terrified. he's angry. but he's also still laios, and he knows chilchuck, insofar as chilchuck has allowed him to. he also respects chilchuck. so this--a teary-eyed plea to do what goes against everything he feels--gives him pause. chilchuck does not beg, and he does not cry.

...and he never talks about how he feels.

but he does, here: he doesn't want to lose his friends. and he does mean all of them, senshi included. he has three people to think of--three people whose lives he cannot in good conscience allow to be put at risk any more than they already have been. even so, he acknowledges that however laios feels about falin is probably incomparable.

but he tries to give laios hope--he gives him a plan of action. he says we will come back. he tries to impress upon laios that this isn't defeat and it isn't surrender, it's being safe. it's giving themselves an actual fighting chance at getting falin back.

laios doesn't want to... but he also doesn't say that. all the things he's feeling haven't gone away, but he's also aware of just how big this situation is if chilchuck opened himself up this way. chilchuck does not and never has done this. up until the fight with the red dragon, you could be forgiven for assuming chilchuck is just a contracted coworker who's a little fond of the party and nothing more.

senshi and leed, the only people who knew chilchuck's plan to lie to the others, don't openly acknowledge his change of heart... but they back him up. they pitch in to push laios just a little further, to get him to agree.

and it works.

so. um. episode 13 will be good i think

[genericpuff]

Omg hiiii, I absolutely love Rekindled! You're so talented, and the story you're making for Persephone is so intriguing! A lot more than whatever trashfire Lore Olympus has become.

That being said, what was the moment you stopped liking LO Persephone? Have you always disliked her, or was it gradual? Or just a specific moment that made you go "yeaaaaah.. she's not it ;-;"

(And bonus question if I can ask, but how do you draw hands?? I hate them with a passion, but unfortunately hands are pretty necessary T^T)

aahhh thank you so much!!!

honestly, I was a pretty big fan of LO up until the trial arc. Like, you've all seen me hate this comic with a fiery passion, but the only reason I'm able to do that is because before I hated this comic, I loooved this comic. I'd literally be counting down the hours until new updates, I loved the art, and I was too smitten by the appeal of the series to notice its writing problems, I just loved the romantic drama and the H x P ship, and yes, I loved Persephone, I loved her design, her personality, and I felt so 'seen' by her struggles, both with her trying to pave a path for herself and the SA plotline. I was even (regrettably) one of those people who would lurk in the antiLO tags and think "wow, these people are dumb, can't they see how brilliantly written this is ?? they're nitpicking!"

But then the trial arc happened which involved writing a plot that didn't put the romance front and center anymore - now that Rachel had to actually write something complex and logic-driven, the blinders started to fall off and I went wait... maybe Rachel doesn't know what she's doing. Persephone choosing her own lawyer? And it's Hades, one of the judges? Why are they suddenly establishing Thanatos as Hades' adoptive son? I'm not a lawyer, but I know that's not how any of this works and it really tipped me off that something was amiss, that Persephone was having all of her solutions conveniently handed to her on a platter and all of the other characters were suddenly being made to look like assholes just to make Hades and Persephone the heroes.

And then... Eris happened.

See, one of the things I loved most in the story was Persephone's character arc concerning the Act of Wrath. I write stories about characters with dark "personas" all of the time. So it was something I had frame of reference for, I really loved the premise of Persephone earning her name through this act of violence and while it was dashed with the opening of S2 revealing it was "all an accident", I was excited to see how the trial arc would bring about new information and confirm who was telling the truth about what "really happened" with the Act of Wrath. If the courtroom drama wasn't gonna be realistic, I could at least hope for some good 'OBJECTION!' reveal that would finally put to rest once and for all what really happened, and maybe Kore would finally embrace this 'dark side' she had.

So for the actual twist to suddenly reveal itself as... 'actually, this one goddess we've never mentioned before blessed you with wrath. why? idk she just did. anyways she's the reason you have wrath and that's what made you commit the act of wrath. problem solved.'

And that was where the twisting of 'faith' happened. When I went through the subconscious realization of , "Oh no, Rachel doesn't know what she's doing and it took me this long to notice. Oh no, maybe those antiLO freaks had a point-"

That said, there was a glimmer of hope in the midseason finale. Persephone was sentenced to remain in the Mortal Realm to carry out her mother's duties and I thought, "great! This will be Persephone's Rocky moment! She'll have to prove herself without the help of Demeter or Hades! This is gonna be awesome!!" During the hiatus, I was VERY excited to see where the story was going, I still had so much hope and I figured the mishandling of the trial arc was just a bump in the road. The series was still good, it was just going through a rough patch, these things happen.

And then it came back and it all went downhill from there. There was a 10 year time skip with very little insight as to what happened. Minthe and Daphne were just suddenly back to normal. They were referencing some food shortage or terrible event that happened during Persephone's reign that they never explained in explicit detail. And now, all of a sudden, Persephone was just returning to the Underworld, where Kronos had suddenly taken over. I had cautious optimism but throughout it, I was really seeing the cracks that were already forming opening wide. A lot of what I had to say wasn't positive anymore, I literally couldn't understand what the reasoning was behind these writing decisions and I couldn't find myself rooting for Persephone anymore, everything just seemed to convenient and easy for her to make her seem like the "strong and confident" character the comic claimed her to be.

The S2 finale was my breaking point and I think it was for a lot of other people too. That was pretty much where my 'transformation' from passionate stan to passionate critic happened, and it happened alongside the creation of the UnpopularLoreOlympus subreddit which would become my new 'home' within the community. After seeing how much the story had gone downhill, it made me realize in hindsight just how awful and one-note Persephone is, how she really never cared about anyone but herself and Hades, how her mother did, actually, have a point about her being practically groomed into a relationship with a billionaire slave driver, how she was very intentionally drawn to look like a child in ways I couldn't believe I had never noticed before, the list of "awakenings" goes on. And it sucked! It sucked to have that realization that the thing I loved wasn't just imperfect, but incredibly problematic in its writing and art choices. And just like when I loved the comic, I couldn't just let go of it, I had to understand to some degree why this happened.

It happened because Persephone was always being written as a one-note, easy to project onto self-insert character. A Wattpad protagonist. Not an actual representation of the Goddess of Spring, but a blank slate for the creator and the fans to imagine themselves as purely for the power fantasy of hooking up with a rich and abusive guy.

That was when I made my first piece of LO art intended to be an 'edit' - a redraw of Persephone's rebirth as the Dread Queen from the S2 finale, an ode to the Persephone I was hoping to see but never got. The rest from there is history.

I know I'm being SUPER dramatic about it but this was literally how it felt to go through the realization that this comic - and its characters - wasn't as good as I thought it was, and I think that's a sentiment that's shared by a lot of the 'haters' in this community. LO was a big part of my life and even some of my friendships with people, so when it went downhill, it felt like such a hit to the gut. It's still a big part of my life, albeit in the opposite direction, but I still wonder sometimes over the "what ifs", what if the series hadn't turned out this way? What if I had never realized its flaws? Rekindled is basically a love letter to those what ifs, satisfying the feelings I never got to keep with LO, and giving me a reason to count down the hours on Saturday nights again. I'm glad it's made that same impact for others, too <3

[celluloidbroomcloset]

Thinking about this some more, I don't think that Ed systematically dismembering Izzy is entirely centered on Stede, but on what Stede represented as well, and what has been done to Ed himself, independent of Stede.

(Please note, I'm not casting a moral judgment on characters' actions here, but trying to explain what it seems to mean to the narrative and the character arcs and development, both literally as well as figuratively.)

When we first meet Ed, he's already tired and bored, to the point that he says that the only adventure left will be death. The alternative that Stede represents isn't just the man himself, and the love that Ed develops for him, but the possibility that life can be more than being "just Blackbeard."

There's a lot of discussion of Ed being allowed to be "just Ed," but in a lot of ways the things that Ed is are a whole combination of personas and realities. Blackbeard is a persona, yes, and it's also a part of him - it enables him to survive, it protects him, and it ultimately comes to protect the people he loves, including Stede. The problem is that Blackbeard has so completely taken over Ed—in large part due to Izzy, but also due to Ed's fears about his identity—that he doesn't know who he is outside of the persona.

Stede gives him space and encouragement to explore who he is, just as he does with the rest of the Revenge crew. He sees Ed as Ed first, he listens to Ed's complaints about how he's depicted in the caricature, and he encourages Ed to try different things, from going to a fancy party to going on a treasure hunt, finding excitement in the discovery of a petrified orange, storytime with the crew, enjoying good brandy, putting on a fun show.

None of it is prescriptive—most of the things they do are up to Ed whether or not to participate in, and many are proposed by Ed himself. Stede never condescends. It's not Stede remaking Ed in his own image, but lending him support in what he wants to try, and protecting him when he's hurt. Stede barely seems aware that he's doing it. He sees no reason not to encourage Ed in what makes Ed happy - and what winds up making Ed happy is Stede himself.

So Izzy's constant threats against Stede are more than just threats against the man Ed loves, but the entire process of Ed discovering his own identity. Izzy is fully invested in maintaining who Blackbeard is—and he makes it clear that "Blackbeard" is indeed that violent caricature—and there is no flexibility outside of that. So the more Ed becomes an independent person, the harder Izzy pushes back and the more he threatens the existence of the man who "did something to my boss's brain."

When Stede leaves, as many have pointed out, Ed doesn't suddenly go back to being Blackbeard. It's the combination of very deep grief and self-loathing and the violence committed by Izzy as he insists Ed become Blackbeard rather than "whatever this thing you've become" that result in the Kraken. Ed's breakdown is catalyzed in the stripping away of pieces of himself—all the happiness, all the fun, all the things that were building on repressed desires and needs, severed from his soul. He does this emotionally and psychologically, but also physically—throwing out books, slashing up paintings, removing all traces of softness and gentleness.

Izzy announces that "Blackbeard is himself again," as though this identity, the caricature of violence, is all that Ed is, and the joy and softness that Stede helped Ed find in himself was never real (an echo, in some ways, of Ed's mother telling him that "we're just not those kinds of people," though this time emanating from a monstrous father).

Ed is aware of what is being killed inside him, and specifically what role Izzy plays in his self-murder, because Ed has been dying bit by bit for years. He externalizes his suffering and the monstrosity that has been forced upon him and starts, almost immediately, cutting away pieces of Izzy's body, bit by bit. The final taking of the leg is the physical manifestation of Izzy severing Stede, and all the softness and gentleness, and love, he represented, from Ed's soul.

Nearing the end of that scene, Ed turns his back on Izzy and spreads his arms. Izzy starts laughing hysterically, telling him "clean up your own fucking mess, I'm not doing it, I've been doing it all my fucking life." Izzy still doesn't understand, though Ed has once more told him, fairly explicitly, exactly why he no longer has a leg. And Ed is resigned—he'll go and die a different way, knowing that Izzy still doesn't understand what he did to him.

Because at that moment, Ed’s fully convinced that Izzy has indeed killed Edward Teach - that all that is left is the monstrosity of the Kraken, with the softness finally cut away. That's not the end, of course, because Ed isn't the Kraken, but it will never be Izzy who helps him to see that and embrace life again. It will be Ed himself, who works through his hatred of himself, then hears a voice begging him to live and decides that he wants to.

[greenerteacups]

Hi! Just wanted to say the latest chapter is lovely & amazing & sweet & had me smiling the whole time! I absolutely love your characterisation of everyone, especially Draco, so it was so so lovely to return to this world & to his thoughts!! with his best friend and crush at malfoy manor no less! All the yearning is already off to a great start hehe I am so excited for the rest of book 5!

Wanted to ask you how has it been for you to write this new book and volume? Has your writing process changed since when you’d first begun taking on a long form project like this?

& also are there any moments or surprises in this book that you’re especially excited about?

sending so much love & gratitude for you and your incredible works 💓

Thank you so much! This is really encouraging, I so appreciate it.

Inasmuch as I can use this metaphor without having kids myself, I sort of see each of the books as a different child. The first one flew out in basically a few weeks of very intensive writing, and it was a total dream — plot, pacing, symbolism, major beats, all fell into place basically without effort. The character stuff was the hardest, as I've written about before, but even then, the glorious part of writing beginnings is it's the most energy you'll ever have for a project, so the lows were pretty soft lows. Book 2, in contrast, I had to drag kicking and screaming by its ankle from under the bottommost mattress of my brain. It's one of my least favorite books (tone problem; COS has killer plot/setting/ingredients for a YA novel, but it's stuck in the doldrums of Harry Potter's well-documented Early-Installment Weirdness, before Cedric Diggory slams the gas and upshifts the whole series into its correct age bracket). More specifically, once I'd gone through and picked out everything in the book that happened because of Lucius, I didn't have a plot — hey alexa how do you rewrite Chamber of Secrets when We Got No Fucking Chamber Of Secrets — and oh by the way, even if you want to do a moody tone/political setup book, remember that your protagonists are still twelve, so if you go too dark or too intense, you'll risk torpedoing your readers' suspension of disbelief. Good luck, Charlie.

