#this isn't a particularly important part of the story

[racefortheironthrone]

Hi- er, this is my first-ever writer's strike, how does one not cross a picket line in this context? I know how not to do it with things like Amazon and IRL strikes, but how does it apply to media/streaming?

Hi, this is a great question, because it allows me to write about the difference between honoring a picket line and a boycott. (This is reminding me of the labor history podcast project that's lain fallow in my drafts folder for some time now...) In its simplest formulation, the difference between a picket line and a boycott is that a picket line targets an employer at the point of production (which involves us as workers), whereas a boycott targets an employer at the point of consumption (which involves us as consumers).

So in the case of the WGA strike, this means that at any company that is being struck by the WGA - I've seen Netflix, Amazon, Apple, Disney, Warner Brothers Discovery, NBC, Paramount, and Sony mentioned, but there may be more (check the WGA website and social media for a comprehensive list) - you do not cross a picket line, whether physical or virtual. This means you do not take a meeting with them, even if its a pre-existing project, you do not take phone calls or texts or emails or Slacks from their executives, you do not pitch them on a spec script you've written, and most of all you do not answer any job application.

Because if this strike is like any strike since the dawn of time, you will see the employers put out ads for short-term contracts that will be very lucrative, generally above union scale - because what they're paying for in addition to your labor is you breaking the picket line and damaging the strike - to anyone willing to scab against their fellow workers. GIven that one of the main issues of the WGA are the proliferation of short-term "mini rooms" whereby employers are hiring teams of writers to work overtime for a very short period, to the point where they can only really do the basics (a series outline, some "broken stories," and some scripts) and then have the showrunner redo everything on their lonesome, while not paying writers long-term pay and benefits, I would imagine we're going to see a lot of scab contracts being offered for these mini rooms.

But for most of us, unless we're actively working as writers in Hollywood, most of that isn't going to be particularly relevant to our day-to-day working lives. If you're not a professional or aspiring Hollywood writer, the important thing to remember honoring the picket line doesn't mean the same thing as a boycott. WGA West hasn't called on anyone to stop going to the movies or watching tv/streaming or to cancel their streaming subscriptions or anything like that. If and when that happens, WGA will go to some lengths to publicize that ask - and you should absolutely honor it if you can - so there will be little in the way of ambiguity as to what's going on.

That being said, one of the things that has happened in the past in other strikes is that well-intentioned people get it into their heads to essentially declare wildcat (i.e, unofficial and unsanctioned) boycotts. This kind of stuff comes from a good place, someone wanting to do more to support the cause and wanting to avoid morally contaminating themselves by associating with a struck company, but it can have negative effects on the workers and their unions. Wildcat boycotts can harm workers by reducing back-end pay and benefits they get from shows if that stuff is tied to the show's performance, and wildcat boycotts can hurt unions by damaging negotiations with employers that may or may not be going on.

The important thing to remember with all of this is that the strike is about them, not us. Part of being a good ally is remembering to let the workers' voices be heard first and prioritizing being a good listener and following their lead, rather than prioritizing our feelings.

[tofixtheshadows]

You guys really need to stop and consider the ways you're talking about Kabru I am dead fucking serious. Like I know that flattening characters is just what fandom does to a certain extent, but Kabru's actual personality is getting lost to the fandom hivemind insisting that he's aggressive/cruel/sociopathic/hateful, and these are particularly concerning takes to see leveled at the only brown character in the main cast day after day. "My poor sweet golden child Laios needs to be protected from this scary brown man" is not a good look! Like, it's very telling that the bulk of the hate and bad faith readings are reserved for Toshiro and Kabru. Everyone else's flaws get to be discussed and validated and forgiven (or erased), meanwhile people are straight making up things to be mad about with Toshiro and Kabru but patting themselves on the back for being smart.

The worst part is how undeserved it all is. I'm trying to lay off anime-onlys because we're still kind of in the red herring stage of getting to know Kabru, but I would still like to gently suggest that even if you think Kabru is up to something, you don't gave to get in the tags of every fan creator's post and bring up how you hate him or You Can Tell he's totally evil. Sometimes I think Kabru's blue eyes give people license to say things about his appearance that they know would sound completely racist otherwise, but referring to his blue eyes acts as a get-out-of-racism free card. The jokes about the dog with brown contacts are getting old, by the way.

For people who have read the manga, it's disappointing. Kabru is one of the most complex and important characters in the story, and if you base your interpretation of him and all your fandom interactions on shallow first impressions you are completely missing out.

I know part of this is because Dungeon Meshi is a comedy, but the story also wants to be taken seriously. For example, it's admittedly really funny when Chilchuck calls Laios "sick in the head", but that doesn't change the fact that the way Chilchuck casually belittles Laios caused him to hide the fact that he was "hallucinating" from his friends for weeks. Those feelings matter.

Like, this

is funny.

But this?

Is not. This is just a very clear example of a brown boy with PTSD. As someone else with PTSD, just looking at this fucking sucks, man.

The only reason why Kabru thinks about killing Laios is because he is in the middle of a flashback. He's struggling through a panic attack. If he truly wanted to kill Laios because he's violent or because he finds Laios inherently annoying, he wouldn't otherwise talk with Laios normally. Notice how he doesn't act this way at any other point in the story- it's just because he's triggered by monsters. Even when he's thinking about his plans to "deal with" Laios later, he's reluctant to actually kill him and only considers it to prevent another tragedy. Despite his deadly skills, Kabru relies far more on "soft" power- insight, persuasion, diplomacy. He's a rare example of a character who absolutely is, or at least can be, manipulative, but seems to use his abilities for good. He's not a pathological liar, he isn't looking down on everyone behind a smile. He's someone who is extremely emotionally intelligent, and he's willing to put aside all his own basic wants and needs to stop the cycle of dungeons devouring humans.

I'm going to cut a potential thesis on his character short and just give some examples of things that fandom should consider about his personality more:

Racism in fandom isn't just about whitewashing in fan art, or using racial slurs. The insidiousness of bad faith readings, reductions to racist tropes, lack of fan content for characters of color, and dismissal of a character's complexity are far more common. You can believe yourself to be completely neutral or even positive about a character and still churn out low-grade bile about them into fandom's collective unconscious. Fandom reflects real life.

And I have been around fandom long enough to see how these behaviors (mostly from my fellow white fans) affect fans of color, how it makes a fandom feel hostile and unwelcome to them. It's fun to make jokes and memes, I'm absolutely not saying that everything needs to be a deeply nuanced take, but we need to be careful that it doesn't veer into toxicity. Please think about how our contributions to fandom come across, and what sort of vibes they cultivate in this communal space.

[hotchfiles]

“ DOOMED ー +18, mdni

ー aaron hotchner x fem!BAU!reader.

ー summary: three times he tells you he's leaving haley and the one time he does it.

ー content: angst, cheating, allusions to sex, crude words, ooc!hotch in the sense he would not be a cheater. NO HAPPY ENDING.

ー w/c: 1.4k

ー a/n: pain, cheating and guilt are my favorite emotions.

This is not a love story. But it began with shared cigarettes and a confession.

I - COME SHOVE ME OVER THE EDGE

"I think Haley is cheating on me." He's not looking at you as he says it, eyes on his feet as he takes a particularly long drag of his cigarette ー one of yours he asked for, you didn't even know he smoked until that very moment, but the way he held the white poison between his fingers and let only part of the smoke leave his nostrils showed you it wasn't his first time.

It's good he isn't looking as you aren't able to mask how wide your eyes opened, completely shocked at first, but it isn't the shock you wished to mask, the following shrug of your shoulders was the bad reaction to such confession. It shocked you because Haley was obviously in love with the man by your side, but then ー it made sense. Loneliness is a powerful motivator for the vastest of actions. And working with Hotch it was easy to see Haley was lonely.

"Complete silence wasn’t the reaction I was expecting."

"And what were you expecting?"

"Not entirely sure. Empathy? Pity?"

You grin to yourself more than to him, if he wanted one of those, he would've gone to one of the other girls. "Don't feel those when I see consequences catching up to the actions deserving of them." Hadn't he complained about your silence you wouldn't be so blunt. But it was almost like he was teasing you, hoping you would bite back.

You hear the air come out of his nose and he coughs part of the smoke he was about to inhale, surprised but amused at your response. Truth be told, part of him needed that, needed some sort of punishment, or so he felt. It's why he went to the roof after you to smoke, and not Emily.

"I think I'm gonna file for divorce," he says after some minutes of silence, watching as you put your cigarette out by throwing it on the floor and stepping on it.

"That's probably wise." It's a short reply to end a short conversation ー one you didn't really wanna participate in. You and Hotch aren't friends. He's your boss. Has been for six months, and by now you made it obvious to everyone that you enjoyed being alone and treating the job as what it is: A job.

As a young new female agent, fresh out of the academy you were designated to the white collar division. It wasn't as physically dangerous, but there you were forced to shut others out, the competitiveness and misogyny made it impossible to have them as family.

The BAU is different, but old habits die hard, especially the ones you gathered as protection.

II - YOU KNOW THAT I'M IN LOVE WITH THE MESS

Aaron teases you, breathless telling you he melted your icy heart, you let him know your heart is as icy as three months ago.

His fingers grip on your hips with much more strenght than before, it hurts in the best way and you know there will be red marks there in the morning as a treat and reminder. He uses the newfound support to thrust up into you, setting a new pace, faster, relentless, no warning.

You can't react any other way, a loud moan escaping your lips as your nails sink into the skin of his shoulders, a muttered curse leaves his just before a smirk is plastered on his face, amused at your pleasure.

"Sounds melted to me." 

Replying to that is useless, so you don't. Enjoying the feeling of his body against yours and him throbbing inside of you holds more importance than protecting your ego.

You brought him home, the sanctity of your bed now tainted by your sins, so he wasn't wrong, he was melting your heart, finding a place for him there in the depths of your soul in the past three months.

It started slow, you aren't sure if it was his intention all along, following you every time you took your smoking break, buying your cigarette brand and giving it to you as a thank you for sharing it with him, buying you coffee and talking to you. But most of all, enjoying the silence with you.