Book 3 felt the most like its own novel, if that makes sense? It's the last truly feel-good book of the series; it's a great stand-alone mystery novel with relatively low stakes. Plus you get a bunch of the big series icons: patronuses, dementors, werewolves, Hogsmeade, the Marauders' Map, and time turners arithmancy. It just felt like a good old-fashioned motherfucking romp of a mystery/adventure story, before any of the complex character work and major stakes of the late books come in.

Book 4 was the most fun I've had writing anything maybe ever. I don't even know what it was. Maybe the tournament arc, honestly? Love me a tournament arc. But in any case, I opened every new chapter feeling a tingle of excitement for what I was gonna get to do. Oh, and the romance started, finally, Jesus God (if it feels like a slow burn reading, just imagine what it felt like writing it, when everything takes ten times as long, and you have to figure out how to word the fucker.)

Book 5, in contrast, has felt much less like that tingle of "here we go!" and more like "oh, man, this is gonna be cool." Because this is the arc of the story that composed the original idea for Lionheart, literally years ago, and to be honest, I didn't think I'd get this far! If you'd asked me "do you know that it's going to take you 500,000 words of backstory before you can start writing that concept you're thinking about, and you're going to do it anyway?" I would have said: "absolutely not, strange mind-reader!" But like... I'm here! Finally! And it's... real now? Like, this isn't just a bunch of clips of scenes in my head anymore! That's rad!

That being said, it's definitely been slower than Book 4, because I kept switching back to my outline document to make sure that certain things were set up properly, and that I hadn't lost any of the plot threads or forgotten a minor beat that was vitally important for the story three chapters later. And I had a minor crisis about three months ago when I ripped out about 8 chapters in the first third of the book — basically everything from September to December — because I'd done a readthrough to check pacing (big mistake! never edit while drafting, that's satan talking) and realized I had a missing storyline. Like, there was a whole layer of the story that was just. Missing. Not there. And the existing text really couldn't fit another thread, so instead of taking weeks to pore through and try to sift out what I could save, I needed to factory reset and start over. And I didn't want to! I vividly remember sitting there with my head in my hands, trying not to weep, because I'd decimated 90,000 words of work in a single edit. But it had to be done. Because the story wasn't going to work. And now (hopefully) it will.

And of course, there's still that sense of excitement and exhilaration from before. Always. But whereas Book 4 felt like a delicious chocolate pudding, Book 5 is a medium-rare steak.

(Book 6, so far, is four shots of espresso and a whiskey chaser. FWIW.)

[comicaurora]

Hi Red! I was curious if you've watched the new Yu Yu Hakusho live action, and if so, what your thoughts were on its pacing and handling of various plots. Personally I thought it did some very clever things and it genuinely pleasantly surprised me at a couple points, but at the same time the fact that it's only 5 episodes hurt its ability to do the story justice a bit.

Also I was rewatching the Dark Tournament arc of the anime today and wondering what it must've been like to watch when it originally aired, considering all the multi episode fights. Do you remember any of your thoughts at the time?

On an unrelated note, I'm really excited for arc 2 of Aurora!!!! Also sorry this is so ramble-y

I have watched it! For the most part, I really enjoyed it, although in pursuit of compressing everything down to five episodes it did a couple things I think definitely harmed the overall impact and characterization.

Spoilers below!

The first episode is I think nearly pitch-perfect. The visual design on the Spirit World is top-tier, and the choice to make everything that was a sacred artifact move like ferrofluid was a very clever bit of visual design. It's absolutely weird and original and I think it was a very fun way to spice up Fluffy Cloud Heaven.

Of all the things they sped through, I'm very glad they did not speed through the crucial characterization of Yusuke initially choosing to stay dead on the assumption that everyone is better off without him, and the show subsequently taking its time to show the wake, let Yusuke's mom and Keiko really feel their feelings, etcetera. The adaptation of the wake was, to my memory, almost 100% true to the anime version, including the gut-wrenching moments like Kuwabara starting off angry and then breaking down, and the toddler Yusuke saved not really understanding that he's dead. And I had no complaints about the parts of this arc that they did speed up - a lot of the timeline of the original show is training arcs and Yusuke having to prove himself, and I had almost no problem with them skipping over that. Yusuke not having to do any tasks before coming back to life is A-OK with me.

I also entirely lost my shit at The Dropkick.

And then the last bit of episode 1, where they have to deal with the possessed kid, was absolutely top tier. The way they make demonic possession look and feel in this show is truly horrific, and I loved the way they played it like a one-man zombie apocalypse. The fight choreography was also very impressive and I liked how much they used the environment. Also, letting Kuwabara fight this guy first was a very good way of making the power-scaling clear and establishing that Kuwabara is a fundamentally very decent person willing to punch above his weight class to try and help.

However, this episode did get me excited for something they ended up not doing, which was a bummer. The first thing we see in the show is a Makai insect, which in the anime are the tools of the villains in the Four Saint Beasts arc - at the climax of that storyline, Makai-insect-possessed students and faculty corner Keiko and Botan in the human world while Yusuke fights an increasingly desperate battle against Suzaku to try and stop him. If the full-on body horror zombie thing was what makai insect possession looked like, that scenario immediately seemed like it was going to be butt-clenchingly terrifying.

Of course, they ended up entirely sidestepping the Saint Beasts arc, which is understandable - narratively speaking its only real function is to let the four protagonists team-build after their contentious first meetings. It became clear pretty quickly that with the time they had, it wouldn't be worth it to go there. That said, I think they really could've used a little more team-building time - more on that later.

The first episode also pretty solidly established the tone they'd be taking for the rest of the show - much more dark, almost no comedy. Normally I find those sorts of adaptations pretty dour and joyless, but in this case I thought it helped make the stakes feel solid, and if anything it lined up better with the original premise of "the demon world is a truly horrifying place and its incursion into reality would be an absolute nightmarish apocalypse." I didn't mind that it felt like the stakes were real and the heroes fighting demons was really necessary.

The second episode made it pretty clear where they were going with the series adaptation. While it speeds through the intro of Goki, Kurama and Hiei, it also lets Yusuke's fight with Goki feel - again - extremely well-choreographed and tense. The choreography in this show is consistently very impressive, especially considering how often our heroes have to fight fully CGI bad guys - and this fight doesn't even have any dialogue in it, but it still makes it entirely clear what Yusuke is thinking at every point, which is very impressive, especially since he goes through an entire arc from "I don't need to figure out how to use the Spirit Gun" to "I desperately need the spirit gun to start working right the fuck now". They also handle Kurama's intro very well, making it very clear that he's cunning and kind of inscrutable but not necessarily malicious, and in the scene where Yusuke's tailing him it's pretty clear from the choreography that Kurama knows he's there and is very carefully waiting long enough for him to follow him without feeling like he's being lured, which is entirely in-character, and again a very impressive way to show characterization without any dialogue required. And of course the reveal that Kurama is in fact a Nice Boy who is trying to sacrifice himself to save his mom is real good, and letting Yusuke's past experience with seeing how his mom reacted to his death make him immediately ride or die for Kurama was a very solid bit of characterization - and adding Kuwabara to this subplot where he wasn't originally there helped balance out the characterization a little bit with an entirely justified naysayer pointing out "dude he's a demon maybe don't trust him immediately." It also helps get Kuwabara involved in the main story nice and quick, where he originally is a bit of a late arrival.

The part I was getting a little worried about at this point, and an element of the adaptation that I legitimately think is a detriment, was how they were handling Hiei. A huge part of what makes Hiei fun in the original series is that he is legitimately a huge bastard, and in his introduction is a full-blown bad guy who Yusuke very nearly dies fighting. Classic Hiei kidnapped Keiko and nearly turned her into a demon just to fuck with Yusuke. And what makes their relationship great is the team-building that happens in the Four Saint Beasts arc the adaptation is evidently skipping over, where Hiei is so baffled - and so touched - by Yusuke's completely unearned trust in him that he immediately becomes 100% ride or die for Yusuke and only Yusuke.

He's a vicious little asshole who takes himself very seriously and legitimately has the power to back up his grandstanding 90% of the time, and that's what makes him so fun to watch - those little slivers of characterization where he's goofy or baffled or vulnerable or lets himself be visibly impressed with one of his teammates, mixed with the moments where he's like "okay this has been fun but it's time to die now" and just one-shots the bad guy with another dangerous forbidden technique he picked up for shits and giggles.

So I was getting a little worried that the adaptation wasn't gonna let Hiei be, like. An actual asshole. Because what makes him fun as a character is that he is an asshole, he just also has a handful of sympathetic motivations and nice qualities that he usually doesn't own up to. And I ended up being right about that, which was a bummer, but again, the way they did it was a bit of extremely efficient streamlining. In the anime, Hiei's introduction is just him being a dick for no reason - then everyone has a team-building bonding arc with the Four Saint Beasts, and then Hiei is revealed to have a real heroic motivation hiding somewhere in there: rescuing his secret twin sister Yukina from a nasty human holding her prisoner.

So the adaptation basically just streamlined the entire rest of the show into that arc. Hiei's intro stealing the fancy knife? He's using it to get the Jagan Eye to look for Yukina. Hiei storming this compound full of humans? They're the ones holding Yukina prisoner. It's 100% sympathetic, he's just not willing to own up to that to anybody. Everything he does that's dubiously moral or kind of a dick move? It's actually fine, or he's being framed (like in the shot they perfectly remake from the anime where he kidnaps Keiko, except just kidding it's a shapeshifting bad guy framing him), or Yusuke's the one who attacks him in the first place.

And that's extremely efficient storytelling! It just makes Hiei kind of an antisocial dick and not even slightly a villain, which I think dramatically reduces how fun his character is - it just flattens him into a very standard-issue lancer archetype who refuses to express any sort of emotional or physical vulnerability to anyone, which is a fine character trope, it's just kind of more boring than the dickhead outdoor cat I was hoping for.

The same thing also happens to Genkai, who in the original series has dozens of episodes of screentime to show off how she is the best kind of mentor ever written - a dickhead mentor.

She's rude and snarky and a full-blown asshole, and she and Yusuke have a truly hilarious mentor-stydent dynamic because they're both assholes. And it's not until a good way into the Dark Tournament that we see them in a dynamic that's not just being assholes to each other - when Genkai consolidates all her power into a sporb for Yusuke to absorb, and he spends several episodes nearly dying about it. The fact that Genkai truly cares about him as her student - and the fact that he truly cares about her as his master - only comes out in this subplot, when she honestly believes she's fucked up and killed him and he goes beyond his limits to absorb the power she's given him. It's a beautiful moment of payoff after dozens of episodes of planting, and right after that happens, Genkai is killed.

So when the live-action show introduced Genkai, and after a good solid montage of training and anime-accurate fight scenes and some really good Kuwabara moments, she told Yusuke she had one final technique to give him, I said out loud "oh my god please don't speedrun this." And then they did. She gave Yusuke the sporb and he absorbed it immediately and painlessly, and then they left, and then she immediately gets killed.

My notes on that part were just

So I didn't like that part. Like Hiei, Genkai is such an effective character because her moments of vulnerability and non-assholeness are so rare, and the rest of the time she's an absolute goblin nightmare. Getting rid of that reduces her to another, much flatter trope, and killing her in the same episode she's introduced almost entirely removes the impact of the moment and just makes her another dead mentor. But again, this is episode 3 of 5. This isn't the writer's fault, this is the writers making a very hard decision on what they need to get into the plot if they're planning on speedrunning the entire Dark Tournament arc - which they are. The primary rule they seemed to use when adapting Yu Yu Hakusho is "if the heroes fought this bad guy more than once, no they didn't." So the first fight with the Toguro brothers is going to become the only fight with the Toguro brothers, and they need to speedrun the entire core plot of the Dark Tournament arc within the confines of Toguro's introduction in the Rescue Yukina arc.

And the thing is, hot take? I'm not mad about that. The Dark Tournament is an iconic moment in Shonen anime history, but like. it's a tournament arc. Like all tournament arcs, it goes on a very long time, a lot of it is extremely repetitive, and it eventually arrives at the foregone conclusion end state of "team protagonist vs team final boss". In a five-episode adaptation, you pick the smallest number of good fights with real stakes and you just use those. And that's what they do here. Kurama and Hiei both get little bottle-episode fights with their respective most plot-relevant opponents from the Dark Tournament, and they both get to show off their dangerous forbidden techniques.

And it slaps. It could've used more buildup for maximum punch, but again, five episodes. And frankly in the original they didn't get much buildup either, just "this is a thing I've been working on, hopefully I don't die about it."

And consistently, the fight choreography continues to be really good. The physicality of the actors is very solid and the way CGI attacks and opponents get worked into the choreography is so fluid it's sometimes hard to tell where the CGI ends. And considering the final boss is two full-CGI photorealistic bad guys, I think they do an incredibly good job making the fights feel real and solid.