A month in he offers you a ride home, lips to yours as soon as the car reaches your street. You couldn't wait, neither could he. Fucking in the car was never comfortable, but it was hot, the look on his face when you left the car after you both came, saying goodbye instead of inviting him inside was completely worth it.

In the daze of your desire you didn't even notice his wedding band intact on his finger. It became more apparent with time, so much so he began taking it off before meeting you in hotels. He thinks he does it for your sake, but you know it's actually for his own.

He feels guilty. You wouldn't like him as much if he didn't. But it would make things easier if he didn't have reason to be feeling that way.

"I talked to a lawyer last week." He gets sappy after sex, hands caressing your body with feather-like touches, promises made in loving tones you pretend not to hear. You know your place too well to show how easily swayed you are by him. You hum in reply, nodding into his naked chest. "I'll just wait for Jack's birthday to pass, I want to spend one last birthday without the weight of the divorce. Then I am all yours."

You try not to care, but you do. And worse than that, you believe him.

III - WHEN IT RAINS IT FUCKING POURS

You are angry and embarrassed, but mostly you just feel so humiliated it physically hurts both your head and your heart. Alone in a conference room, all you can do is think and relive how stupid the situation was and estipulate about what everyone was thinking about you.

A nice good-looking cop flirted with you, and you weren't bothered by it, you even flirted back lightly, nothing serious about it and it wouldn't come to anything, you weren't looking to date anyone. It was innocent and you are single.

Aaron didn't see it that way. Made a huge deal of it, told you and the guy off for not paying attention to the case and the way he looked at you... Your colleagues are profilers, the deal was to act normally, and now you know they know it.

It's not like you're the type to care too much about societal morals but the newest team member that doesn't open up ends up sleeping with the boss. No need for any profile course to know the type of assumptions to be made.

You may not care about much, but you care about your job and being seen as less than capable for taking your boss' cock every other day was not in your plans.

You can't even make a scene. Morally wrong women helping men cheat don't get to make a scene.

You get to wallow alone. That's your prize.

That and an explanation text as you won't be alone with the other for a while in favor of professionalism.

I'm sorry. l got overly jealous.

It's hard seeing you smile like that at someone else.

But soon it'll be just us and when you're officially mine everyone will know it.

Everyone will know it. You can only scoff at that. As if his jealousy fit masked as concern for the case wasn't enough for your team of profilers. Everyone knew now. No going back. From ice queen to office whore in a blink, all for a man who has been promising to leave his wife for almost an year now with no actions to keep such promise, nothing to prove his intentions but your trust to his words.

IV - NOT WORTH SAVING IT

You are on your annual leave when he finally does it, signs the papers Haley served him. The fact she was the one to file should be clue enough, but it took the excruciating knowledge of how long it was taking him to sign the damn thing to snap you out of his grasp.

It's just a coincidence, a bitter one to him at that, that Strauss handed your transfer papers and substitutes' files on the same day he signed and mailed back his divorce papers.

He tries to call you, goes to your house but traveling for your AL was your plan for that reason. You didn't want to talk, didn't want his honey-dipped words and warm hands to blur your good sense.

It's done. You are done. There's no way back, you were doomed from the start.

[periwinkla]

Phoenix's careful wording in 4-1

I noticed something about 4-1, Turnabout Trump. Phoenix uses very careful wording. He never outright lies, mostly misdirects. Like when he's asked if the locket is his, and he says the locket has his daughter's photo inside. But the most important misdirection here is about the forged card. He never shows it as actual evidence from the crime scene: if you look carefully at his words, he actually shows it as evidence of the reason why the killer would have taken the card. He's even meticulous about verb choices. In the ENG ver,, he even outright says the card is his. Everyone simply assumes. Also Apollo, unknowingly, doesn't present it as evidence from the crime scene, either. Anyway, here are some parts I found particularly incriminating. JP text beside ENG for comparison's sake. I'll only provide translation for the relevant parts (or the parts that differ between versions). But as you can see, the misdirection is there in the JP version as well. Disclaimer : I only studied Japanese for a little while. AA dialogue is pretty simple though. Also English isn't my native language either. Feel free to correct me on anything wrong here. Also note that I'm not trying to make the translations sound natural, I'm mostly trying to explain what the words are saying, sometimes I'll be more literal than others. Translation =/= localization. Translation notes and musings are in small text.

Judge いかがですかな？　弁護人。 Well, Mr. Justice? カードがスリ替えられて、 持ち去られた“理由”‥‥ The question of why the killer would swap out a card has been raised. そのコンキョを提示できますか？ Can you point to a reason? Apollo (‥‥どうやら、 　ここが“勝負どころ”だ！） (…It's now or never!) なぜ、カードは スリ替えられたのか‥‥。 Naze, kaado wa surikaerareta no ka... The defense would like to present evidence to the court… Naze, kaado wa surikaerareta no ka... Why the card was switched... 弁護側は、その“理由”を 提示したいと思います。 Bengogawa wa, sono "riyuu" o teiji shitai to omoimasu. Evidence showing the reason why a card was swapped out! Bengogawa wa, sono "riyuu" o teiji shitai to omoimasu. The defense would like to present that "reason".

Judge これは‥‥まさか！ Could… this be…!? 現場から持ち去られた “５枚目のＡ”ですかッ！ Could this be the missing fifth ace!? Kristoph ば‥‥バカな！ なぜ‥‥なぜ、キミが‥‥ In-Inconceivable! How could you… そんなものを持っているのだッ！ What are you doing with that card!? Apollo そ、それは‥‥その。 （なんだ、このあわてようは‥‥） Um, well, that's the thing… (Why's Mr. Gavin so upset?) （アヤシイ女の子からもらった、 　ただのアヤシイカードなのに） (Ayashii onna no ko kara moratta, tada no ayashii kaado na noni) (It's just a fishy card from some fishy girl…) (Ayashii onna no ko kara moratta, tada no ayashii kaado na noni) It's just a suspicious card given by a suspicious girl... Apollo doesn't even understand the weight of the card when he presents it. He's just doing what Phoenix is pointing him to. He thinks it's just a suspicious card, and he's only using it to provide a "reason". At first, I was confused by this, because he seemed convinced later on that the card was real. But it appears that at first, he was indeed suspicious of it. It's just as the trial goes on, he's manipulated to think the card is indeed real. Because he trusts Mr. Wright, which *seems* to say it's real. Phoenix そのカードはね。 あの晩、事件の後‥‥ 《ボルハチ》で、 ぼくが拾ったんだよ。 Sono kaado wa ne. Ano ban, jiken no ato... "Boruhachi" de, boku ga hirotta n da yo. Oh, that card? It's mine. That is, I picked it up at the Borscht Bowl Club that night after the murder had occurred. カードは商売道具だからね。 ‥‥ムスメにわたしておいたんだ。 Kaado wa shoubai dougu dakara ne. ...Musume ni watashite oita n da. I gave it to my daughter. Cards are her stock and trade, after all. In the ENG, 'It's mine' is actually an addition. Maybe to drive the point home more? The rest is the same though.

Phoenix じゃ、ハナシをつづけようか。 Ja, hanashi o tsuzukeyou ka. Allow me to elaborate. Ja, hanashi o tsuzukeyou ka. Well then, let's continue this discussion? (fun fact: hanashi can also be traslated as 'story', or even 'fable', you could say hanashi is the noun version of the verb hanasu (to talk, tell) so it's basically anything you 'talk' about) この“血痕”が原因だった としたら、どうでしょう。 Kono "kekkan" ga gen'in datta to shitara, dou deshou. What if this trace of blood was the reason? Kono "kekkan" ga gen'in datta to shitara, dou deshou. (what) If this ''bloodstain'' was the cause... what do you think? The 'dou deshou' is usually also traslated as 'what do you think?' - it's used after you make a statement and you want to ask for the other person's opinion. But mostly it's a rethoric question. 'What about it?' would also fit. Also interesting how "bloodstain" is in quotation marks...

Phoenix 現場写真‥‥被害者の頭部を もう一度、よく見てください。 Take another look at the photo… and at the victim's head. 犯行の瞬間、帽子は床に落ちて、 このとおり‥‥ At the moment of the crime, his hat fell to the floor… ひとすじの血が、 後頭部に向かって流れています。 …and a trickle of blood ran from his forehead down the back of his head. この血が、一滴。カードに落ちた。 ‥‥そうは考えられないでしょうか。 Kono chi ga, hitoshizuku. Kaado ni ochita. ...Sou wa kangaerarenai deshou ka. Couldn't a drop of that blood have fallen on one of the cards? Kono chi ga, hitoshizuku. Kaado ni ochita. ...Sou wa kangaerarenai deshou ka. This blood, this drop. Fell on the card. ...Is that unthinkable? / ...Is that unimaginable? He's basically proposing a theory. Not said the card in Apollo's hand is actually the one. Apollo カードに、血が‥‥ Kaado ni, chi ga... I suppose… Kaado ni, chi ga... On the card, the blood (fell)... Apollo is following along with what he's saying. Phoenix ハンニンは、それをかくすために カードを持ち去ったのです。 Hannin wa, sore o kakusu tame ni kaado o mochisatta no desu. The killer then took the card to hide the blood. Fun choice of words. 'no desu' = 'the explaination is that...' or, in this case: 'the explaination would be...' This is the more literal translation just to make it more obvious how he phrases it: The culprit, in order to hide that he took the card the explaination would be So in a way that it's actually comprehensible: The explaination would be that the culprit took the card in order to hide that (the blood).