Characterization-wise, since so much of the final episode is just a lot of fighting against a big damage sponge, there's not a ton of time for talking, but the choreography is, again, a standout. Even outside combat, the secondary characters get a lot of little moments to shine - even Damsel In Distress Du Jour Keiko gets to pull the "oh no, I, your valuable prisoner, am sick, please come into my cell within easy throttling range" trick and breaks herself and Yukina out, which slaps and makes the whole breakout feel like much more of a team effort, and it also lets Keiko and Yukina share some brief but extremely tender moments of characterization that does a lot to make them feel like well-rounded characters. And back in the main fight zone, the characters don't have much dialogue but show where they're at through how they move. Everyone is exhausted and beaten down and has already used their finishing moves, but Yusuke's in trouble, so it's time to scramble back up and tackle the bad guy. It's just such good choreo and such good acting that it makes me forgive a lot of the pacing struggles they're dealing with from boiling everything down to 5 episodes, and without dialogue - just through fight choreography - they manage to make me buy the teamwork dynamic they've thus far failed to establish due to speedrunning past all the stuff that's supposed to help them bond. This is the first part of the show that makes me believe that Hiei has any affection for the gang and any reason to fight alongside them beyond coincidence.

And they continued the trend of hitting all the major plot beats from the stuff they were speedrunning, which led to me counting down the minutes to the Kuwabara Fake-Dies To Motivate Yusuke moment.

The rest of the fight is pretty much just a shot-for-shot adaptation of the final stage of the Toguro bossfight, plus the added fun that it's the first time in the show Yusuke has actually yelled "spirit gun" out loud, which is neat. And it took every second of those five episodes, but in the closing scene they finally reached the group dynamic I was hoping for.

All things considered, given the parameters they had to work in, I think this is the best we could've possibly gotten in only five episodes. I would've probably preferred one where instead of cramming the entire dark tournament into three episodes they just left it alone and just did Rescue Yukina plus maybe the Saint Beasts, but if this is what we were getting, this was a very solid way to do it. I, at least, had an overall very good time, and have been thinking about rewatching it, which is wild since it's only been like three weeks since I watched it the first time. But yea, overall the pacing is wild but I think there was a lot of love and thought put into it, and it really shows.

[jozor-johai]

Dorne, Shown not Told: how Darkstar is more than his reputation.

Darkstar used to bug me as a character—not necessarily because of his edgy dialogue, but because the way he was written: he's not on-page for very long, so we're really told much more about him than we are shown anything.

I've seen this same complaint voiced before, and almost always it's brushed over as an inherent failure of Gerold as a character, or other arguments that presuppose a lack of faith in Martin.

I can understand why, without deeper analysis, some people try to make the Doylist argument that Darkstar must be lazy writing by Martin, something along the lines of "I have to introduce this guy quick, so here's a bunch of backstory told by a bunch of characters". Instead, though, I argue that this situation of being "told" so much about Darkstar is actually the Watsonian perspective of his character; it is Arianne who has been told so much about him, and we're experiencing her misconceptions.

I've come to realize that the feeling of being "told" about Darkstar, with a focus away from what we're "shown," is fully intentional. With this different approach to interpreting Darkstar's character, I've found that not only do I like him so much more as a character in-universe, but I also like him so much more as an element in George R R Martin's writing. Melisandre might be his "most misunderstood character," but I think Gerold Dayne must be up there too.

I don't understand why it took me so long to see it: ASOIAF is all about the way that information—or misinformation—spreads and changes the course of action and history. Of course this would be a theme to look out for. Once I started to dig more into this idea in relation to Darkstar, I realized just how prevalent this theme was in the Dornish arc, which is entirely about the way that people are told something, and the way that being told these things—even without evidence—has such an impact. That's what the companion post to this one is about.

If you've read that post already, and now I've got you on board to doubt the reputation that Darkstar has, and to doubt the story Arianne was told about him, this is the post where I rebuild Gerold's character from scratch, and convince you that he's actually an alright guy, a trustworthy one, and possibly even a true knight. Maybe, even, he's worthy of Dawn, and the title of "Sword of the Morning."

I'm sure I'm not the first to suggest this, as it's been so many years, but it's exciting to experience a moment of realization that makes me see the writing itself in a new light, so I wanted to share my thought process here.

2.0 Gerold Dayne, shown not told.

In this part, I attempt to look at Gerold Dayne as if I were Areo Hotah, not Arianne: to watch what he does and says, on page, rather than take anyone's word for it, and rather than interpret his actions against a prejudice that he is as dark and dangerous as Arianne thinks. This way, I want to see what kind of man Gerold Dayne actually shows us he is, through his actions and interactions, rather than who we're told he is.

Beyond just doubting Doran's story because I don't believe Doran to be trustworthy, here I'll be explaining why I think that once we get to know Darkstar as best as we can, maiming Myrcella doesn't even really sound like something he would do.

This is a long one too, like the other one, so the rest is after the cut

2.1 Early good impressions—by being early

We don't see very much of Darkstar on-page, so let's start with our very first impression of him, in the second paragraph of the chapter:

Arianne Martell arrived with Drey and Sylva just as the sun was going down, with the west a tapestry of gold and purple and the clouds all glowing crimson. The ruins seemed aglow as well; the fallen columns glimmered pinkly, red shadows crept across the cracked stone floors, and the sands themselves turned from gold to orange to purple as the light faded. Garin had arrived a few hours earlier, and the knight called Darkstar the day before.

We don't know when they arranged to meet, but I think there's room for a symbolic meaning to Arianne arriving just as the sun goes down. Symbolically, the day ending as soon as she arrives mirrors the way that her plan is going to end as soon as it begins.

In addition, it's a signature of Arianne's character this chapter, moving just slightly too slowly. In this way, Arianne is already more like her father than she wants to admit—remember the overripe oranges falling in The Captain of the Guards, or how Areo knew that Doran saying they would leave at dawn meant midday. Arianne is the same—she arrives to her own plan at dusk.

Even without that comparison, Arianne's late arrival is emblematic of her inability to structure a plan as carefully as she believes she can, which is also something that haunts her for the rest of his arc. Consider the meaning of this for her: she is the head of this plan, and yet she and her two companions are the last to arrive. Garin beats her to the rendezvous place by a few hours... and Darkstar is almost the opposite extreme. He gets there a whole day early.

Perhaps that's suspect, perhaps that's responsible; this alone is not enough to say. For a certainty, though, this clearly positions Darkstar as someone who is, say, the opposite of the "Late" Lord Walder Frey. He's a man who comes early, not late.

As the chapter continues, it's not the only time that Arianne lags carelessly while Darkstar vouches for a more responsible course of action, so keep this in mind. This passage sets the tone for the rest of the chapter.

2.2 What makes a man "Great"?

The next time we see Darkstar on page, we get his first line of dialogue and his first actual on-page action. He juts in while the others are talking about the storied hero who is Garin's namesake:

"Garin the Great," offered Drey, "the wonder of the Rhoyne." "That's the one. He made Valyria tremble." "They trembled," said Ser Gerold, "then they killed him. If I led a quarter of a million men to death, would they call me Gerold the Great?" He snorted. "I shall remain Darkstar, I think. At least it is mine own." He unsheathed his longsword, sat upon the lip of the dry well, and began to hone the blade with an oilstone.

There's a lot to unpack here for such a short passage. To begin with, we can interpret some of Darkstar's values from his additions to this conversation. He clearly has a certain pragmatism, because he chooses to see through the veneration that the stories have afforded "Garin the Great", and points out that his cause was actually poorly met. In this way, Gerold might come off like a humorless spoilsport, but we can also consider the fact that he's already learned some of the lessons that other characters, like Sansa, have been forced to face: reality does not match the songs, and not all "heroes" are good people.

Gerold also shows a concern for the ranks of the military. It's not about one man's veneration for him, it's about the success of the plan—and the survival of the men who act on it. This is actually the same concern for Dorne that Doran is obsessed with, at the end of The Watcher:

"Until the Mountain crushed my brother's skull, no Dornishmen had died in this War of the Five Kings," the prince murmured softly, as Hotah pulled a blanket over him. "Tell me, Captain, is that my shame or my glory?"

Doran has spent a lifetime hemming and hawing over this notion, unsure of whether to act or to wait, and choosing inaction over decision. By stark contrast, Gerold speaks with a casual certainty: "Garin the Great" was no good at all, because all his men died, and he lost. It might make him sound like a cynic, but Dayne knows what he believes in. Leading men to their death is no greatness at all.

2.3 Choosing one's own name

And, now knowing his thoughts on blind veneration, we might reinterpret his decision to invent his own nickname. Rather than grasping for approval from in songs (like Tywin's Rains of Castamere), his act of naming himself could be seen as a sign of honor, not blind pride.

"If I led a quarter of a million men to death, would they call me Gerold the Great?" He snorted. "I shall remain Darkstar, I think. At least it is mine own."

He does not believe in misjudged "bravery" for the sake of a title, and therefore is unlike so many others who we see across ASOIAF ready to die fighting in their desire for glory. Rather than dreaming of becoming immortalized in a song, Darkstar has no lust for public approval—he's given himself his own title, and means to prove himself against his own standard.

And at least it is his own. ASOIAF is a story where so much weight is put into names and epithets—Arya and Sansa losing their names and even their chapter titles, Brienne and Jaime fighting against the disparaging nicknames they are given. Here, Darkstar has already proven himself past all of those troubles with this one action—regardless of whatever names others should call him, or even remember him by, he shall go by this one, the name, and the fate, that he chose for himself.

2.4 Honing the blade

And then, immediately, Gerold starts caring for his blade.

He unsheathed his longsword, sat upon the lip of the dry well, and began to hone the blade with an oilstone.

Interestingly, the list of people who hone their blade on-page is surprisingly short. This shared action puts Gerold in league with the likes of Brienne:

I will, she promised his shade, there in the piney wood. She sat down on a rock, took out her sword, and began to hone its edge. I will remember, and I pray I will not flinch.

And also the likes of Yoren, Arya, Jon, Meera, Barristan, and Hotah himself; all of whom are dutiful if not also generally good-hearted. Ilyn Payne and Rakharo, care for their blades on-page, too, and though I'm not sure if they get enough story time to argue whether or not they are good-hearted, they are certainly pragmatic, skilled, and committed. Bronn, too, hones his blade on-page, and even if not good-hearted, he's these other positive qualities, the ones that make him likeable even in his scoundrel status: Bronn is skilled, pragmatic, dedicated to his craft, and even committed after his own fashion (he does name his adoptive child Tyrion, after all).

Better tying this to a morality case, the first time we see Sandor Clegane caring for his blade is after the Red Wedding, after he fully commits to taking in Arya. Similarly, Jaime is only seen caring for his blade in Feast and later, after he begins to have his own character turn towards searching for honor.

In stark contrast, Theon pulls out his blade to "sharpen" it before facing his father in Clash, but he only "gave it a few licks" with the whetstone ... what a total poser.

(It's a silly thing, but the most minor character we see sharpening a blade is a stray Blackwood... so you know these are the good guys, haha. Oswell Whent, too, which I don't make much of myself but I know others have.)

So, when we see Gerold Dayne start to sharpen his blade as his first on-page action, we might think: here is a man who is responsible, who is committed to duty, who believes in taking care of his person and his honor. Tying little actions like this to character qualities is the kind of thing GRRM does frequently.

2.5 Sober attitude

To a similar end, we also see that Gerold Dayne doesn't drink, preferring water with lemon.

Once the kindling caught, they sat around the flames and passed a skin of summerwine from hand to hand . . . all but Darkstar, who preferred to drink unsweetened lemonwater.

Which puts him in league with Brienne again:

"I would prefer water," said Brienne. "Elmar, the red for Ser Jaime, water for the Lady Brienne, and hippocras for myself." Bolton waved a hand at their escort, dismissing them, and the men beat a silent retreat.

As well as Stannis, paragon of "duty":

But not today, I think—ah, here's your son with our water." Devan set the tray on the table and filled two clay cups. The king sprinkled a pinch of salt in his cup before he drank; Davos took his water straight, wishing it were wine.

Again, this is the kind of quality that is associated with people who are attached to their sense of duty. (Note also that as Brienne feels increasingly lost during her search for Sansa, we see her increasingly drink wine. Roose, for his part, doesn't just drink wine, but wants wine sweetened with sugar and spices, which, like Littlefinger's minty breath, covers up his harsh reality).

So Gerold Dayne, in word and action, seems to have more in common with duty- and honor-bound characters, rather than being the heartless rogue which the Martells seem to believe he is.

2.6 Arianne's imagination versus Gerold's reality

Arianne asserts that Gerold would go so far as to exterminate an entire clan... but it's while she's fantasizing about ruling Sunspear with Myrcella as Queen:

Once I crown Myrcella and free the Sand Snakes, all Dorne will rally to my banners. The Yronwoods might declare for Quentyn, but alone they were no threat. If they went over to Tommen and the Lannisters, she would have Darkstar destroy them root and branch.

So we know what Arianne thinks he's capable of, but we also have heard Dayne's own thoughts that war for its own sake is not laudable. Would he really be the type to eradicate a whole family, like Arianne says? So far, he seems otherwise like an alright guy, and potentially even a true knight, so far: he takes care of his sword, he stays sober, he arrives early, he's not searching for glory from others, and he doesn't believe one should be rewarded for idiotic wars.

If I were to put this in a single quote—if I could create a single moment where I might show that Arianne's mental image of Darkstar is one way (hard, dangerous, mean) and his reality was a different way (dutiful, pragmatic, and good-hearted)—I might show it like this:

He has a cruel mouth, though, and a crueler tongue. His eyes seemed black as he sat outlined against the dying sun, sharpening his steel, but she had looked at them from a closer vantage and she knew that they were purple. Dark purple. Dark and angry. He must have felt her gaze upon him, for he looked up from his sword, met her eyes, and smiled.

Does he have a cruel mouth, and dark, angry eyes? Or does he have an easy smile? Arianne tells us the former... but so far, we are shown the latter.

And what does Gerold himself say with that "cruel tongue"? What counsel does he give, what courses does he suggest?

2.7 Gerold's bloody suggestion

Before Myrcella arrives, Gerold Dayne has the chance to offer counsel to Arianne. This moment comes directly following that moment where all of Arianne's other conspirators confide that they don't trust him, and that they don't need him for the plan. Immediately afterward, Darkstar returns and suggests that the plan isn't very good to begin with.

Dayne put a foot upon the head of a statue that might have been the Maiden till the sands had scoured her face away. "It occurred to me as I was pissing that this plan of yours may not yield you what you want."

While all of Arianne's friends have warned her of Darkstar, why is it that Darkstar is the only one to warn Arianne that this is a poor plan? It's important to remember that he's right, after all, because this plan gets thwarted, and as he goes on to say, was ill-concieved to begin with. If he can see it, why have none of Arianne's other allies considered this? Or, more interestingly, why have none of them told her?

This conversation continues, and notice how Arianne is never straightforward with Gerold about how she feels in response to his questioning. She says one thing, and then thinks another to herself. Already, we are being shown how we might be distrustful of what we are told—and again, Arianne has more in common with her father than she thinks. She knows how to speak carefully when she really has another objective.

"And what is it I want, ser?" "The Sand Snakes freed. Vengeance for Oberyn and Elia. Do I know the song? You want a little taste of lion blood." That, and my birthright. I want Sunspear, and my father's seat. I want Dorne. "I want justice." "Call it what you will. Crowning the Lannister girl is a hollow gesture. She will never sit the Iron Throne. Nor will you get the war you want. The lion is not so easily provoked." "The lion's dead. Who knows which cub the lioness prefers?" "The one in her own den." Ser Gerold drew his sword. It glimmered in the starlight, sharp as lies. "This is how you start a war. Not with a crown of gold, but with a blade of steel."

At first blush, it's easy to get caught up in the notion that Darkstar is simply offering to kill Myrcella for the ease of it all. We're told the whole chapter that Darkstar is a violent man, and here's the evidence.

Arianne herself only considers this interpretation, and it's how she remembers the conversation once she's imprisoned:

He wanted to kill her instead of crowning her, he said as much at Shandystone. He said that was how I'd get the war I wanted.

However, this conversation, though brief, is not so simple as that. Instead, while Gerold's advice to Arianne here at first seems unnecessarily violent, he's actually displaying wisdoms that we learn elsewhere in the story.

For a start, we see Gerold's disdain for vengeance for it's own sake—and his suggestion to Arianne that this quest of revenge and authority will not actually get her what she wants. In Gerold's words, she wants "a taste of lion's blood." He knows this song, as he says, as well as Ellaria, who gives an identical warning with far more impassioned language to the same audience ADWD The Watcher:

"Oberyn wanted vengeance for Elia. Now the three of you want vengeance for him. I have four daughters, I remind you. Your sisters. My Elia is fourteen, almost a woman. Obella is twelve, on the brink of maidenhood. They worship you, as Dorea and Loreza worship them. If you should die, must El and Obella seek vengeance for you, then Dorea and Loree for them? Is that how it goes, round and round forever? I ask again, where does it end?" Ellaria Sand laid her hand on the Mountain's head. "I saw your father die. Here is his killer. Can I take a skull to bed with me, to give me comfort in the night? Will it make me laugh, write me songs, care for me when I am old and sick?"

Gerold says it more simply, and more harshly: this quest for vengeance and lion's blood will not get you what you want.

He then tries another angle, saying that "Crowning the Lannister girl is a hollow gesture. She will never sit the Iron Throne. Nor will you get the war you want." This sounds, at first, like a complaint of the plan's futility, but he offers a suggestion of how to achieve said war instead: "Not with a crown of gold, but with a blade of steel."

I have to point out the metaphor at use in this moment:

Ser Gerold drew his sword. It glimmered in the starlight, sharp as lies.

A blade as sharp as lies—yet another allusion to this constant Dornish theme of lying and deadly misinformation. Seen from another perspective, we might put it another way: that lies are as deadly as a blade. This, too, is Doran's message: that the grass which hides the snake is just as deadly.

This too is Gerold's message, because in combination, his suggestion that crowning her is empty and to kill her is simpler sounds like an allusion to another wisdom we learn later in ADWD Tyrion I, given by Illyrio when Tyrion alights on the same bright idea as Arianne, to crown Myrcella:

"In Volantis they use a coin with a crown on one face and a death's-head on the other. Yet it is the same coin. To queen her is to kill her."

Gerold understands this, and he displays it in this conversation. His offer here, then, is to skip the trouble in between—the girl will never sit the Iron Throne in any case, so Arianne should just kill her and be done with it, and have your war that way.

Rather than a threat against Myrcella's life, the way Arianne remembers it, we might see this as a challenge: if Gerold sees that both acts end in Myrcella's death, and both in war, he's presenting Arianne reality of the lack of choice.

In a way, this is consistent with his earlier complaints about Garin the Great—was it worth it to make Valyria "tremble" at the cost of so many of his own? Gerold's question, though harshly put, makes Arianne face that question now, before they start off with the plans.

Like her father, though, Arianne defers the problem, preferring not to address it this night.

I am no murderer of children. "Put that away. Myrcella is under my protection. And Ser Arys will permit no harm to come to his precious princess, you know that."

Arianne makes the choice, but she does not say it aloud. Why? Because even she sees that it's contradictory to raise her up and expect her to live?

As we see so often with Arianne, she foolishly answers that it's not her responsibility. Myrcella may be under her protection, but Arianne relies on Ser Arys' action to keep it that way. Arianne tries to argue that the weight of this threat to Myrcella is not Arianne's burden to take, but rather Arys'.

Darkstar disagrees, pointing out the longstanding rivalry between the Dornish and the Marcher Lords.

"No, my lady. What I know is that Daynes have been killing Oakhearts for several thousand years." His arrogance took her breath away. "It seems to me that Oakhearts have been killing Daynes for just as long." "We all have our family traditions." Darkstar sheathed his sword. "The moon is rising, and I see your paragon approaching."

Finally, though, actions once again speak louder than words. Rather than pull his sword here against Arys, like he was just threatening to do, he sheathes his sword when he spots Arys, obeying Arianne's command. So far, whatever he's said, Gerold is still committed to following Arianne's wishes.

His threats about Daynes killing Oakhearts has another layer of meaning, though, in this complete context: Daynes have been killing Oakhearts, yes, but it's not just Daynes who wouldn't blink at killing a Marcher, it's all of the Dornish—as Arys is so intimately aware of in his one chapter.

As much as Arianne is dodging responsibility, she's also right that Arys is the final obstacle in anyone's way should they wish to do harm to Myrcella. Note, though, that despite the story Doran and Arianne later tell the Sand Snakes, it is not Darkstar who slays Arys—it's Areo Hotah. If we say that actions speak louder than words, hear this: Gerold sheathes his sword when Arys approaches, and it is Doran (through Areo) who kills Myrcella's most leal protector.

Given all the trouble Doran later goes to in an attempt to smooth over Arys' death, Gerold is probably right here that a dead Arys means war. Once again, Gerold is a pragmatic thinker, in theory. In my opinion, despite the cruelty of his suggestion, his conversation about the death of Myrcella is a reality check, not a call for wanton violence.

2.8 Gerold's good counsel and care

Later comes the second time where Arianne lags carelessly... and here, Gerold steps in to give Arianne good counsel.

Arianne had hoped to reach the river before the sun came up, but they had started much later than she'd planned, so they were still in the saddle when the eastern sky turned red. Darkstar cantered up beside her. "Princess," he said, "I'd set a faster pace, unless you mean to kill the child after all. We have no tents, and by day the sands are cruel."

Here, contradicting the stories of Gerold Dayne as a cruel man, Darkstar seems to show more direct concern for Myrcella's wellbeing than any of the other plotters. Arianne—like her father—moves to slow, and Gerold wants to make sure that the girl isn't killed. He's not just pragmatic in theory, he can also be pragmatic and considerate when it comes to the young girl with them.

Here, also, we see that Gerold does not actually mean the girl harm. The accusation that Darkstar slashed Myrcella implies this narrative where Darkstar took advantage of the chaos to finally take his chance to kill the girl and make good on his threat. If that were the case, then here Darkstar could have simply said nothing, and let the girl suffer or even die from the heat. Instead, he speaks up in order to spare Myrcella from the sand's cruelty.

2.9 Gerold's opinion of Arthur Dayne

With all of this context, I'll finally take a look at Gerold's opinion of Arthur Dayne.

As she led the princess to the fire, Arianne found Ser Gerold behind her. "My House goes back ten thousand years, unto the dawn of days," he complained. "Why is it that my cousin is the only Dayne that anyone remembers?" "He was a great knight," Ser Arys Oakheart put in. "He had a great sword," Darkstar said. "And a great heart."

He clearly loves the Dayne house, but seems to have less respect than most for Arthur. Many and more have taken this to be a sign of petty envy, that Darkstar is questioning Arthur's skill at swordplay, perhaps in comparison to his own.

But consider the quote another way: we know from his opinion of "Garin the Great" that Gerold resists the idea of blindly idolizing heroes only because they have become great in the telling. This newer hero, Arthur, is no more special to him. What has he actually done, not what stories have been told of him?

Once again, this is a return of our theming: being shown, not told. Gerold is quick to resist the allure of the songs of Arthur Dayne—to Gerold, there are plenty of other Daynes just as special, or perhaps even more so. This is not a lack of love for his house, nor for honor and glory—quite the opposite. Like with choosing his own name, Darkstar wants to create his own context to see Arthur in, as part of a ten thousand year old lineage of great Daynes (ha) and not some special, magic knight.

Perhaps Gerold Dayne is pointing out that there is more to a knight than having a sword; perhaps he is condemning the idea of equating "swordplay" with "greatness".

What we hear about Arthur is more often than not about his prowress with a sword, but consider the context in which Arthur Dayne was brought up in this chapter. When Myrcella brings him up, his reputation is marred by the fact it's own existence:

"There was an Arthur Dayne," Myrcella said. "He was a knight of the Kingsguard in the days of Mad King Aerys."

Not the most good-hearted of details to remember him by, truth be told.

I suggest that this passage instead serves to suggest that Gerold has a stricter sense of what is valorous than most. Even the great, seemingly infallible Arthur Dayne was a sword in defense of the Mad King. Does serving the Mad King still make for a "great knight"? Or only a "great sword"?

Of course, there's another interesting aspect to this quote: despite his disregard for the particular qualities of Arthur, Gerold is more than willing to acknowledge the greatness of the sword Dawn. I'll get into that at the end.

2.10 Gerold sues for peace

Finally, in his final appearance on-page, we get a last word from Gerold Dayne, who, this time, says exactly what Arianne is thinking... when she, again, is too slow to act, and is unable to say anything herself.

You reckless fool, was all that Arianne had time to think, what do you think you're doing? Darkstar's laughter rang out. "Are you blind or stupid, Oakheart? There are too many. Put up your sword."

Darkstar suggests to all that they surrender. He suggests they put up their swords. Yet again, this is a consistent characterization for Darkstar: a man who speaks against the honor of leading others in a death charge, a man who is a sober thinker, a man who plans to arrive early, and a man who considers heavily the consequences of the actions at hand, especially when they end in the death of a young girl.

After all this, I don't think it sounds like Darkstar to make a wild, reckless, opportune grasp for Myrcella's life, no matter whatever Doran says. Instead, Gerold Dayne has all the trappings of a dutiful knight, and even his brusque edges come from a certain brutal realism, not a sense of jilted pride. He may even be a good and caring man at times.

3.0 My predictions for TWOW: GRRM's next moves

I used to really not like Darkstar. I don't mind him being a little cringe, because this whole series, as well written as it is, still has plenty of pulpy 80s underpinnings which I love just as much as the highbrow stuff. I can handle a little melodrama, fine... but why is Darkstar so flat, I wondered. It felt so incredibly—uncharacteristically—clumsy to have this hurried introduction of a character, and have everyone in the chapter rush to tell the reader how dangerous he is, just so he could do the "dangerous guy" thing and run off to become the next MacGuffin of Dorne.

That is, if everything, or anything, that we were told about him is true.

If we understand that not all we're told is true, then GRRM hasn't actually spent a whole chapter telling without showing. Instead, he's been consistently playing with the same notions of actual reality vs. stories and lies that the rest of the Dornish plot revolves around (and the rest of the series, for that matter, but I'm staying focused here).

In addition, all of that telling we got about Gerold Dayne wasn't at all for the purpose of giving us a quick, surface level introduction to the character (which makes sense, because George is otherwise so good with character). Instead, all that telling is part of a larger, longer plot about Doran's scheming and lying, and Arianne's own susceptibility to Doran's stories.

Finally, and most of all, it all sets up one of GRRM's favorite things to do: a subversion of a character in a twist that involves a sudden change of perspective.