Kristoph 成歩堂！　キミも 一度は法廷に立ったオトコだ。 Wright! Regardless of how you wasted the last seven years, you used to be a lawyer! 証拠品を隠すことが、 どれだけ大きな“罪”であるか‥‥ You know what a serious crime it is to conceal evidence! Phoenix そのギロンはあとだよ、先生。 それよりも‥‥ Sono giron wa ato da yo, sensei. Sore yori mo... Oh, we can discuss the finer points of our legal system later… Found it funny how he calls him 'sensei' but in a way that is very mccking. 'Sensei' means someone who is masterful/very knowledgeable in something, in this context, law. He says 'Let's leave that discussion for later, sensei. More importantly...' これで、きみの疑問に 答えるコトができたようだね。 Kore de, kimi no gimon ni kotaeru koto ga dekita you da ne. What's important now is that I've answered your question. Kore de, kimi no gimon ni kotaeru koto ga dekita you da ne. And with that, I was able to answer your question, wasn't I? Basically says the same thing, but uses 'dekiru' = 'to be able to' Kristoph な。なんのコトですか？ Wh-What are you talking about? Phoenix ハンニンがカードを 持ち去った“理由”だよ。 Hannin ga kaado o mochisatta "riyuu" da yo. You wanted to know why the killer would have taken a card from the crime scene. Hannin ga kaado o mochisatta "riyuu" da yo. The "reason" the culprit took the card. カードに残った、１滴の血。 Kaado ni nokotta, hitoshizuku no chi. And now, I've told you. A drop of blood, it feel on the card. (That was why) 彼にとっては“致命的”だった。 ‥‥だから、持ち去った。 Kare ni totte wa "chimeiteki" datta. ...Dakara, mochisatta. That one drop of blood would have been decisive evidence, you see. Kare ni totte wa "chimeiteki" datta. ...Dakara, mochisatta. For him, that (the drop of blood) was 'fatal'. ...So, he took it.

Overall, the word choice in both JP and ENG is very careful, but in different ways since... obviously they're different languages with different idiosyncrasies. In conclusion....

Phoenix basically treated the card not as evidence from a crime scene, but more of an example, a recreation, a construction. Never said that was the actual card. Made people assume. Didn't correct them. So... he manipulated their thoughts. He's like 'oh, you want to know the reason? well, let's see, why would the killer take the card...? well maybe it had incriminating evidence on it - oh what kind of evidence? look at this card here - see this drop of blood? what if the blood fell from the victim's head on the card? so he had to take it - because it would have made it obvious the killer entered from the secret passage and how the murder actually happened' Something that breaks my heart immensly about all this is that Apollo is so adamant at the start of the trial that Mr. Wright would never lie... and he's furious and heartbroken that he basically manipulated him (and everyone else), instead. Phoenix literally couldn't lie anyway, because then Apollo would have known. If you think about it, it's kind of how Engarde was able to lie to Phoenix even though he had the magatama. He purposefully and meticulously manipulated people to think the evidence was real, without ever saying it. Putting the words in other people's mouths. (Also... at least to me, this seems a very prosecutor-like tactic. Perhaps even Von Karma-like.)

Why does he even tell Apollo that he forged it? (He didn't have to.) Because he felt guilty. Apollo asks how he can call himself an attorney and he tells him he, in fact, doesn't call himself one. Doesn't have the right to. Phoenix isn't a liar - he says so himself after the trial, he never lied - but he sure is a manipulator here. But he does feel guilty. He lets Apollo punch him. And he smiles. I think this shows how even when we believe that what we're doing is wrong, we might do it anyways. Out of desperation, anyone might cave and go against their own morals.

[moony-2001]

The real-world impact of Lore Olympus

i.e. do your research Rachel

Trigger warning: racism, fetishization, appropriation, mentions of SA

Long post ahead

A while ago, someone told me that Lore Olympus was just a silly little comic written out of boredom. That it was made to be "funny". They told me that "[I] can't hope [for] an extremely [well-written] story when it was just made with the intention to make something goofy" and that if Rachel actually wanted to make something serious like I had, she would write a book and not a comic.

At the time of this exchange, it was past 1 a.m. and I was exhausted. I did not want to argue with this person and it simply wasn't worth my time or energy in the moment.

But looking back at that (mostly one-sided) interaction, I can't help but think that there is so much wrong with that point of view. Of course, everyone is entitled to their opinion about Lore Olympus, whether good or bad. But Lore Olympus isn't just some silly little nothing comic about nothing important. It is a comic that actively appropriates and erases Greek Culture. It is a comic that has no respect for the actual stories that have been passed down over thousands of years whether by word of mouth or written text. It is a comic that perpetuates a false narrative and harmful stereotypes about characters or certain groups of people. So, no, it's not just a silly little comic.

Incorrect information

Here’s an example of what I mean:

When I was doing research for my post about the 10 year time skip, I looked up Leuce to reconfirm the little information I knew about her. Wanna guess the first thing that popped up about her?

A Lore Olympus Wiki article.

Okay. How about Minthe? Hundreds of pictures of her from Lore Olympus and a LO Wiki article as one of the top 3 results. Both character are horribly represented in LO and unfortunately there isn’t really any documented stories or records that can refute how LO paints them. Because of this, other characters in Greek Mythology like Leuce and Minthe, whose stories have little to no documentation, stand to suffer the most harm from deliberate misrepresentation on Rachel’s part.

Of course well-known and better documented figures in Greek mythology face slander as well. What about Thetis or Leto? How about Apollo? All of their portrayals in LO are HORRIBLE. I have seen people online absolutely drag them to filth not because they're upset about how the character is portrayed compared to their mythological counterpart, but because they have no knowledge of how they are actually portrayed outside of LO. They just assume that's how the characters are. Similarly, people who have either very little or no prior knowledge of Greek Mythology and Culture would look at the comic and go "Yep, sounds legit. It must be true." and go about thinking that what is portrayed in LO is accurate to what was transcribed thousands of years ago.

Creative interpretations and racism/fetishization within LO

Don’t get me wrong. Creative interpretations and artistic liberties can be great. When they’re done tastefully. I personally think if done correctly, a Greek myth spun in a modern way has the potential be very good. But that's not what we were given.

Characters like Minthe, Leuce, and Thetis (all nymphs btw) are portrayed as trashy tramps who put out and are used as a foil sabotage Persephone and/or her relationship with Hades. Compare that to Greek Mythology where in the Iliad, Thetis is very well-respected by the gods, particularly Hera. Unfortunately, other similar characters like satrys (and basically any character that isn’t a god) are usually portrayed as a low-class POC that can be easily exploited, manipulated, or used as a temporary villain/lover/pawn to “get back” at Persephone, our white-coded protagonist who can do no wrong.

Additionally, there is a clear race/class bias against characters like nymphs in LO. We see many cases scattered throughout the comic of gods like Hera or Aphrodite referring to nymphs as "trash" or "low class" or the idea that nymphs do not belong with gods being heavily implied if not outright said. I cannot tell you how often I've seen Minthe be called some variant of "cheap" by the readers of LO. Even Persephone (who created the flower nymphs) treats them with such disrespect. She frequently calls them some variant of "stupid" or "simple" like saying how they're not the sharpest crayons in the box even though she's the one WHO MADE THEM. However, it's so odd not really to note that nymphs like Echo, Amphitrite, or Psyche (who was previously disguised as a nymph) are not discriminated against. This is because they are liked or trusted by the gods they are around and ergo are often portrayed as the "good ones", which is a disgusting mindset to have.

We also see the fetishization of nymphs in the comic that is disturbingly similar to the fetishization of women who are Black, Asian, or Latina. It is a known fact that Hades has a flower nymph fetish. Not only is this implied in the comic, but Rachel stated it outright in an old Patreon post. Nymphs are also generally treated as sex-symbols, disposable, and as a lesser-than. Zeus frequently displays this behavior by abandoning nymphs he knocked up in the mortal realm.

For example, when Persephone finds out Apollo is dating Daphne, she isn't upset he's dating her friend. She's upset he's dating a flower nymph, beings that are generally considered to be "rare", "dumb", and objects of sexual desire. Ew.

Even on the Lore Olympus website (loreolympians.com) nymphs are regarded as "beautiful", "desirable", and "very exotic". And when they're not described in a sexual manner they're say it with me now regarded as "low class" or "workers" for some kind of god/goddess.

Final thoughts

So not only is the characterization of characters like Minthe or Thetis harmful to Greek culture and the stories that are so ingrained in their society, but it is also perpetuating harmful stereotypes about people of color and women who are confident in their sexuality.

Of course, the characters within Greek Mythology had their own issues. Zeus was a serial rapist, many of the goddesses deemed to be "feminist" by today's standards were actually horribly misogynistic looking at you Athena. But 1. that's just how things were back then (but that does not make it right) and 2. all of the good, the bad, and the ugly is still there in Greek Mythology. They're not denying how fucked up it is, but they're also not changing their history to better fit their own narrative or the narrative of the modern world. It exists, it happened, but now it is studied and called out by historians.

Rachel, on the other hand, is doing exactly that. She is actively changing the Greek's cultural history to better fit her fic's narrative. She is constantly sweeping things under the rug or going "No this is how it ACTUALLY happened". Lore Olympus is marketed as a "feminist retelling" yet somehow, it takes allllll the ugly parts from Greek Mythology (rape, incest, problematic age gaps, dubious consent, etc.), mixes it with a majority of the issues we have in the modern world (white feminism, rape-apologists/rape culture, grooming, fetishization of certain minority groups, etc.) and then amplifies the concoction to 20. Lore Olympus cannot be a "progressive, feminist, retelling" and also have characters that are morally apprehensive/come straight from the ancient myths. It does not work. In fact, IMO it makes all the problems from both eras worse.

News flash: actual cultures that are still thriving today are not your toys. They are not "made up". They matter. Do better.

[rainbowsky]

Sorry I've taken so long to address this, I've had a very busy day and didn't have time to finish this post (which I started yesterday).

I'm talking, of course, about the incredibly controversial situation surrounding DD right now. I've gotten some messages about it so I figured I'd give my thoughts in a bigger post so that I don't have to keep repeating myself.

(CW: racism, spoilers FPU)

I know that by now most people are aware of the situation, but I'm going to start from square one for those who are just catching up on the topic.

There is a scene in Formed Police Unit where Chinese UN peacekeeping troops need to rescue a group of citizens who are surrounded by terrorists. In order to accomplish this they disguise themselves as people from the community. This being Africa, the troops were disguised using blackface.

Yes, I am saying that DD and his castmates appear in the film in blackface.