If Arianne and Doran have spent 4 (or 5, including TWOW previews) chapters now telling us what a nasty guy Gerold Dayne is, won't it be a shock once he's granted Dawn rightfully and is named the next Sword of the Morning? What's even better is that, looking back, it will be clear to see how much he isn't a nasty guy—he's actually a pretty good candidate, dutiful, smart, aware of the consequences. He's the kind of guy to take care of himself, keeping his mind and blade sharp, and to be considerate of those lesser than him, as with Myrcella or Garin's army. He may not be a nice guy, but being nice and kind are not always the same. That character of Darkstar, the knight worthy of Dawn, was there all along—except that it was all obfuscated under Arianne internal narration and Doran's repeated lying.

After all, he is of the night... which sounds super edgy, but is foreshadowing too. What comes after the night? The Morning.

Being "of the night" might not be Darkstar being an antihero, but instead being anti- heroes, he's against the concept of the overinflated hero. Like Sandor Clegane, who starts to seem more and more a true knight despite despising knights, Darkstar may be set up to take on a legendary mantle, like Sword of the Morning, despite his utter disdain for legendary heroes, like Ser Arthur and Garin the Great.

And actually, I suspect that Darkstar is quite familiar with Dawn already—after all, despite his cool words about Ser Arthur, Gerold Dayne does seem to recognize the greatness of Dawn. I expect that he's seen its value for himself.

Gerold is the type of man to take himself seriously ... and while that's very easy to make fun of from a reader's perspective, it's a very admirable quality in a knight. It's the same trajectory Jaime has been on: everything used to be a joke to him, but no longer: Jaime is learning how to shed that shield of humor and to take himself and his honor seriously. Can we begrudge Ser Gerold the same?

Rather than hunting down a villain, Areo Hotah, Obara, and Balon Swann are on Doran's truth-suppression mission. For after all, as Lady Nym pointed out, loose ends make for exposed lies. If I replace some of the names of her cautionary message from The Watcher:

If Gerold Dayne is alive, soon or late the truth will out. If he appears again, Doran Martell will be exposed as a liar before all the Seven Kingdoms. He would be an utter fool to risk that.

And so Doran sends his unbeatable Hotah, with his massive and lethal axe that already killed one Kingsguard and might well kill another. How is Gerold Dayne going to match up against that?

Well, he'll have a great sword.

[miela]

Shattered Memories • Chapter VI: Two Spiders, One Sorceress • {Peter Parker x Stark!Reader}

Chapter Genre: Fluff Chapter Warnings: I know i said updates on Fridays but I'm clearly not a truther / pov is so ambiguous in here I'm so sorry Extra: Make sure to check out the Playlist and Pin Board!

Masterlist

↪ divider by firefly-graphics

The rest of the car ride was small talk and life updates to each other. You talked about your days at work and your lack of a social life and Peter talked about his days at school, work, and the shit he sees on patrols. Once you guys got to the place you both sat down at a booth. It was a small sandwich shop that Peter recognized but had never been inside of. 

You took off your jacket and folded it next to you. Peter looked at the tattoos on your inner forearm that caught his attention. Three arc reactors inked down your arm with the words "Proof that Tony Stark has a Heart". There were words with each arc reactor and blue roses blooming around them. You noticed Peter studying the tattoo.

"It gives me strength," you smiled and extended your arm to show him more of the unique tattoo. They were the three different arc reactors that Tony had made, each with different designs but all correlating together in a perfect trifecta. 

“It’s pretty,” Peter smiled. 

“Thanks,” you smiled back and moved your arm back to its place on the table. “What about you? Any ink?”

“Nah,” he responded. “Not yet anyways,”

“Have any ideas of what you want?” 

“I have some but nothing really hashed out just yet. I’m kinda worried about getting one. It’ll be easier to identify me that way,” he explained.

“Huh,” you had an expression of realization and deep thought. “That’s actually a really good concern.”

After ordering your food you guys talk a little bit to get to know each other better. You found out about his favorite movies and that he likes skateboarding sometimes. He learned that you still play guitar, you picked up on lyrical and contemporary dance, and that Morgan liked to bully you. It was a sweet conversation of you relearning about him and him learning more about you.

Peter felt like it was a strange power dynamic where he had to upper hand, and he didn't like it. But it balances out with you knowing so much information about him from your month-long deep dive.

“I noticed that your style is different than before,” Peter commented. “You got this whole badass leading lady movie character thing going on.”

You chuckled in response and sipped your lemonade. “Some of it is from Natasha, others from Wanda, and most from my friend Celina’s ThredUp,” you explained. “Secretly though. If she knew I bought the stuff she would be like ‘I could’ve just given it to you!’ even though I can very much afford it.”

Peter perked up at Celina’s name. It's been a while since he last saw her due to her being at the Sanctum Sanctorum. You noticed how Peter reacted to hearing her name. 

“She needed money for equipment and I couldn’t just let her give me her things that she was trying to sell to get the money for it," you continued.

“Equipment?” Peter asked.

“Mhm,” you hummed. “She’s got a YouTube Channel and a Podcast about Mythology and Folklore and stuff like that.”

Peter looked at you confused. YouTube is one thing but a Podcast? Did she work with someone else who does the talking?

“What?” You asked before realizing it with wide eyes. “Oh, shit! You have no idea, do you? She can talk now.”

Peter’s heart nearly stopped.

“She…can speak?” 

“Yeah! She’s a chatterbox and can talk to you for hours. She’s great company. She's also the kind to have life-changing conversations.”

Peter thought back on how he remembered Celina. A quiet girl with a personality loud enough to brighten a room. Her straight forehead bangs never blocked out the shine in her eyes when she was excited about something and her usual academic style of black turtlenecks, sweater vests, and plaid pleated tennis skirts contrasted her bright persona. Although she was a stellar student herself, she was also very creative and loved creating artful things. 

She knew sign language. Peter learned it with her so she could better communicate with him. Uncle Ben and Aunt May had done the same so they could understand her. Ned, Michelle, and you had eventually learned it too so Peter didn't always have to worry about translating if he wasn't around. 

He remembers when people actually thought Celina was deaf, and a group of kids were making fun of her. You stepped in and told them all to go fuck themselves. That is actually how you and Celina met and became friends.

“Do you wanna go see her?” you asked knocking Peter from his thoughts.

He blinked. “Like…right now?” 

“Yeah!" You chirped, took out your phone, and started typing. "I can ask her if she’s home.” you chewed your lip. "How do you feel about getting a reading?"

"A reading?" Peter asked a bit confused.

"Like fortune telling, tarot reading, all that," you explained. "Celina does all that."

Peter shrugged. "Sure."

Celina~

Hey (Y/N/N)! What’s up?

Are you busy?

No not at all, I’m just kinda hanging out with the furbabies~

I want you to meet a friend of mine who needs a reading.

Oh? Does it happen to be complicated guy?

You note that Peter has several different nicknames from people.

Yes, but things are…less complicated now.

OMG, that’s good to hear! Okay yeah! I’ll get set up! See you soon! 

“She’s down,” you smiled. 

Once you guys arrive you park outside of her apartment building and wait for her to text you when she’s ready for you to come up. The top is up on your convertible giving you and Peter more privacy. You had the music on low and the windows tinted. 

“So since I don’t remember jack shit,” you began. “How do you know Celina?”

Peter took a deep breath and turned to you slightly.

“Both of our parents were killed at the Stark Expo. We were stranded together when it happened and when they found us standing over the bodies of our dead parents…it was like so weird trauma bond that we had at the moment and she took my hand. We were put in a daycare for lost children until Uncle Ben and Aunt May came to get me...and I couldn’t just leave her there, she didn’t have any other family. They were kind enough to take her in as well and we were raised as cousins or siblings.”

You nod listening. “I’m sorry about your parents." You look down at your hands in your lap. "That’s really heartbreaking.”

“It’s okay. I’ve made peace with it.”

You both sat in a peaceful silence for a moment before Peter spoke again.

“You mentioned earlier that Celina can have life-changing conversations," Peter stated. "After all the shit we've seen as Avengers, I'm curious to know what you mean."

You smiled and leaned your head on your hand as your elbow sat on the steering wheel. "She got me to stop hating magic."

"What?!" Peter asked in a high-pitched voice. "Bullshit."

"I'm serious!"

"Okay, who are you and what did you do with (Y/N) Stark?" Peter chuckled softly. "Miss (Y/N) 'magic has limitations, science has solutions' Stark?"

You laughed. "No seriously hear me out."

"I'm all ears."

"Alright, check this out, you ready?"

"I swear to god if you conjure something up or have a sling ring, I'm gonna believe you're not really who you say you are," Peter laughed.

"Fuck no," you exclaimed. "Never."

"Okay, okay," Peter sat back and crossed his arms giving you his full attention. 

"Magic is just undiscovered or misunderstood science," You stated. "Celina's words."

Peter thought on the words for a second and let the words bounce around in his head. "Okay, I can see that, yeah," he looks at you with squinted eyes.  "But has she ever met Wanda?" 

You both laughed. 

"No, but she trained with Sorcerers." 

"Okay, fair point."

Peter thought about how that conversation went down with you and Celina. Celina has always been interested in Magic, Occult, and Mythological things. It was a hobby of hers and she loved watching Movies and shows that surrounded those things. He remembered when she showed Him and Ned someone on YouTube who talks about conspiracy theories.

Speaking of…

"Did she and Ned ever get together?"

"Yep, four years now."

“Really?” Peter chuckled. "Finally. They liked each other since the 3rd grade."

“I know right?” You replied. "Oh yeah, they're engaged as of recently too"

"Huh?!" Peter squeaked. 

"Yep!"

"Jeez, I missed so much." 

“You have no idea,” you gave him a lopsided grin.

He smiled and looked up at the apartment building for a moment. This all seemed like some weird dream. It was as if this day wasn’t real. You guys went out and spent time together, sang to your love song, and now he’s here ready to remeet Celina after five years of not seeing her. You must have noticed him staring or sensed his emotions.

"If it's too much too soon we can wait," you said. "I know it's a lot at once."

Peter sighed still looking at the building and shook his head. " It's been 5 years and it's long overdue." He looked at you and smiled softly. "I'll be fine"

Celina then texted you and told you that she was ready for you guys to go up, and so you did. The only issue is that she lived on the 11th floor and the elevator was broken. She could’ve easily sling ring portal you guys in, but considering you both are web slingers, you would do just fine. 

“Man, I haven’t swung in a while,” You say to yourself looking up.

Peter’s mouth spoke before his brain made a thought. “I could web us up there,”

“Y-You sure?” you asked a little sheepishly.

Peter nodded with a smile. “We’ve done it before.”

“Okay, Parker,” you bounced on your feet a little like you were preparing yourself for high-intensity movement. Peter found it cute. 

You walked over to him and clasped your hands around his neck. Your senses were buzzing at the closeness of you two. Peter’s mind was buzzing just as much. 

“Here let me just…” he trailed off as he lifted you off the ground and your legs around his torso. 

You yelped softly at his actions. You looked down at him with wide eyes and a face on fire. You could feel his muscles through his shirt and it was messing with your head. And you were so close to his face. His extremely cute and handsome face. You could smell his body spray. Sandalwood and Vanilla. You decided it was your favorite scent. He was warm and you couldn’t tell if it was from the fact that men are naturally warmer or the fact that he was blushing profusely. He looked at you gingerly as he wrapped an arm around you. You could feel his biceps and you had to shut your mind up before you drove yourself insane. You smiled softly in response and nodded.

 “I’m ready,” you said softly.

“O-okay,” He squeaked. God, he’s so cute.

Next thing you know you’re both being lifted off the ground. You hang onto him tightly and lean your head on the side of his as you close your eyes. You could feel his silky curls on your cheek and you were beaming at how soft they were. You wanted to shove your whole face in his hair. 

Peter decided that he liked you holding on to him like this because of how close you both were. 

He landed on the 11th floor gracefully to his surprise because of how his mind was racing with you being wrapped around him and in his arm. You looked at each other longingly for a moment as your eyes shifted down to his soft pink lips and his shifted down to your lipstick-stained ones a few times. 

You were knocked out of your moment when you heard the door next to you open and you reflex and jumped from his hold with ease. You both acted awkwardly and naturally as two children ran out of the doorway and down the hall giggling, not caring about your or Peter’s presence there. You guys stood in silence for a moment processing what just happened. 

“We should…you know.” You began with an awkward smile.

“No, yeah, yeah, we should…you know,” Peter responded in the same manner as he rubbed the back of his neck. 

“Yeah!”

“Mhm!”

And with that, you walked towards Celina’s door quickly and ahead of Peter as your face burned and a big grin appeared on your face. Little did you know that Peter was also smiling from behind you. 

Once you reached the door, you rang the doorbell.

“Um…” You looked at him. “Are you ready?”

“I-I think so,” He smiled softly at you. “Don’t really have a choice now.” 

And with that, Celina answered the door all excitedly and hugged you happily. 

"Hey! It's good to see you, girlie!" She chimed with a soft and welcoming voice.

“Hey, Celina,” You replied and hugged back. 

“It’s about time you come and visit me,” she giggled pulling back. “Ned is at school late today.”