I am not going to post a picture of that here. It's just something I can't post on my blog. I understand that many of you will want to see for yourself so I'll link a clip of the scene, which was posted on Weibo. Please be aware before clicking - this is full-on blackface. Always take care of yourselves, and if you think it might be upsetting to you don't click. You don't need to see it to be a 'good fan'.

Background

For those who may not know, this movie was filmed years ago, in 2021. During those years I have seen many anti attacks against DD, claiming that he is racist and has worn blackface. Here's the photo that was circulating back then.

At the time I thought the makeup that he was wearing was likely anti-reflective black paint or camouflage paint such as is used by snipers (which he played in the film). I assumed that he was wearing his own hoodie over part of a military costume, because he was wearing a cammo shirt and what might have been combat trousers.

I was certainly not expecting full-on blackface from this movie.

There's no getting around it - this is extremely difficult to look at.

Blackface is widely viewed as offensive and racist. It shouldn't be hard to understand why. Putting on another person's ethnicity like a costume is deeply insensitive, particularly when you consider that BIPOC (black, indigenous, and other people of color) are so frequently targeted, exploited and marginalized. For those in positions of privilege and power to put on the appearance of the people who they oppress and exploit... it's just shocking and awful.

Blackface is most frequently talked about in an American context, but it's actually a problem globally - including in China. More on all that here.

The film

I have not actually seen the film, so I don't know much about the context beyond what is being discussed in the fandom. As I said earlier, in the film a group of UN police officers need to infiltrate an area in the community, and they take on disguises in order to do so.

In promotional media this film is being presented as based on true stories from real missions*. It seems the situation in question really happened on a Chinese peacekeeping mission, and the UN troops disguised themselves as black citizens in order to infiltrate and extract the endangered captives.

*I'm going to give them the benefit of the doubt on this because it doesn't change how I feel it should have been handled.

This is important context that is being conveniently left out of much of the backlash about this situation. People are outright claiming that DD plays a black person in the movie - that he wore blackface to perform a role that a black actor could have played. This simply isn't true, and people making these claims are antis and liars. There's simply no excuse for not knowing the full context.

Having said that, I don't really think it matters how it ended up in the film. I do not think there is such a thing as a palatable or appropriate use of blackface. In this day and age it is nearly universally understood to be racist, and it's extremely controversial.

I can understand if they were trying to be accurate to the mission that they were portraying, but surely there are other ways they could have accomplished this scene (perhaps with the clothing but not the blackface). 'Historical accuracy' isn't as important as cultural sensitivity, not by any stretch of the imagination. In the interest of respecting audiences they could have adapted the scene to make the use of blackface unnecessary.

I really see no excuse for anything like this in 2024.

Audience reactions

Chinese sensibilities around these topics are very different from what we are used to in the West.

According to fan repos audiences initially didn't recognize any of the actors, and once it became apparent that they were in disguise, laughter erupted around the room. In fact, most fans are laughing a lot at the photos and video even on social media (although some Chinese netizens have been upset by it and have voiced complaints to various stakeholders).

It is also being widely discussed on Chinese social media as an exciting scene of heroism in the film.

I feel the need to point out that the laughter and mockery is a huge part of the harm, here. As if it's not bad enough that these actors are performing in blackface and presenting a perversion of black ethnicity, it also becomes an opportunity for audiences to mock and disrespect black people. It's become an opportunity for social media to be filled with racist jokes and mockery.

Roadshow statements

There have been some clips circulating of PR and roadshow moments with black cast members and some black audience members who have spoken up in support of the film and to thank the cast and crew for telling the story. Here's one example.

International fans have been dismissing those statements as ignorant or coerced, which I think is offensive and deeply fucked up. There's no planet on which I'm going to - with a totally straight face - say that a black person's response to the movie is not legitimate just because it doesn't comport with my own view.

This is a complex issue and there are inevitably going to be a lot of different perspectives. I hope people won't exacerbate the problem by supplanting black voices on this issue with their own, no matter what's being said. If there's any manipulation going on, let's assume it was in their choosing supportive black figures to speak for the film rather than claim that the black spokespeople are insincere.

China has a lot of issues with racism, there's no doubt about it. It's a huge part of why so many people try to whiten their skin, or why they mock each other when their skin gets tanned/darker. There is a lot of sinister, fucked up stuff going on in China around race - both in the country and in their dealings with other countries.

But we can't claim to speak for black people in China, particularly when they are speaking for themselves! I would hope this is extremely obvious!

Where's DD in all this?

It's understandable that bystanders will react to what they're seeing and might immediately deem it unacceptable - and DD along with it. Their reactions are valid, but as fans I hope that we can look at him with a bit more empathy. I hope that we can take a moment to try to see things from his perspective.

DD has been interested in and an avid fan of black culture since he was a small child. We've all seen how much he immerses himself in hip hop, street dance and the accompanying music and fashion. And yes, he's been accused of cultural appropriation in the past for wearing locs and durags.

However, I think fans need a bit of perspective here to get a sense of where DD might be coming from. Here's a guy who loves black culture, who has close friends who are black, who regularly works with black artists and who supports black artists, in a culture where racism against black people is prevalent and often extreme.

I think DD would probably be amazed to hear the accusations of racism against him. He likely has very few people in his orbit who are anywhere near as supportive of or as closely connected to black people as he is. He likely stands out in his circle as being particularly into black culture and connected with black artists, and probably regularly faces ignorant questions or digs from people around him about his close association with black artists and culture.

Not just because of racism alone, but also due to the racist parallels the government tends to draw between black culture, street dance, hip hop, etc. and criminality/moral degradation*. It's likely that ignorant people in his orbit have expressed concern or wariness toward him because of these associations.

*That is, until breakdancing became an Olympic sport, then they were suddenly onboard with some of it.

I'm not saying that he doesn't have a lot of learning to do (and if this situation becomes what I think it might become, he'll have a big opportunity to do so), I'm just saying that his ignorance isn't mean-spirited. He's coming at this from a totally different angle than any of us are, and he is immersed in a totally different cultural perspective than our own. In his world, his interest likely makes him a bit of an anomaly.

So those painting him as a horrible racist... it's just not how I see it.

The element of choice

I've heard many people say that DD 'didn't have any choice' about this role, that turning it down would not have been an option or that he would be under some kind of threat if he didn't take this role. I don't agree with that characterization of things. I don't think it's quite as 'gun to the head' as a lot of fans paint it.

I think it's more likely that he simply didn't realize that the role would involve blackface when he accepted it, or that he thought that blackface in this context - to infiltrate a terrorist cell and save civilians - would be fine. We don't need to depict China as forcibly compelling actors to take unwanted roles if we want to make sense of this. There are simpler, more logical explanations.

DD wouldn't have been the one deciding how to depict the scene - he didn't have that power in 2021 - but I also doubt he would have had a major problem with it given everything we know.

We must overcome our Western tendency to see things only from our own perspective. This has a totally different cultural context in China, and the voices we listen to about it should not be issuing exclusively from white faces that are not at ground zero of this situation.

Final thoughts

This film has had me worried from day one. I think most people have been expecting it to be full of offensive portrayals and propagandistic fuckery. There are so many ways in which a Chinese film about the UN is potentially a sticky, tricky mess. This blackface thing is likely just one problem on a towering pile of problems.

However, I'm not going to sugarcoat this - this has the potential to be a real shitshow for DD, and I am concerned. Especially if this film gets an international release.

We need to brace ourselves, because I don't think this is going to just disappear. DD has endorsements with international brands, and this could definitely cause backlash for those brands unless the issue is addressed and the scenes removed. There's no planet on which brands like Chanel and Lacoste can afford to have one of their spokespeople plastered everywhere in blackface.

If this film gets an international release and those scenes are left intact, it's possible he will lose some brands.

Let's hope it doesn't come to that, but let's face it - things like this have consequences, and that's why it's so important for producers and artists to be sensitive about what they're portraying.

While I think there's some endorsement risk here for DD, and the potential loss of some international fans, I want to be clear about one thing: I don't think this will threaten his career overall. In China this just isn't an issue in the way it is internationally.

I do hope the film team addresses this issue in some way, ideally by removing the scenes. They just finished doing a massive edit to remove ZZH from the film, surely they can handle something like this. But let's not hold our breath...

Everyone has the right to make up their minds about DD. As I've often said, being a turtle isn't for the faint of heart. That's not just because turtles are frequent targets for bullies, or because we have to constantly live with uncertainty and doubt.

Being an international turtle also isn't for the faint of heart because there are a lot of cultural and political minefields to navigate, and many ideological differences to adapt to. There's a huge learning curve and a lot of unknowns, and turtles who want to survive have to make peace with the fact that we and the boys are from different worlds in many ways. We may never know where they really stand on issues that are important to us.

However, in this case I feel confident that I know where DD's heart is on this issue. He simply doesn't hold hatred, disrespect or disdain for black people. Quite the contrary.

I think we'd all just feel a lot better if he had a good grasp on how to be a better ally.

And while we're waiting for that, I think we should put our money where our mouths are and learn more about these issues ourselves, both in China and locally at home. We want DD to be a better person; let's be better people too.

Edit: more on this here.

[mrsmaxwelllord]

Summer Storm

Pairing: Harwin Strong x Martell Lady!Reader

Summary: Harwin leaves King's Landing to protect the three youngest princes from the dangerous rumor circulating in the Red Keep. Upon arriving home, he discovers that his father had another plan to put an end to the rumors once and for all.

or, Harwin marries a Martell who can see ghosts.

Word Count: 2.8k

Warnings: For now, only Arranged Marriage.

A/N: I think it's important to make two things clear before you start reading.

There is no Harwin/Rhaenyra in this story. Harwin returned to Harrenhal with the intention of putting the past behind him and the relationship they had is only briefly mentioned.

The Reader can see ghosts and has visions of the future. This is very important for the plot I have in mind, but it will be explained better in the following chapters (It will be important to the plot but have it in mind it isn't the central point, I intend to explore the relationship between the two more).

The only reason Harwin Strong agreed with his father about returning to Harrenhall was to protect Princess Rhaenyra’s children. His sole goal was to protect their honor and keep them safe from the nasty rumor about their parentage. 

He knew he had made an irreversible mistake by letting Ser Criston get under his skin — this was exactly his goal, he realized later —, losing his temper and giving him the reaction he was looking for sealed his fate at King's Landing. He also knew that he had to part with the boys, by staying he would only allow the rumor to grow and strengthen. Even though he loved them so dearly, it was the right thing to do. 

Harwin didn’t question his father any longer and left. The goodbye was particularly hard with Jacaerys and Lucerys, with little Jofrey it cut especially deeper for he would not be allowed to see him grow as he had had the chance with the two eldest boys. The farewell with Princess Rhaenyra was strange in a way he didn't imagine could be possible, not after so many years in camaraderie: she was awkward and had the expression of someone who wanted to confess something, but could not do it. In the end, she only looked at him with teary eyes and nodded her goodbye. He spent the whole trip home thinking about this interaction, wondering what it meant.

Only when the five towers of Harrenhal were visible in the distant horizon and he could see the Gods Eye’s waters,  did his father break the news to him. He was to marry. He was to marry that very same day, as soon as he set foot at the castle in matter of fact. 

He was not only to marry a Dornish Noble, he was to marry a Martell. Not one of the ruling Lord Martell’s children, since he had made clear — not with his words but with his actions thoroughly King Viserys’s reign — that he would not get involved with Westeros’ society, but a not-quite-distant relative. One important enough to join Houses with the King's Hand without being an embarrassment or cause mockery.

Harwin was beside himself with rage. He did not come back to Harrenhall to marry, certainly not to someone he never heard of before. He thought his father old fashioned and archaic for even considering an arranged marriage. They were almost through the castle gates when he calmed down enough to be able to hear the arguments his father was making.

“It will not be enough to just leave, Harwin,” Lyonel reasoned. “I fear nothing we ever do will be enough to silence the whispers, but this could be a new beginning. By marrying we give the people a new narrative and, if the seven heavens bless us, it will make them forget. At the very least, it’ll be something new and exciting to talk about. They will spare the boys.”

It was exactly what Harwin wanted — and desperately needed — to hear: that he could undo the harm he did to the boys. He felt so guilty for unleashing his anger on Ser Criston that his hands started to shake even when thinking about that odious day. So when Lord Lyonel explained to him the proposition in this particular light, he was glad to take it. He would do just about anything for the boys. 

He accepted the marriage and promised his father he’d compromise to learn to be the Lord of Harrenhal. A good, just Lord. And a respectable husband also, even though this part of the promise was more complicated to comply with.

Harwin remembered his mother then. His parents' marriage was also arranged and his mother would occasionally tell him, Larrys stories about her coming to this very same castle. Harrenhal was rumored to be haunted, it was said these halls were full of ghosts and misfortunes, that the ruling lords were cursed to fall every century. Lady Strong never told her sons how afraid she was of the prospec of living in those dark walls, yet they could hear her hidden and forgotten fear; Harwin, who was raised to be Lord Strong one day, remembered one evening swearing to protect his future wife from the curse. A silly thought from his boyhood, he dismissed it. Yet, when thinking about what his bride would be like, he knew it was likely that the same fear could make itself known in your heart. 

Harwin held no grudge against his betrothed, he knew it was likely that the choice was also not yours to make. You were in the same position, to be married to a stranger, so he made another commitment. To himself, this time. Like his parents’ marriage, he wanted this one to work out and, for this, you would’ve to work together and trust each other. But there would be no love involved, it was not possible, he already had his children and his priority was their well being. People would expect him to have heirs of his own one day, but this was a topic for the future. For the time being, he only had the heart to work one compromise at a time.

The first time Harwin met his Wife, he didn't see you entirely: you were wearing a thick veil that covered all of your face and your dressing concealed  the rest of you. Harwin's acknowledgment of Dorne was limited to what the Maesters told him in his youth and what people said in King’s Landing about their costumes, but upon one look at you it was clear you were making a statement. You were clearly dressed in Dornish fashion, a thick satin fabric in a deep shade of blue that he realised was supposed to match his House’s color. The dress did not lack beauty, with its golden suns embroidered on the hems and also the extra piece of gold jewelry you wore in your neck, wrist and fingers. Harwin wondered if the fabric of the dress was enough to keep you warm on this winter day and if all the pretty little details were to spur him on or to show the power of House of Martell. 

The first meeting concerned him immensely. His intention was to study you and decide what course of action he should take based on his first impression of you, but you only managed to confuse him further than he already was with you.

Upon being introduced to you, you were only polite and even-tempered, he dared think you were a bit too… placid. He couldn’t make anything out of your replies, it felt to him you only answered with what you thought he wanted to hear. Which he also thought was in contrast to your so bold choice of clothing.

He sat beside you at the main table and tried to have a meaningful conversation with you — as meaningful as a conversation with someone you know nothing about can be — yet got so frustrated that the only thing he could do to alleviate it was to drink the wine. It was not that you lacked intelligence in your little observations and answers, but Harwin could tell you were hiding something behind your clever words. It was like you were trying to dodge him yet it only made him so much more curious about you. 

When it was time for the bride and groom’s dance, he realised what was wrong. For most of the feast, you drank and ate very little and your hands were always hiding in your lap under the table. Only when he held your hand did he realize you were shaking and cold. So very cold.

You were just as nervous as he was, that comforted him somehow. To know he wasn’t alone in all his mess. 

Harwin danced with you for as long as he could, which wasn’t really much. Yet it was enough to find out the two of you strangely could synchronize well together. He still could not see your face under the veil, but he had a feeling you smiled back at him when the song stopped.

The time for the wedding ceremony arrived faster than you expected it to.

Even though there were fireplaces alight everywhere in the hall, you felt cold. Your hands, which had briefly stopped shaking while you were dancing with Harwin, started shaking again with more force than before. You were terribly nervous, thanking the Gods for the veil preventing your expression from being revealed to the crowd watching you. But soon, that too would be taken from you.

The ceremony itself was short and according to the customs of the Faith of the Seven, after you excused yourself and changed into a proper wedding dress and a yellow cloak symbolizing the House Martell. It happens at the Sept of the Castle, with a rather old Septon blessing the union. After the seven vows were made, it was time to exchange the clocks. Since your father couldn’t come with you to the Riverlands, it was your uncle who removed the clock from your shoulders; then Harwin carefully placed the blue cloak on your shoulders and lifted your veil. 

You held your breath and made sure to look in his eyes to study the expression on his face. The veil was only an old custom, one you were partially glad for, but mostly afraid of. It conceals your expression but also your appearance, not that the way you looked was of any significance. In fact, your appearance didn't make any difference at all for the marriage, if Ser Harwin disapproved of it the union would happen anyway.

To you, the veil only served to make the wedding kiss an even more anxiety-filled moment, the anticipation was killing you and you suspected your soon-to-be husband felt the same way — if his endless questions about you and your likes were of any concern. If he thought of you ugly, you only wished that he could not show it in front of all those watching eyes— it would be your first kiss and the start of your life as a Lady, it would hurt too much to watch his face squirm with displeasure. 

To your relief, there was no squirm of displeasure from Harwin. His eyes initially only looked at yours, then it ran through your face… Your eyebrows, your hair, your cheeks, your nose, then finally your mouth. In which he fixated for as long as he could before he looked up into your eyes again and followed with the ceremony.

“With this kiss I pledge my love” both you and Harwin say in harmony and he leans down to kiss you. His lips are soft and sweet and he kisses you slowly, carefully, with one hand he holds yours and the other he guides your face up to better kiss you. It lasts only a moment yet it leaves you feeling inebriated.

“…and take you for my lady and wife” Harwin finishes, with the delicious thick accent of his.

“…and take you for my lord and husband.”

The feast that followed the wedding was extravagant. With delicious food made in both RiverLand’s and Dornish’s costumes to please both parties, even though your own party was small and consisted only of your uncle, a few knights, and some maids that had come to serve you in your new home. You had brought with you a few barrels of Stronwine as a gift to your father-in-law and he seemed to thrive in its rich flavor and high alcohol content. 

The guests, most of them Lords from Riverlands and friends to Lord Strong, were happy, singing and dancing to the songs. Your brother-in-law was nowhere to be seen. Your now officially husband was seated by your side at the main table and, just like before, kept on asking you all kinds of questions.

You thought it was a good sign, the questionnaire about your family, friends and life in Sunspear showed interest in you. Yet it was difficult to answer it all, you did not know his character just yet and preferred to keep the more delicate matter to yourself until you were sure he was trustworth; that he would not judge and make your life hell. So you kept your replies neutral and tried to keep the conversation about him; you asked him how was being Captain in the City Watch, what was life at the Red Keep like, what he enjoyed doing in his spare time, if he had any. You considered asking him about Princess Rhaenyra and her children, but decided against it. You thought it wise not to corner a hounded man — not when he was known as Breakbones.

You danced with him again and again during the party, actually enjoying his company and quickly quit. Despite your concerns, because you knew he had lost his temper and attacked the Queen’s sworn shield, he seemed to be a gentle and composed man. Harwin is devastatingly more handsome than you expected him to be, his hair is half up allowing you to better enjoy the strong features of his face. His clothes were a dark shade of blue that almost matched his eyes and gave him a solemn aura, you couldn’t help but notice.

When it was time for the bedding ceremony, you were beside yourself with worry. You knew what to expect but the prospects of it did not please you, yet, once again, Harwin eases your anxiety and just leads you to his chambers without drawing attention from anyone instead of following the traditional ceremony.

He leads you to the Kingspyre Tower, where the castellan’s chambers are at, it is the tallest tower and it takes a long time to get up there. Harwin uses this time to ease your worries with comforting words, he says he does not wish to see you concerned. And it almost helps, it is almost enough for you to believe his words.

Once in his chambers, he locks the door from the inside and seats you at the biggest canopy bed you’ve ever seen. You wait for him to start, not sure of what exactly he expects of you, but he leaves you in the bed alone and goes to fix glasses of wine in the bedside cabinet. You decide to take matters in your own hand and quickly unlace the dress, leaving you only in your chemise, then you make yourself more comfortable and wait for him to turn. 