As you guys did a bit of small talk a wave of emotions hit Peter like a hurricane as his eyes glossed over threatening waterfalls to fall from his soft and dark orbs.

He was hearing Celina speak for the first time.

He sniffled and you both looked at him with concern. He turned his head away and then turned his entire body. 

"Ahh you said he needs guidance,” Celina concluded.  “Let me go get my stuff. Come on in when you guys are ready." Celina smiled and walked inside leaving the door open. 

You turned to him and walked over by him. “Peter?”

He turned to look at you with watery eyes and his lips pressed together. He was holding back from just bursting into sobs.  It broke your heart.

You laid a hand on his cheek and he closed his eyes with a sigh of relief and leaned into it. You stroke your thumb over the apples of his cheeks gently with a concerned expression. The feeling of your hand on his face, helped him calm down slightly. Like ice to a wound.

"What's wrong, Peter?" You asked with a soft voice. “Are you okay?”

"Y-yeah," he sniffled. "It's just that growing up I've been helping Celina with talking and when everyone gave up on her I never did. And hearing her talk just triggered something…like…. right in my heart, y’know? And I couldn't help myself." 

You pouted slightly and wrapped your arms around him. He hugged back as you swayed him from side to side comfortingly. You echoed a string of "it's okay" and other encouraging words as he softly cried. He nuzzled his face into your neck and took a deep breath at your warmth and scent, just like he used to do after a hard mission years ago. 

He wanted to stay like this forever.

After a moment you pull back slightly and give him a soft kiss on the cheek. His eyes shot open as he looked at your equally shocked expression. He could still feel the linger of the peck on his cheek and he wanted to grab your face in his hands and kiss you.  But you both were frozen in place and looked at each other for a long moment. Then tension was high, the senses were racing as you had a silent conversation with your eyes. Before you knew it, you both leaned in. 

But before you could you felt a soft feeling against your leg and heard a tiny meow and purring coming from below. You both Look down to see a big fluffy orange cat with big round blue eyes looking up at the both of you.

"Thor!" Celina exclaimed, “Just because the door is open doesn’t mean you can walk out!” She ran out she ran out and saw both of you super close to each other. “Oop-...I’m sorry.” she said before she outburst into exclamation again with, “Loki!”

Peter felt something climbing his leg, shirt, and shoulder. A trill and purrs rang in his ear and he felt a weighted fur on his shoulder. He looked over to see black paws on his shoulder. He concluded it was another cat.

“Awww he likes you,” You smiled. “Lokitty approved already, that’s a record.”

“Does he not like other people?” Peter asked raising an arm and petting the cat.

The dark cat rubbed it’s face on Peter’s hand causing more purring.

“No, he only likes me Ned and (Y/N) and now you.” Celina explained taking the cat off of Peter’s shoulder.”Thor here loves everybody though.”

You picked up the fluffy orange cat and scratched under his chin with your painted nails. “Thor’s a big baby. Loki is a grumpy old man.”

Peter smiled and petted the orange bundle of fluff in your arms. 

“I’m ready when you guys are,” Celina smiled.

You looked up at Peter and he nodded in response. You both followed Celina into her apartment and she closed the door so you could set the cats down. As you took off your jacket, Peter took the time to glance over the apartment. It looked like a Dungeons and Dragons themed home. There were shelves filled with books about myths around the world, spellbooks, and tomes. There were plants in almost every corner and vintage decor everywhere. Peter smiled at the glass case full of Lego builds that he remembers building with Ned and his eyes focused on the death star with the missing Darth Vader that’s supposed by on top but instead is sitting on Peter’s desk in his apartment. The place was very Celina with touches of Ned which Peter found amusing. 

“I baked some cookies,” Celina started. “Feel free to make yourselves at home.”

“Thanks, Celi,” You smiled and hung your jacket by the door. 

“Can I use your bathroom?” Peter asked. 

“Sure!” Celina chimed as she pointed to a hallway behind him. “It’s over there, last door on your left.”

“Thank you,” and he goes to the bathroom to wash his face off from the seven different emotions he felt in less than fifteen minutes. 

He sighed before his superhearing picked up on the conversation you and Celina were having.

 "He's a cutie!" He could hear the smirk in her voice. 

You hum a giggle. “He is, isn’t he?” 

It was Peter’s turn to smirk with a blush added to his face. He then crossed his arms and leaned against the wall to listen. He knew it was wrong but it wasn’t his fault that he was a spider mutant with enhanced senses.

“How long have you guys been together, together?”

“Hm? Oh, we….we aren’t-” 

“Oh, please, I saw you two out there. I thought you said it wasn’t complicated anymore?”

“I said, it was less complicated.”

You were talking to her about him.

“Well, how about making it not complicated and making a move or something.”

“Celina, There’s such thing as taking things slow.”

“I dunno,” Celina sang. “You two have magnetic energy. I say act on it.”

"How?"

"Ask him to the gala. You need a plus one, no? Take him!"

"...I was gonna ask him actually."

Oh?

"Really? What changed your mind?"

"He's…a busy guy."

"He won't be once he sees that dress you're wearing. He'll be busy with you…hopefully taking it off."

Peter blinked rapidly at Celina’s response. I mean, she’s not wrong. Only if you consented of course. 

"Celina…!"

"What? That's what you want right?"

You went silent and that was all the answer Peter needed to know to solidify your feelings for him. His mind was wandering to places it shouldn’t.

"See?"

You sighed. "Nika will give me shit for it." You whined.

"Well tell Nika to remove the giant stick from her ass because it's true love. I can feel it."

“Like actually, or…?”

“I don’t need magic to feel the crazy tension between you two.”

Peter smiled and splashed his face with water and decided it was a good time to walk out with a newfound confidence. You were sitting at the kitchen table on the bench with one leg folded under the other and leaning your face on your hand with your elbow propped up on the table. Your eyes shifted to Peter as you swung your unfolded leg back and forth. You smiled at him and he smiled back as he sat next to you. 

“Hey,” You greeted. 

“Hi,” He responded as he met your eyes. 

“Feeling better?”

“Much better,” his voice was soft as he got lost in your (e/c) eyes for a moment. 

The only thing that got you both the break the gaze was Celina putting a plate of chocolate chip cookies, a porcelain teapot filled with tea, and different things to put in the tea like sugar cubes, a saucer with milk, lemon, and honey. She sure knew how to romanticize her life. Even her outfit made up of a black ruffle off-the-shoulder top and a long, flowy, floral, maroon, maxi skirt, made her look like she was a witch in a Ghibli movie.

“So what kind of reading would you like….uh…” She looked up in thought. “I didn’t catch your name.”

“Oh, fuck,” you cursed under your breath. “Peter. Peter Parker.”

“Oh!” Celina beamed as if his name rang a bell. “So you’re the guy she asked us about. Nice to meet you! I’m Celina.”

“Why does everyone remember? I asked you guys once like a month ago.”

“Because your lone wolf ass hasn’t talked about a boy in like three years unless it’s your dream boyfriend.” Celina retorted while picking up the pot of tea. “So when you bring up a guy we all get a little curious, y’ know?”

You rolled your eyes and waved your hand at her mirroring your father a lot and she hummed in amusement. 

“So Peter,” Celina began. “I have several options. I have Tarot cards, tea reading, and palmistry. I could do all three but it’s gonna cost you.”

“Oh?” Peter asked with a playful smirk. “How much?”

“Mmm, take (Y/N) on a date.”

“Oh my fucking god,” You hid your face. 

Peter snorted. “I don’t need to be bribed to do that.”

You looked at him flabbergasted. He only smiled at you before looking back at Celina who was eating all of this up with excited eyes. 

“I think I’ll do the Tarot.”

“Nuh-uh,” Celina responded. “You’re getting all three.”

“Thank you for everything today,” Peter smiled. “I didn’t know I needed all of that.”

You both were standing outside of his apartment building. After Celina did the full reading session on Peter, which he found insightful enough, she talked his ear off for three hours about anything and everything. It gave him nothing but happiness and he savored every word. You mostly just sat there and enjoyed the entire moment. You were leaning back against the wall with your hands in your jacket pocket and one leg crossed over the other.

“Anytime,” You smiled back.

You stood up straight and checked your phone before you tapped your phone on your hand nervously and looked like you were hesitating to say something. Peter could sense your nervousness.

“I…uh…also wanted to ask, if you would be my plus one for my charity gala? All your friends are gonna be there, I checked the list so I think it’s only fair that you’re there too especially because of your internship. Not that I’m only inviting you because of those things! I want you to be there and I want you to go with me…if you want. Don't feel obligated or anything. Yeah. You don't have to answer right away either, It’s like three weeks away and I’m babbling oh my god shut up (Y/N) please shut the fuck up.” 

You turned and leaned on the railing that was next to you both to catch your composure. Peter smiled big and chuckled softly. You reminded him of teenage Peter trying to ask out a teenage you. It was like you guys switched places and he was going to have his fun with it. Especially now that he knows for sure that you feel something for him. 

“You were holding that in all day weren’t you?” 

“...Yeah. I wanted to ask you when I first saw you today but I psyched myself out. You’re a busy guy and everything so I wasn’t sure if-”

He stepped closer to you, leaned his hand on the railing causing the muscles in his arm to flex, and smiled tilting his head slightly. Your noses are centimeters apart and he’s looking into your eyes deeply like he’s searching for something. Your breath hitched slightly at the closeness and it took everything in you to not let your senses take over and pounce on him. You weren’t sure if you were unseriously offended, turned on, or both.

Peter fucking Parker, you thought.

Peter fucking me. Your senses hummed at that.

“I would love to be your plus one,” He replied lowly. “But I’ll let you know for sure by tomorrow. Work schedule and everything.” 

“Y-yeah, yeah. Work schedule. “You pressed your lips together still looking into his eyes. Peter could tell you were holding back. 

“I’ll message you.” He finally had your number, that you gave to him at lunch. 

“G-great, I’ll let you know the time and everything when you do.”

“Okay,” He replied as he glanced down at your lips and stepped back slightly. “I should go inside now, and you should get going before it gets too late.”

“Peter?” you asked, almost desperately.

“Hm?”

“What you said earlier. Were we…” you started still trying to gain your composure. “Were we…you know more than friends…?”

He looks at you silently for a moment before opening his mouth to respond.

“You know what, never mind, ignore that.” You chuckled softly, shaking your head rapidly. “I shouldn’t think about these things or my brain might try to split in half again.”

Good point. He smiled. “Goodnight, Stark.”

“Goodnight, Parker.”

He walked backwards towards the door taking in your form before running back first into it and cursing under his breath. He then leaned back against the door with his arms crossed as if to play it off.

You giggled watching him. Such a dork. 

He blushed looking at you and smiled giving you a salute. You saluted back and walked to your car while he watched you to make sure you got in safely. Once you got into the car and drove off. Peter walked inside and leaned on the door with a happy sigh.

~

Tags:

@chrisevans-realwife @riordanness @peterdarlingg @thecrystalclarity @brckenmemories @paleprincesssxo @blackcanary130 @kindlover

[nutzgunray-lvt]

My Thoughts On The Dark Izuku Arc

A popular consensus on this site and in the fandom in general is that the Dark Izuku arc was a let down. Though fans have this opinion for different reasons, I'll be using this to word vomit why I myself don't like this arc and what I personally would have done differently.

Heads up: this is a UA critical, Class 1A critical, anti Bakugou, Pro-Heroes critical post. Don't like, don't read.

When I first heard about the Dark Izuku arc, I got excited. I was hyped up to see more world building, more people in Izuki and All Might's corner regarding the secret of One For All, as well as seeing the price Izuku was paying for his self sacrificial tendancies. To a very minor degree, it delivered on those aspects. I love the bunny/fox lady that Izuku saved and how it touched on the worsening discrimination those with mutant Quirks faced, I'm glad that Izuku could finally tell other people about One For All, and I was glad to see Izuku FINALLY being told by people other than All Might that he was working himself too hard and that he could rest.

Those were the only good things this arc did for me.

As for what this arc DIDN'T do well for me, it's a lot. To break it all down, my problems with this arc are: the mixed messages being thrown out and how Izuku's point of view and wellbeing is ignored.

Just a disclaimer, I don't agree with Izuku having to put this burden upon himself. Yes, he has One For All, but he's a CHILD at the end of the day, and he should have NEVER been put in this position. HOWEVER, narratively, I completely understand why he did it.

All For One was out of Tartarus along with many other incredibly dangerous villains, and on top of all of that, AFO had Ragdoll's Search Quirk. This meant that he essentially had eyes on Izuki (and One For All by extension) 24/7. Had he wanted to, he could have launched a full-scale invasion/attack on UA, putting numerous people in danger. It was this reason as to why Izuku made the decision to leave UA in the first place. His plan to use himself as bait to lure AFO and Shigaraki out of hiding made sense narratively, but was also an incredibly dangerous one... which is why it made absolutely no sense to me why these Pro-Heroes (who are ADULTS), were fine with it.

I understand that they were in an incredibly tough position. Japan was in chaos, public trust in heroes was at an all-time low, and Tartarus just had a mass escape. Many heroes were either dying, retiring, or went over to AFO's side. They were probably stretched thin as it was, but for there to be NO ONE saying, "I really don't like this. He's just a kid, and this is incredibly dangerous for him to do. Why don't we have one or two of us traveling with him to protect him?" is just mindboggling to me.