When he does turn, he is taken back by your lack of clothing, but goes to your side and gives the glass. Unlike in the feast, you drank almost all of it. You need the bust of confidence.

“Are you still nervous, m’lady?” he asks with a sweet smile, his tone has that accent of his you came to adore. 

You decided to go with the truth this time.

“Yes, my lord. I find it difficult to feel anything else at this time.”

Harwin takes a long sip from his cup and takes your hand in his.

“I meant it when I said you had nothing to worry about.”

“Thank you” you say, because words are failing you by now. Your hands are shaking again, but Harwin looks at you so gently it becomes hard to believe he’d willingly hurt you. You want to trust him, you truly do.

“I’ll be honest with you” he starts, suddenly looking away and, for a moment, you believe he’ll talk about the young Princes. “I want this marriage to work.”

“As do I, my lord..” you reply, confused.

“We’ll be Lord and Lady of Harrenhal one day and it’ll not come without difficulties. If we want to rule with honor and dignity, we’ll have to understand and respect each other. I want us to work together.”

“I want the same, Harwin.”

“I must tell you a few things then, so we know where we stand. Set some boundaries.” 

“Is it about Princess Rhaenyra’s children?” you finally ask, catching up to his meaning.

It caught him off guard, he turned to you and his expression tells it all. The conformations of the histories you’ve been listening to about your husband. You smile sadly. You had really hoped it was all just rumors.

“So what they say is true.”

Harwin wants to deny it, but he decides to start this marriage with honesty so he simply nods. And it is as a huge weight is lifted from his back, he sighs deeply as if he is finally able to breathe again.

“Do you honestly wish to work together?” you ask him, looking into his eyes. “It’ll take time and a great deal of effort, but I think that if you’re willing to, we can manage it.”

“There’s nothing I want more.”

...

Notes: Couldn't help but write my own piece about the beloved Harwin "Breakbones" Strong. He just screams "arranged married plot"! and I could not simply make it easy from him!! I want to see him suffer a bit.

This will have a follow up!

Let me know what you think!

[porcubus]

removed from any shipping its genuinely notable to me that rodya seemingly latches on to gregor from the start. of course shes doing her little facade (and if you go back to the earlier episodes now, its a lot more egregious and easier to notice) but its curious that out of any of the sinners, its him she actively chooses to interact with and drop a nickname on first

shes very very teasing especially initially and seems to target him for his arm, a lot of her comments being based on him being bugmoded. it honestly could look cruel especially with the full context we have now, though notably these do all take place pre-gregor revelations, but if you jump to this being a signifier of rodya bullying/wanting to get actual pain or upset out of gregor you'd have to skip over this scene

which is both silly but also i feel pretty significant for understanding something about the two of them and their relationship:

gregor is not actually a helpless pushover who lets himself be walked over and he will speak up if a line is crossed for him

rodya can read and understand when he's distressed, gets hesitant and will back off. her intention is not actual upset from gregor

what's important to me in my read of rodya is that she does have a facade, deliberately to be charming and likable, but i dont think her buttonpushing/ragging on of gregor (and later the other sinners) is actually entirely part of that, i think its the opposite. showing real honest affection is something difficult to her, so she skips a few steps and jumps straight into poking fun like you would with someone youve known a long time.

I think her "true" personality isn't cold and calculative, from further story context i interpret it as more jaded and sarcastic. these moments to me read as a sort of fumble or early mask slip, she's not baring it all with these bits but she has singled out gregor in her mind and is particularly hovering (based on how the majority of both of their interactions throughout are from the very start with eachother) around him, trying to get closer in an awkward way.

I think people miss that theres a lot you can take and learn about rodya from their interactions, whether its because of a focus on shipping or trying to outright deny there is anything going on there at all

[livinginadumpster]

One thing I really like in Dead Boy Detectives is the use of blood/gore/horror. With a TV-MA rating, a show with horror themes is obviously going to have some blood and violence, and there are clear instances if this in DBD, but while it's definitely there, it's almost never gratuitous. That's because scenes like the Devlin murders or Maxine's death aren't really about those deaths, rather, they're about the characters' reactions to them and the way the story is shaped by them.

In the Devlin house, the camera focuses not on the girls being killed but on Edwin, Crystal, and particularly Charles reacting to their murders with horror, shock, and anger. The blood splatters in a meaningful way, rather than simply a horrifying one, over the TV and the popcorn and the younger daughter's stuffed rabbit, tarnishing the innocence of everything it touches. While the tragedy of the murders themselves are important, the main focus is Charles' reaction to them as a result if his own trauma. Showing the minutia of the killings would take away from that, so it simply isn't there.

Even Maxine's death, while definitely played off more for shock value than the Devlin murders, serves a purpose. Episode 5 focuses on the failure of romantic relationships, on betrayals from those you thought you could trust, and the Maxine subplot adds to that. It begs the question, who can you trust in this world? At the end of the episode, the answer we are given is your friends, your found family, because love will kill.

It seems to me that the blood in hell represents the guilt of those it touches - Simon's wounds heal when he forgives himself; Edwin loses the blood covering him after Charles turns up to rescue him (albeit by a horrifying cause); the people in the Lust room are drenched in blood and get it on Edwin when they try to drag him down. It's not just there to demonstrate the horrors of hell, but to brand its inhabitants.

There are lots of other examples. The blood when Niko dies is there obviously because that's what happens when you get stabbed, but also (in my opinion) as a visual callback to her saying that red is the color of courage. The cat king's bloody corpse and Monty's blood-splattered face show Esther's ruthlessness and disregard for anyone in her path. Lilith is covered in blood as a symbolic part of her character design. Everything serves a purpose, narratively or symbolically.

(The only example of gore that served no particular purpose that I can think of was in episode one when the WWI ghost drooled blood all over Charles' face, but it was the pilot episode and that whole scene was meant to be shocking, so it can be forgiven.)

Anyway, I really like the way they use blood in DBD, because it shows such a level of detail and care. I enjoy horror but not gore so much, and to me it's refreshing to see it used so tastefully and executed so well.

[raven-at-the-writing-desk]

Do you see the differences between the game and the novel Twisted Wonderland? I didn't notice much until I searched on Youtube, Novel Ace was ready to apologize to Yuu ( in this case Yuuya) for insulting, Malleus isn't our little sweet dragon boy but literally choking Yuuya ?!

Yes, I do keep up with the differences between all official adaptations of TWST! This includes the light novel, which in my opinion has the most frequent and significant deviations from the game. It’s been very interesting to compare the two.

I don’t immediately comment on every change (of which there are many) I see unless specifically asked about it or I notice something pretty major. Some examples of the latter would be the like novels elaborating on Leona’s motives or Riddle’s flashback and the consequences of his actions.

I think this is facilitated by two factors: 1) the light novel format allowing for more space to expand on ideas and concepts, and 2) Yuuya is the most different Yuu we’re gotten. The game Yuu is very much a blank slate for players to project onto in order to easily immerse them in the story. Meanwhile, the manga Yuus tend to be the “helpful” types that move the story along in their own way. This is because the manga has limited space in the magazines they run in, so they need to keep things snappy and follow the main story pretty strictly. The light novel is able to stop and have the POV character reflect, doubt themselves, and refuse involvement because a medium that is inherently mostly words forces you to slow down and take in everything on the page. There’s no limit or demands of a book, so the events have much more time to “marinate”.

Personally, I really love a lot of the minor changes in the light novel. I feel they really flesh out the relationships between characters, particularly Yuuya and his friendship with Ace and Deuce. Ace actually has the guts to realize he was the one who fucked up and apologizes for being an ass. It’s so in line with the brutal honesty he dishes out it to others. Deuce stays up late into the night talking to Yuuya and makes them feel welcome because when was the last time he had done anything like this? Yuuya was always the loner back home, ignored by his classmates and feeling invisible. Now he has loyal friends who got his back and actively tell off mob students who sneer at his enrollment. Moments like this make me really care about their bond and make it more believable that they would trek halfway across Twisted Wonderland to come to Yuuya’s aid in the eventual book 4 of the novelization.

dbksbejwjwwhei The one thing that caught me off guard about your ask was the “Malleus chokes Yuuya” part, which I do not recall ever happening 😅 I went back into the light novel to cross reference just in case I had forgotten! I believe you’re referring to when Yuuya and Malleus first meet in book 2? In which case, I think there was reader misinterpretation involved.

What happens is that Malleus begins to introduce himself, then stops and says he permits Yuuya to pick a name for him. But Yuuya, feeling uncomfortable with the idea of nicknaming someone he just met, so he asks for Malleus’s actual name (something which game Yuu does not do). This incurs Malleus’s anger—“I have said no. Did you not hear me?” It is then that we get a few paragraphs describing how Yuuya goes “stiff”, a “briar-like tension seizes his body, making it impossible to move”, “fear [making his] heart race”, he “[forgets] to breathe” etc. (Fan translation by Yuurei!)

To me, that… doesn’t read as Malleus choking Yuuya, let alone laying a finger on him. It’s more like Yuuya is so consumed by fear that he finds himself entirely paralyzed and unable to argue back, so instead he submits and lets the subject drop. There’s no mention of Malleus “letting go” or anything either, just the fairy lights brightening again once his mood clears and he realizes Yuuya isn’t looking to defy him. It’s also important to note that, previously, the night in this scene was described as tranquil and pleasant—the emphasis is on how Malleus’s mood shifts the atmosphere and the “feeling” of the night.

So!! The “seizing” mentioned is NOT literal; a feeling could “seize” you too, coming in suddenly and with great power. This is a literary device known as personification, or giving a non-human object or action human-like qualities or skills. When used to describe the briar-like feeling, it’s also a simile, which is when you use “like” or “as” to compare two things.

… Besides, imagine Yuuya being choked out by someone during your first meeting and then no description of him freaking out?? And then still building a whole friendship based on this weird encounter??? Even though Yuuya has a history of catastrophizing and even thinks about Leona explicitly tearing his throat out just because of Leona’s powerful presence???? That just does not make sense. It also doesn’t make sense for Malleus’s character. Yes, he can lash out at people, but here it feels like he’s telegraphing his displeasure (via the atmosphere, similar to how his mood disrupts the weather) rather than resorting to a physical attack (or using magic to bind someone in place).

[cbrownjc]

My thoughts about Devil's Minion right now after Rolin Jones' comments (spoilers):

A meta so thorough, that I first wrote in a post/reply elsewhere, I'm putting it into a separate post, (with some more added to it), just because. And especially since I know I've gotten a lot of followers over the course of Season 2 because of my Devil's Minion posts as well, and I want this all in a separate, individual post for quick reference, just in case.

Fair warning: if you are totally happy and fine about what happened -- i.e. how Armand turned Daniel -- then yeah, what I am going to say here isn't for you. I'm not trying to harsh anyone's vibe, especially if you are just happy that Daniel is a vampire now, okay? This is just about how I feel and see things about it at the moment (particularly regarding RJs comments about it). So if you're not up for criticism, critique, as well as speculation about Devil's Minion right now, then yeah. IMO, just skip this post, please.

Okay. So. Rolin Jones just gave an interview with The Hollywood Reporter and this is what he said about Daniel's turning by Armand:

Jones confirms that, just like in Rice’s books, Armand is the one who turns Daniel into a vampire. “Will we see that moment of turning? No, but Armand finally made a vampire and clearly made him out of spite,” he says with a laugh. “It looks like it was really not a great moment [between him and Daniel], but that connects those two characters. They will have scenes going forward, obviously.”

-- Rolin Jones, Hollywood Reporter, 06/30/24

Okay so, to start. For me, someone who has been waiting since 1995 (when I was 17) for Devil's Minion, for Armand and Daniel's relationship to finally be adapted in some way, I'll be honest. There are only two ways this can go now that I can see at the moment: either Rolin is lying/trolling to hide the truth about all of this, or he is telling the truth and this is truly the way they are going with this.

If Rolin is lying/trolling to hide something about all of this, then I'll forgive that lying/trolling instantly once it's revealed that he was. (Put a pin in this.) Having to flat-out lie or troll is sometimes par for the course when it comes to running a show and not wanting to spoil anything about what might be coming up in it. So honestly, if that's what's going on with what he said here? Meh. No skin off my nose.

If he is telling the truth, however? Then I'll have zero desire to watch the show anymore, once I see it 100% confirmed in some way with my own two eyes in some way on screen somehow. (Again, pin in this.) Because I have very much learned my lesson when it comes to TV shows and lazy writing/bad adaptations after Game of Thrones.

Because Armand turning Daniel out of spite is the antithesis of what Devil's Minion is supposed to be for both characters. It is an utter and complete misunderstanding of both characters and their relationship together. It's an utter downgrade of their relationship from the books, and I am not here for it. I literally do not care what "romance" they might later have planned for them if this is how Daniel was turned.

Look. If you are someone who only ever cared about Daniel just being a vampire, then this is all likely fine for you, and that's okay. But not me. Because Daniel being a vampire never was, or has been, the important part of Armand and Daniel's relationship. Not in my eyes and, frankly, not when it comes to the original story. Daniel becoming a vampire is not the important part of the Devil's Minion story. The actual love and romance before Daniel is turned is because it is during that part of it that the actual character development and growth both of them go through from it takes place. Especially for Armand's character.

And that only has any depth when Daniel is human and Armand is forever refusing to turn him because of his hangups about making another vampire.

And Armand finally turning Daniel out of love was a huge step that showed Armand beginning to move forward and heal -- from not only his time in the Children of Darkness cult, but begin his healing when it comes to his Marius issues as well.

Armand turning Daniel out of spite undercuts all of that. It undercuts the whole story. And flat-out guts some of the major depth of the relationship and Armand's character development overall.

Not to mention it makes Daniel no better than someone like Claudia wrt Armand turning him now. Maybe even less than her since at least Claudia got turned out of Lestat's love for someone else. Daniel doesn't even get that? The person who is supposed to be his eternal companion doesn't even get turned by him out of love, an important point to the bond between such Maker and Fledgling eternal companions, but out of hate and spite instead?

Yeah, no thank you.

This is not what I've waited since 1995 to see with these two and the fact their relationship may have gotten treated like this -- if this is true -- utterly astounds me how this show could get Loustat so right (and even upgrade them so beautifully in so many ways such as with Louis' turning) and utterly fail Devil's Minion so badly. Because yes, it's failing them. It's a terrible and, moreover, just a shallow adaptation of Devil's Minion if this is how it really all goes down.

Because there is way more to Armand and Daniel than them just Daniel being a vampire and them finally "getting together." Or at least there is supposed to be. And this ain't it.

(Pin!) Now, with that all said? The fact that Rolin flat out says that we'll never see Armand turning Daniel? Yeah okay, I'm sus on that one. Because really. The only reason not to show Armand turning Daniel next season -- and visually confirm that Armand did it -- is if because . . . Armand never actually turned Daniel in the first damn place.

Or, if he did, it maybe was not fully Daniel.

I mean, you're not going to ever actually show Armand turning his first-ever fledgling (who he's supposed to go on to have a romantic relationship with at some point) after making a big ass deal out of the fact that Armand has never turned anyone before? Ever?

See I know damn well that Armand is being framed as a villain right now. He very much has to be given how the end of the book IWTV and how the upcoming book The Vampire Lestat, goes. Armand is the main villain/antagonist in it. Even in the present day, it is clear Armand hasn't gone yet gone through all of the growth that he does from Queen of the Damned on. So he's still back in his villain-era mode right now. And his post-breakup with Louis mode in the present day. Which is fine, it's how his story -- and the story where it is right now -- goes. I am thoroughly okay with that.

And the very idea that Armand turned Daniel out of spite? Very much plays into that framing-him-as-a-villian state where Armand's character is right now. And will be for the majority of Season 3, which I've already before now suspected and said.

So here is where the speculation on my end of things comes in. Because yeah, not only can I not help myself but because -- until I see this play out with my own eyes -- I'm willing to be reasonable and look at the various ways this all could still play out that doesn't completely gut out the very heart of Armand and Daniel -- as characters and their relationship together. (Or at least not have it be so damn shallow by the end when they inevitably get and stay together.)

So as @nalyra-dreaming can confirm, I gave her a few scenarios that could be behind Daniel's turning weeks ago, when I first suspected it was going to happen (before the screener leaks about it started). In one of the scenarios, I said that if Daniel's vampire eyes are any color other than violet, then that is NOT Daniel's spirit/soul/consciousness in Daniel's body that has been made a vampire.

As the saying goes, "The eyes are the window into the soul." And am I really supposed to think this show got Lestat and Louis' eye color dead on correct but just missed Daniel's iconic eye color? Really? (Because no, I do not find it romantic that Daniel has his Maker's eye color, or whatever. Besides, vampire eye color doesn't even work like that -- the show didn't even do that with Louis and Lestat who are the main, grand romantic couple of the damn show.)

As I said here in this reblog, I stand by my opinion/theory that no way this show gets Daniel's iconic violet eye color wrong, even on accident. I said so weeks ago, before even seeing Daniel's eyes in that final shot in the season finale, and just predicting that he was going to get turned.

No way this show got Daniel's iconic eye color wrong when he became a vampire, not when they went to all the damn trouble creating those vampire contacts and gave Jacob's Louis green eyes to match book-Louis.

And yes I damn well know they could just have Daniel pop up with violet vampire eyes in the Season 3 premiere and there goes all of that, and it really was all just laziness, incompetence, and a mistake when it came to the color of Daniel's eyes in the finale. But right now? I'm treating Daniel's eye color as the equivalent of Rolin saying "Lelio is so boring!" as to the question of why Sam's Lestat was playing Harlequin and not Lelio in the Season 2 theater flashbacks. Something the show changed on purpose and for a reason.

Because we all damn well know that we are going to see Sam's Lestat as Lelio in Season 3, correct? Because we are.

And yes. I know some people really hate the idea of a body swap scenario regarding Daniel, but I'm sorry. At this point, it really is the only scenario out of this whole storyline that I can see right now, that will keep it anywhere close to retaining the heart of the Devil's Minion storyline, especially if Armand really did turn Daniel out of spite here (even though, again, we'll apparently never see that turning to confirm that in full. Uh-huh, okay.).

And two things that I think do set up the possibility are:

1.) Louis says Daniel was turned after he left Armand alone with him. But Louis actually wouldn't know something like that unless he was told since he wasn't there. All we can really assume at the moment is that Daniel told Louis what happened after Louis left the room. And as RJ and Assad said, we'll never see the actual turning. So who knows when the hell it happened.

2.) Raglan James, via those direct messages asking Daniel for "reciprocation" for getting him a copy of the script, with Armand's handwritten notes, of the trial-play. Between that request and the Talamasca publishing Daniel's book, that loops Daniel into the James orbit very much. And ties Daniel very close to any Talamasca going on even more.

And, quite frankly, I've thought since Season 1 that David Talbot's character was out and would be merged with both Louis and Daniel on the show. And Sam pretty much confirmed in his interview with Autumn Brown that some characters from the books will be merged together with others in the show. So, yeah. David's character is very much a character I always thought they were doing that with, and I know I'm not the only one who's thought it before now as well.

And honestly, I can much better deal with some type of scenario in which Armand maybe ends up turning two versions of "Daniel" -- and therefore technically having two fledglings, even though they are kind of the same person -- over what is being put forth about this right now. One turning -- in spite -- of Daniel's body without his true spirit/soul/consciousness in it, and the other turning -- out of love -- of Daniel's spirit/soul/consciousness inside a different body of some kind. (Which I won't go into now, as that is a whole separate long meta if I did.)

Because at least with that scenario then, in a weird way, Daniel being Armand's only fledgling would still hold. 🤷🏾‍♀️ Along with a few other things that can happen regarding Armand's character growth in between each turning.