Yes, All Might insisted on going along with him, but he was Quirkless. Physically, there wouldn't be much he could do if someone had successfully gotten the drop on Izuku.

Then, these same heroes who were seemingly completely fine with this plan get all *surprised Pikachu face* when Izuku strikes out alone and begins pushing himself to the breaking point. Yes, they tell him that he needs to take a break... but then they indirectly pressure him more by saying that he's their best and only bet against AFO and Shigaraki. At this point, Izuku is ignoring food, rest, and his injuries. At this point, they should have been putting their foot down that, "No, you're a kid and you're in no condition to be doing this anymore. You need to rest."

This keeps going and going until Izuku is overwhelmed and nearly captured by Dictator, only to be rescued by Class 1A.

Once again, Izuku's point of view and wellbeing are ignored as all 19 of his classmates corner him and start fighting him into submission. I know they had the best of intentions - they didn't want Izuku to shoulder this burden on his own, they wanted to show him that they cared - but as I said above, Izuku was NOT in the right physical or mental condition for this to happen. All it wound up doing was pushing him away from them and making him try and run away. In fact, they're lucky they didn't scare him away entirely.

What's more, they all rally behind Bakugou while doing this.

I've made my intense dislike for Bakugou clear on my blog, so I won't get into it here. But the fact that they sit by and not only allow Bakugou to blame ALL MIGHT for all of this, but also let him repeatedly insult Izuku while TRYING TO SHOW HIM THAT HE'S NOT ALONE is just infuriating. Again, Izuku is in awful shape both physically and mentally. The absolute last thing he needs to hear is Bakugou insulting him and projecting his own flaws onto Izuku.

Even worse is how the hell the teachers at UA are even okay with this?

I also understand that they're probably stretched thin as well, but they were totally okay with not just Izuku leaving, but the rest of 1A following behind him? Yeah, I call bullshit. These were the same teachers who were divided on whether or not to let the first years participate in Work-Studies, teachers who apparently regard the students at UA to be like their own children (as said in the light novels). I'll excluse Aizawa from this, seeing as how he was busy healing in the hospital.

Again, if there was more of the ethics of this being debated in universe (hell, even making the public's trust in heroes fall even lower), I would have been okay with it, because it would have been warrented.

The worst part of me is how in my opinion, the narrative itself doesn't even know how to feel about all of this.

Yes, Izuku essentially dropped out of school to go chase Japan's #1 villain. Yes, Izuku is destroying himself trying to protect everyone, and everyone's warning him not to push himself too hard... but he's getting results, GREAT results even! He's saved countless people and even defeated high-ranking villains such as Lady Nagant and Muscular, among many others. Even the Pro-Heroes are saying how Izuku is their best bet to stop AFO and Shigaraki, so which is it? Should he have stayed and let those villains run around and cause mayhem, or should he put himself in a severe amount of danger but at the cost of those villains ultimately being aprehended?

My final gripe with this arc is just how rushed it is. You're telling me that all of this took place over the course of one month? That Izuku neglected his health to the point of having to use Black Whip and Float to move around, only for it all to be made better by a bath and nap? Again, I call bullshit.

What I would have done differently with this arc is this: have Izuku leave UA without telling ANYBODY. He could still leave his letters for Class 1A, but other than that, he's gone. All Might could let the Pro-Heroes know about OFA, but they'd be trying to find Izuku and bring him into protection because as a kid, he should not even be in this position. All Might himself would also be joining them in these efforts. Izuku would spend several months aprehending villains and traveling across Japan, unlocking and mastering more parts of OFA. He could still push himself towards his breaking point, worrying the past users of OFA, but instead of the entirety of 1A swarming him, only have his closest friends come to being him back.

This brings us to UA and their reaction.

The UA teachers could finally be let in on the OFA secret, and maybe have one or two of them at a time try to find Izuku. Have them state that as students, 1A is not allowed to go out there and try to find him, as they're needed at the campus. Ochako, Ida, Todoroki, Asui, Fumikage, and Aoyama can say "fuck it, we're going anyway" and try to calmly bring him back. They can acknowledge why he left but state that, as his friends, they're not scared of being caught up in the crossfire. They can state that they'll shoulder the burden alongside him, and Izuku can still pass out and be taken to the HOSPITAL. He'd be hospitalized for a week or so and then the debate as to whether or not to take Izuku back to UA can take place. Because on the one hand... there's the whole reason he left in the first place: to protect the civillians and teachers and students there. On the other, they're not about to just throw Izuku on the streets and say "good luck. Try not to die."

For that matter, this could cause some pushback against the heroes for "using a child soldier to do their dirty work." They can truthfully say, "We don't condone this. He ran off on his own and we're trying to find him and being him back."

Anyways, that's my take on the Dark Izuku arc. I left some things out, but this is the essence of it all.

[parlerenfleurs]

The thing with Blue eye samurai and all the raging speculation and shipping sides that have formed around it, is.... That the story is too new to get firmly entrenched in an opinion or a reading. It's a really good exposition, it's a really good first development, now character arcs and storylines have all the space and opportunity to develop in interesting directions. It's exciting and I can't wait to see where the showrunners will take us!

But it's still new. These characters have barely interacted (yes it was still profound and significant but it wasn't very long and comprehensive), and barely started to show signs of change from their starting point.

I can't say with certainty that Taigen would never be good for Mizu because he was his bully as a child (one that was somewhat reluctant, too, as he let go of the stone instead of throwing it), or that Akemi would forgive her/be attracted to her. I think there is a lot of potential for him to develop and a very exciting potential for Akemi to become powerful, enough to be a hindrance... or a help when she forgives Mizu/Mizu adequately makes up for abandonning her.

I don't know if Ringo is supposed to be a very long-winded love-interest (honestly I think if he was he would have been established as such in the first season like Taigen and Akemi). But I'm also excited to see what he'll bloom into.

We've been shown a great, great beginning. I'm thrilled with the possibilities. I'm also convinced that being too keen on one outcome/ interpretation or the other is a sure-fire way of being disappointed.

We should enjoy what we have and keep our minds open for the rest of it.

[doodlegirl1998]

In your opinion in regards to the Sports Festival, which arc would you say had the most disappointing/ abysmal conclusion or just ?

Looking back through them, in my opinion, I personally do think the Sports Festival takes the cake imo.

It started out strongly enough. Yes, so many readers have brought to attention the flaws the whole concept of the Sports Festival, but it also was a good starting point to introduce us more of Izuku’s classmates and flesh them out.

We see a setup for Todoroki and we get to know more about him and his story, as well as setting up for a rivalry between him and Midoriya.

We get to see more of Uraraka, such as what drives her (having a sustainable job to help her parents back), and showcasing it’s great to rely on friends, but sometimes there’s battles you’ll have to learn to fight on your own.

We are introduced to interesting characters like Kendo, Testsutestsu, Monoma, and the rest of 1-B.

We also see more moments of the rest of 1-A like Ashido, Yaoyorozu, Iida, Ojiro, and of course Tokoyami, who seems to be the new, mysterious powerhouse.

We also see Midoriya on his absolute A-Game, relying on his wits alone to get through the obstacle courses! This was peak Midoriya in my opinion. Not just in him being successful in the festival, but him being human to the other competitors, particularly with Shinsou and Todoroki.

SO many characters with great potential and plot points to consider, and it got me to thinking, “Who’s actually going to win this?”

Oh, and Bakugou is just acting like an absolute dip**** throughout the arc, but who cares about that, right?

Well, apparently HORIKOSHI cared.

Bakugou had no impactful or actual significance to the story, just kept insisting“I’m gonna win! I’m gonna win!” And all of a sudden he wins the entire thing. All the while being an asshole to everyone around him. So the childish idiot gets his way instead of letting other more interesting characters to shine and Bakugou instead learns something from LOSING to someone other than Deku.

And I recall the first I got finished watching the arc, I thought, “…really? That’s how we’re finishing this? All these characters to focus or benefit from being in the spotlight or at least winning the tournament, and Hori decides to reward HIM? That’s pathetic.”

Anyway, back to my question, do you have an arc where you felt like this the most?

Hi @khonaker 👋,

The most disappointing arc to me was of course the Izuku Solo arc concluding with 1A vs Izuku and Bakugou's apology.

The solo arc seemed to be taking a tonal shift, seemed to be perfect opportunity to focus on Izuku again, seemed to be building up AFO again as an actual threat via Nagant explosion and hinting at DFO in places ("It's your turn," and "This path you have chosen is a thorny one.")

Then 1A vs Izuku, Bkg's joke of an apology and taking him back to U.A crapped all over it. I feel like I haven't gotten as excited over MHA since. Most of the recent arcs are a bunch of empty hype then a huge let down.

I'd also like to give my opinion on the Sports Festival arc specifically since you mentioned this one.

I also found it a huge let down with how it concluded by the very notes of how Shoto's quirk works he should have been able to stomp Bkg with just his ice. ❄️ But I'm getting ahead of myself.

Like you mentioned it fleshed out Izuku's classmates well. It set up a rival class in Class 1B and introduced Shinsou (personally I'd change a few things about him such as have him train prior to Aizawa's mentorship, have him actually be bullied in his backstory and narrowly miss out on entering the hero course by a couple of points.)

I'd change a few things with the one on one battles too because I feel like the Sports Festival would work better with a few shake ups.

Round One

First, Bakugou vs Shinsou and have Shinsou win. This would be Bakugou's pride getting the best of him because he would refuse advice from an 'extra' like Ojiro and pay the price for it.

I'd have Aoyama vs Midoriya. With Midoriya winning. This is to hint at the traitor reveal earlier, to build their bond earlier with their similar self harming quirks.

I'd have Mina vs Momo, just because I feel like they'd be an interesting match up. Momo is versatile and intelligent and Mina is, quite frankly an under used powerhouse and has a quirk that would counter creation. I feel like Momo should win and show off her smarts by creating something to counter Mina's acid. Plus it would build their friendship earlier.

I'd keep Kiri vs Tetsutetsu as it was in canon just because I liked that battle and their friendship that came from it. 🤣

I'd have Tokoyami vs Ibraha and have Tokoyami win.

And I'd keep Mei vs Iida as canon because I found that fight funny.

Then Sero vs Uraraka because that could also link into her growth with wanting to learn to fight hand to hand through failing to win against a more nimble Sero and a poor quirk match up. So Sero would win this.

I'd have Kaminari vs Todoroki with Todoroki winning because I feel like they would be an interesting match up. And Todoroki could similarly stomp him with his ice just like he did with Sero.

Round Two

Shinsou vs Midoriya with Midoriya winning, like how Midoriya's canon first battle went but in round 2 this time so it's more realistic that Shinsou impressed Aizawa and Midoriya being BAMF more - yes please.

Momo vs Sero with Momo winning, I feel like Momo would have to make lots and quickly against someone like Sero who is able to quickly restrain her. It would make for a good battle.

Todoroki vs Iida like canon, Iida gets far into the battle but loses against Todoroki.

Tokoyami vs Kirishima with Tokoyami winning and Kirishima being manly about it. I can see Dark Shadow and Kiri getting along and this would be a good opportunity for them to meet.

Round 3

Midoriya vs Todoroki and the famous "It's your power" moment, I'd have happen here. Along with Midoriya losing, and Todoroki winning

Momo vs Tokoyami, here I would build the foundation for Momo's confidence issues despite her intelligence. I'd have the battle be harder than canon for Tokoyami, but have her make a 'flash bomb' then falter under the pressure of the crowds watching her (maybe insecurity about the amount of skin she had to show, discomfort from the crowds leers) which enables Tokoyami to take her out of the ring. Here Tokoyami would win.

Final round.

I'd have Tokoyami vs Todoroki. Here, this would make sense to have Todoroki lose to a powerhouse like Tokoyami with his weakness being light - not cold. Here it would be realistic that Todoroki's hesitancy to use his fire - to create that light that Tokoyami is weak to - would cost him the match. Plus Tokoyami and Dark I could see being much more concerned for Todoroki than Bakugou was when he passed out.

Therefore in this version of events, Tokoyami (and Dark Shadow) accepting the gold medal with pride, Todoroki being pensive with silver and re-evaulating himself (he can't win every battle with just his mum's ice) and Momo being third (Midoriya breaking himself too much to fight her for third place.)

Let me know what you think of my thoughts and shake up in pairings :)

[ardenrabbit]

Hello!

A Long and Slow Recovery - are we past the halfway point? I am so excited to see how everything turns out. Did you do a lot of research to delve into Xie Lian’s experience with recovery? It’s very well written with regard to his mental and emotional struggles. Also , I just love how you write Hua Cheng and Xie Lian’s interactions.

Those Worthy of Following( new name change!) - I gushed about it in your comment section but need to emphasize how much I love that opening chapter with the dual between Hua Cheng and Xie Lian. And this dynamic, of Hua Cheng being the prince, and Xie Lian being the bodyguard, is A+++. Xie Lian is so calm and kind and powerful. He was so fierce about Hua Cheng not talking down about himself. Like,yes gege, please show your Hua Cheng how precious he is, haha. I ❤️ reading Xie Lian showing his protectiveness of Hua Cheng, even from the man himself. I’m also keen to see how Feng Xin and Mu Qing will take to Xie Lian in this verse too.

Is there anything else you can share about it that’s not spoilers? If not, that’s fine too!

Your writing is just delicious - a pleasure, something to savor and come back to again and again.

Thank you!

Omg thank you so much 💕😭💕 Your comments are always such a delight!! It's so validating and encouraging and I hope you know that!!

We are indeed past the halfway point in alasr! I honestly just kind of know what happens in a big blob with like half a dozen bullet points, so I don't have a final chapter count ready, but Chapter 20 is basically the start of the second half of the story. I originally thought the fic was gonna end at just about the New Year celebration, but it turns out his recovery is taking a lot longer than that, and his recovery isn't even the only one we're dealing with now, so I got ambitious. The premise also uh deserves a little more closure and resolution than that lol, so Arc 2 is gonna be a little higher stakes than we've had so far.

I'm so glad you're enjoying how I'm writing Xie Lian and his recovery! Haha I did research a variety of other conditions and disabilities and read accounts from people who have them, because that's just good research. Honestly, though, inspiration for the vast majority of Xie Lian's mental/emotional struggles have been sourced from firsthand experience :)

I'm mentally and physically disabled and have been my whole life, and I wasn't even diagnosed with anything (I was somehow just diagnosed with Teenager) until I hit rock bottom about it in adulthood. I've gotten to a better place with the mental stuff, but even though it's no longer an active threat to me, my bad days can still leave me nonverbal, disconnected from reality, and sometimes catatonic. The physical stuff has been getting worse over the years, and even though I can still walk independently with a cane when I leave the house (as long as I rest a lot), I still fall down just walking in my own home. I keep having to remember that my chronic pain and fatigue isn't normal, and I keep getting evidence that I'm worse than I thought. I've had to reorganize my life around all of it and I'm uh. Not taking it well lately lol.

So alasr is my self-therapy project. Xie Lian is going to get better and I'm not, and that still kind of pisses me off lol, but it's nice to vent and see someone else get a happy ending. So...yeah, at least writing alasr has helped distract me from my own pity party, and Xie Lian's anger, despair, guilt, and forced optimism are cathartic for me. It's not just about me, though; obviously I'm trying to stay in character for him and write in the context of his specific circumstances. But I guess I relate to sick fic stuff lol

Fully aware that that was a lot of oversharing 💜

But ANYWAY, AS FOR ✨ THOSE WORTHY OF FOLLOWING ✨ I'm so glad you're liking that one so far too!! I craaaaave protective badass Xie Lian and I needed a different brand of angst and drama from alasr for a while lol. I love writing violence tbh. I don't wanna spoil too much, but I definitely wanna confirm this:

TWOF is NOT a post-canon reincarnation fic. I'm personally not up for writing that kind of loss of all their canon experiences. And there are probably some really well-written takes on it! It's just not personally my speed. 😅 This one might seem like a post-canon reincarnation fic in the first couple chapters, but it'll make more sense soon.

It IS angst with a HAPPY ending, I promise!! What I'm planning right now gets really rather sad and it might seem hopeless at some point, but I promise, I'm confident in my plan to make it genuinely happy and fulfilling!

I'm exploring a trope about which I've had some general hangups, but I honestly enjoy taking tropes and tweaking them to my preferences. I think a lot of people can already guess what trope I'm talking about, which is fine with me! If it means the buildup and foreshadowing are working, I'm happy it fits!

What I'm panicking about with this wip is that I've convinced myself that I need to earn a doctorate in Tang Dynasty battle and siege tactics to write it credibly lmao. I spent three hours the other night researching ancient Chinese fire starters and the differences between Han and Tang era tea preparation (to little avail). This one is gonna take a lot of research for my own peace of mind but I hope it pays off!

Mu Qing and Feng Xin are gonna be okay!! Someone commented on ch2 that they liked that Mu Qing got hurt because they hate him and I'm like...I didn't think I'd framed that as a good thing..... 😅 That was something a Bad Guy did.......... 😅😅😅

Thank you so much for your kind comments and all of the fun engagement!! I'm truly so honored that you've enjoyed my writing so far! 💖💖💖

[shiro-s2e2-erukinzu]

Anime only watchers and people who aren't caught up with the Manga, BEWARE... Cuz I'm about to discuss Spy X Family Mission 81... You have been warned...! 👌

[SPOILERS AHEAD FROM THIS POINT ON]

OH MY GOODNESS! 😱 THIS CHAPTER WAS SHORT BUT INTENSE!!

And my nerves are still getting to after reading it... So let's talk about it shall we...?

After some really cool action sequences, we are finally introduced to the mole...!!:

Winston Wheeler, a man from the Communication Division that made a very scary (but great) first impression on me...!! 😲 (And though I originally thought that the mole was gonna be someone that we already knew... After finding out that there was a translation error in the last chapter, I kinda just figured that the mole would be a new character after awhile... 🤷 I just didn't expect him to be this cool and yet, VERY FRIGHTENING to me...! 😅)

Moving on, one of our favorite agents without a proper name, Agent Mustache (as I like to call him) gives us the details about where Wheeler is meeting up with the SSS...:

Twilight is obviously quite determined to stop Wheeler (who he has worked with before) from giving that file to SSS; while on the other hand, Nightfall gives her two cents on the serious matter at hand...:

And oh boy, Twilight's response to Nightfall is CLEARLY giving me the vibe of saying without saying to her: "I'm not ready to leave MY MISSION FAMILY behind just yet...! So BACK OFF!!" 😡 (my interpretation, of course...! 😌)

After that, we see Yuri and the rest of the other SSS agents arrive at their destination:

And we learn that this mission was not signed off on:

We go back to WISE's agents and Agent Mustache gives everyone the rundown of what each one of them will be doing, including Twilight, who has to shall the SSS from meeting up with Wheeler...:

...But on the next page, we see that Wheeler has just gotten a phone call from a mystery person...:

I don't know who could be on that other line, but whoever it may be (the SSS, another mole from WISE, or even Garden possibly), it can't be good... 😥

After that, Wheeler is shown surveying the area on top of the roof before he heads down and meets up with Yuri:

And personally, as of right now, I don't I think that's Wheeler talking to Yuri... I think that that's Twilight...! 😤

Sure, the line about the green tie with the gemstone tiepin made me THINK that it's actually him, but what is Twilight's mission right now...: TO STALL THE SSS!! And we all know that Twilight is no slouch when it comes to disguises (unless it's to disguise Franky as a woman 😖), so I am 98 percent sure that Twilight is the one sending the SSS to the park!! (But, I'm still not 100% on it though...! 🤷)

And finally, after Agent Mustache and Nightfall notice that Wheeler hasn't shown up yet (making me believe EVEN MORE the Wheeler that talked to Yuri was Twilight), we see Wheeler meet up with this not-so-gentle man:

And that was Mission 81, and like said in the beginning... THIS CHAPTER WAS SUPER INTENSE!! 😱

Man, I don't know what else to say... This arc is already off to a great start, and I'm excited and a bit nervous to see what happens next...!! 😵 But for now, I feel like need I to take breather after this chapter today...!

As always, I'll see you all in the next mission!! Take care and be safe out there everyone...!! 😊 PEACE OUT Y'ALL!! ✌😙

[natlacentral]

‘Avatar: The Last Airbender’ Crown Prince Dallas Liu Had Elliott Smith on his Zuko Playlist

With the Netflix show officially renewed for two more seasons, the actor talks to GQ about his personal style, his cult series PEN15, and bending lightning.

Before he found his calling, Avatar: The Last Airbender star Dallas Liu considered becoming a stuntman. But when Liu was only 12 years old, his soon-to-be manager discovered his competition videos on YouTube and asked him if he'd ever thought about acting. The answer was yes: “Martial arts had definitely inspired me to become an actor, because of the performance aspect of it,” Liu tells GQ from his home in California.

Now, at 22, Liu’s credits include a Gen-Z cult comedy (PEN15) and a high-profile Marvel film (Shang-Chi and the Legend of the Ten Rings.) He’s been able to channel his eclectic background to play the complicated villain at the center of the Avatar: The Last Airbender franchise, Fire Nation royal Prince Zuko.

A few weeks before Netflix announced that Avatar had been renewed for a second and third season, Liu talked to GQ about how playing Prince Zuko changed him, his love of A24 films, and the Pen15 renaissance.

Were there any Avatar scenes that you were really excited to film?

All of the flashbacks. All of episode six was super fun, but specifically the scene between Aang and Zuko in that shed after an escape. And then, when Zuko sort of blows up at Zhao, at the fight at the Northern Water tribe.

The writers had given me a lot of good stuff to work with, and so I was just happy that in our show Zuko gets a character arc. In the first season of the animated series, he’s sort of one-note and quite melodramatic in each scene—he's sort of being repetitive about his motives. [But] he was always my favorite character as a kid. I just loved Zuko. Being able to play him was a dream come true.

I saw in another interview that you said that it was great to humanize him. Was there anything that you kind of discovered about yourself through playing Zuko, because he's such a complicated character?

Yeah, since he’s so complex, playing him opened up my heart while I was off-set. When I had originally arrived in Vancouver to work on the show, I was similar to Zuko in that I was very narrow-minded in what I wanted to do, in terms of how I wanted to be an actor on set. I thought this was my one opportunity in life to prove to the people that I have a spot in this industry.

I was like, I'm focused on my work, do my job, go home, rest, and just take care of myself. And throughout that process, that's what it feels like with Zuko and Iroh. Zuko is like, "I'm just going to capture the Avatar, and then return them to my father and then I get to go home." And we see that that's not the case.

There are so many things that are involved in this journey that Zuko and Iroh go on, and something that I felt was my relationship with the other cast members and with the crew members started to grow. I found myself wanting to open up my heart and share this experience with them, and share all the love that I had inside of me that I had been trying to hold back on.

If you were not playing a character from the Fire Nation, what powers would you want to have personally?

Oh, it still definitely would be fire. It’s the most aesthetically-pleasing one in my opinion. In the world of Avatar, you can start to manipulate other elements once you become a master of that base one, and I think lightning is something that I've always thought would be super cool to bend. I think fire represents me, my heart.

What's your Zodiac sign?

I'm a Leo.

That adds up.

Wait, why?

Leo is a fire sign!

Oh, yeah, that's true!

Have you seen the TikToks about the Pen15 renaissance?

During my time shooting it, Pen15 was still blowing up. It's been on this continuous rise, which I'm so happy because that show—now it's really, really popular. But at the time, it was so underrated. I was still tapping into a younger version of myself on that series. But [for Avatar] I took inspiration from watching Maya and Anna act out as kids, for Zuko being an innocent child himself in the war meetings, in that first scene with Uncle Iroh in episode six.

I mean, you were still a kid. You were 16. That's a child.

Yeah. Yeah. Well, I guess it's a lot closer to Zuko, and that he doesn't think he is.

Did you really shave your head for this, or did you do a bald cap?

Given that we were trying to stay faithful to the original and what it represented in the show, I thought it was extremely important for me to shave my head. I had a choice. I won't get into what it represents so much, but you get to see a little bit in some of the Avatar lore that exists outside of our series. But it gets you into character so much because it pisses you off so badly every morning. Waking up on the weekends when I'm not working and I just want to go out, I have to throw on a beanie. But waking up and staring at myself—This is my life now, this is who I am—I think it certainly got me into character very easily.

I really liked your red velvet suit at the premiere. How has your style evolved from your younger years to now?

My mom has always been my biggest fashion influence. She's the one who sort of turned me into this picky critic when it comes to outfits and clothes. Even when I was younger, I wouldn't ever let her pick out my outfits. And because I didn't let that happen, I ended up looking really stupid and goofy a lot of the time.

But I think everyone starts in sneakers—very common, especially for guys. You start with basketball shoes, and then you transition into Jordans, and then you transition into some form of streetwear after that. And at that point, you could go, I think, either into this world of vintage or archive clothing, or obviously, people love designer clothing and mixing up that world of streetwear with that.

But for me, I think I just really elevated basics. My style has just become less about brands, obviously, and more about quality. I'm 22 now, so I'm paying for all of this stuff myself. So I'm like, is this worth it? Am I going to be fine without this? On carpets for the Avatar premiere, I wanted to go all out. When I'm in real life, I just stick to all black and different shades of gray.

Did you make a playlist for Zuko, his character to get into character?

I did, but at some point, I stopped using it just because I sort of found my groove from the character. But some artists that were in there were Elliot Smith and Duster.

Which Elliot Smith songs did you put on there?

“Between the Bars.” And just all of his most popular stuff for sure, because especially “Between the Bars” relates to some part of Zuko's life, whether it was his actual scar banishment or catching the Avatar.

Are there any genres you want to dabble in next?

I honestly love drama so much. Obviously, the new Dune film just came out and I just love Denis [Villeneuve]. Every actor, I feel like can agree with me on [that]—and that we want to do an A24 film. But honestly, I'm still just trying to take any work that I can get, because I do want to show my range as an actor. I'd love to work with Willem Defoe on something, that'd be cool. So, just projects that are grounded, but have a stylistic element that separates it from Hollywood blockbusters.