But that is it. Because there is no way they can have Armand turn Daniel (as fully Daniel) out of spite -- as Rolin directly says he does in this interview -- and actually keep the heart of the Devil's Minion story and romance now. Not even if the Devil's Minion chase and parts of the relationship happened in the past IMO . . . another thing they are clearly avoiding talking about, btw. Which, at least right now, just tells me that, if we're lucky, we'll only -- once again -- get one episode that flashes back to that time in Season 3. Can't really be helped, since Season 3's primary focus will be regarding Lestat and Lestat's backstory. (As I've said before Daniel isn't even in that book. So whatever we get with him in Season 3 really will just be extra, added stuff.)

Oh, and something else I very much recognize is that Loustat shippers -- particularly book ones -- have gone through it these past two seasons, but now seem to be coming out of that darkness. Maybe now it's time for Devil's Minion shippers like me and others to face the same damn thing now. Because of something Assad let slip a few weeks ago about not getting Armand's full story until Season 4, I think that is how long we're going to have to wait to see the full of this play out.

But I advise right now that if some of you think you can't handle that and would just rather quit the show and binge things later, I totally get it. Waiting two seasons -- basically 4 years minimum -- is going to be a pain in the ass. I already know right now that there are some things I'm not going to have the patience for during the hiatus times in between, particularly this one. (One thing I can already say, at least right now, is that I'm not inspired to write any show-based Devil's Minion fanfic this hiatus like I did during the last hiatus).

But quitting the show altogether? No, I'm not there yet. Because yes Rolin does like to troll. Plus Hannah's tweet. Plus what was said about Devil's Minion at ATX Festival. Plus my thinking, long before now, that David Talbot was always out wrt the show, and the fact that Raglan James is here and Daniel's character has been heavily tied into The Talamasca plotline of the show.

And given everything I've seen this show do wrt it's writing up until now, I just can't fully believe they would really make Devil's Minion this damn shallow and devoid of its depth and heart. And just have Armand turn his one and only canon fledgling and immortal companion out of nothing but spite. When Armand loving Daniel and finally having to trust in Daniel's love for him, as well as his own love for Daniel over his own fear was a major point and culmination of the Devil's Minion storyline.

After everything I've seen these first two seasons wrt this show, I can't think these writers would miss such an important heart and point of the Devil's Minion storyline and romance so completely.

Not yet at any rate.

[comicaurora]

Hi! I finally got the chance to read Aurora a bit ago. It's a wonderful story--all I was expecting and better! I was particularly amazed and delighted by the artwork and visual mechanics used to tell the story, so I wrote a post to yell about how cool it is and break some of it down. (No criticism, just praise.) I'm mostly a hobbyist, so I'm hoping I've done it justice.

That said: zero pressure to read it or respond to this ask. Normally I wouldn't send it since I tagged, but I know Tumblr's notifs are a mess and things get lost very easily. I've been in both the "one (1) word of praise will feed me for a year" and the "oh gods don't talk about my writing/art because anything that seems Off will break my brain" modes before, and I absolutely don't want to push or make you uncomfortable!

If you are comfortable, however, I wanted to ask about your use of what I'm assuming are Screen and blending modes in sound effect words. (I'm only guessing that's the technique, though, so I could be totally wrong about how it's done! I'm mostly experienced in image manipulation in Photoshop.) Making them semi-transparent over the actions is genius :) What inspired you to do that, and are there specific techniques you use to make it work?

Same questions go for using specific colors to distinguish different characters' words and actions. I really noticed it in the cave sequence with Falst and Dainix, since their colors are so vivid in the dark (ex. Falst's little swats and Dainix's swooping kick at 1.20.9). It lends excellent clarity to busy scenes.

Thanks! Have a lovely day, enjoy your break, and happy holidays <3

You're correct about the technique! "Screen" is the blend mode I use most often for sound effects. I stumbled on it mostly through trial and error - I love how sound effects add depth to a comic panel, but it's very easy for them to obscure the art in a way I find counterproductive, so "Screen" lets me put the sound effect directly over the origin of the sound while still letting it be visible through the word. Early chapters didn't have it as much-

Most of the sound effects in early chapters are just solid colors with reduced opacity if I'm feeling fancy. But I started figuring it out around chapter 8 and 9, because Falst is kind of a sound-effect-heavy guy, especially in his fight scenes.

In order to make sure they don't impede the visibility of the action, I'll often soft-erase the top or bottom half of the SFX to reduce its opacity while still leaving it readable.

I'll usually double that up with an outline on the SFX so it's still readable. This is an especially important consideration if the SFX goes over an area of the background that's very bright or glowing.

Color-coding the speed lines and SFX to the character or force causing them isn't a hard and fast rule, but I like using it (in part because it's a habit from the OSP illustrations, where every character has a single pop of color in their lineart) mostly because it sort of codes every sound to make it clear where it's emanating from, or the general feeling of the sound. Since I normally do character-colors for SFX, something like this stands out more jarringly-

Which it's supposed to, but a big lightning strike doesn't register as anything too worrying because it's just Tess up to her usual shenanigans.

It's also very useful for magic effects, because each form of magic has its own associated palette.

And when I had a very complicated fight scene in a dark environment, I used the texture pattern I'd already made for the monster to color its SFX, so when I Screened them onto the panels they didn't obscure too much while still communicating "this is something else."

Changing the weight, lined-vs-not-lined, and opacity of the SFX words also helps to communicate that not every sound has the same feeling. A strong motion is solid and aggressive, but a crackling, unstable sound is more ephemeral and staticky.

It's definitely been a process of learning as I go - looking back at the earlier chapters I can actually see when I first tried various tricks I now use regularly, like doubling and distorting an SFX to produce the effect of a camera-shaking impact. I haven't really seen any other comics that do it like I do, probably because most other comics follow a more traditional production pipeline where text bubbles and sound effects get locked into the composition early, before the inking stage, because traditional physical comics don't have digital-art layers to play with. Adding sound effects to a page is almost the last thing I do before exporting them, and that only works because digital art and layers allow for a ton of flexibility.

[fen-luciel]

Jealousy part 2

Part 1 here part 3 here

Warnings: age gap/toxic behavior

Vernestra-Padawan reader/jedi Qimir

I lied. Or rather, I had some ideas while I was writing, so instead of three parts, there will probably be four. Nothing is certain, but... you have been warned.

Leave a comment and share if you are enjoying the story.

I can't say exactly when things started to change. Maybe they were never normal from the beginning, but I was too distracted to see it, blinded by this lie that I childishly told myself.

The more comfortable I felt with Qimir, the worse his relationship with Vernestra became, to the point where in the naivety of my young age, I thought it was my fault, but in truth, I couldn't even see the problem.

I had learned to recognize my master's moods very early on. I understood before even talking to her if she was nervous because of some diplomatic mission or worse. Sometimes I was left to myself for entire days, i knew her missions were very important and that I would only slow her down, but all I could do was read and train with other padawans and read again and... do nothing.

So, while I daydreamed about the magnificent future missions with my master... I spent time with Qimir.

Of course, he was busy too, but I eagerly awaited his return each time. He would tell me what he did, who he met on his travels, the fights to the last breath, and, he was good at narrating them. He often came to see me in the library, where he would put on a silent show due to the librarian's constant admonishments, using books as pieces of the story and his lightsaber to represent himself. I laughed so much that my cheeks hurt, I used my hands to muffle the louder sounds, and Qimir seemed to love every moment of it. Sometimes, I wondered if he didn't deliberately behave insanely on missions just to tell me about it when we would meet.

The months passed quickly. After about a year as a padawan, I began to distinguish between what I was good at and what I was terrible at. For example, I was great at controlling the Force, but terrible at using the sword. Not because I wasn't good from a technical standpoint, but more for a mental reason, the idea of hurting someone paralyzed me. I wanted to be a Jedi who protected the weak, but I had missed the part where, if you're protecting them, it's because someone is hurting them, someone who probably should be stopped even with the use of force.

Worse still, I was terrified of my master's weapon, the whip seemed so unpredictable to control, yet she used it with deadly precision and wanted me to try it too. She believed my fear was natural for a young mind, that I just needed to unlock myself, but for me, it wasn't like that.

And it got worse when I sought comfort in Qimir.

Maybe, in hindsight, I should have realized something, but it's easy to talk when the worst has already happened. I remember very well what happened that evening, I was exhausted after all the sword training. Vernestra didn't seem particularly happy with my outburst a few hours earlier when I tried to say that maybe I wasn't suited to be a knight, that I could have pushed myself into the medical field or even just be an assistant, maybe a volunteer in war zones. She thought I was speaking without knowing anything, pushing me all afternoon to train in various forms. My hands hurt from calluses, but instead of running to the infirmary, I decided to knock on Qimir's room.

"I don't understand why she doesn't want to accept it. I... don't want to hurt anyone." I broke the tense silence that had formed while Qimir wrapped my fingers with the bandages he had in the bathroom.

"No one said you have to. You're a Jedi, our job is to fight for those in need." He was focused on looking at my fingers, so he didn't notice the grimace I gave him, "And I understand that. But I don't feel suited for that role. Many Jedi perform different duties, fighting isn't essential for everyone." He sighed a laugh.

"I think Vernestra is worried about your safety, it's okay to seek your vocation elsewhere, but our faith leads us to interact with dangerous environments, even the most peaceful mission could hide a terrible evil." He finished the bandaging, then gently took my hands in his, the warmth of his palms a pleasant consolation to the painful throbbing of the blisters that filled my fingers.

He looked at me again with a sad smile on his lips, "I understand that you feel sure of what you want. But, flower, you're still a child. And you have many years ahead of you before you face the final exam, you don't know what will happen or if you will change your mind, don't take what you feel for granted." I blushed foolishly at the nickname he had started calling me some time ago, something about how "I seemed delicate like a flower".

"I know, but... don't you think lightsabers are terrifying?" I stuttered uncertainly, looking into his eyes.

And that moment. That single instant when he gave me that sweet smile, I shivered.

"That's what makes them so beautiful, right?"

I didn't have an answer, maybe yes, but I wouldn't have had the courage to tell him at the moment. I only know that I swallowed a bitter bite and freed myself from his grip, a heavy breath escaping my mouth, "I have to go, thanks for the bandages," I got up quickly and fled from that room as if I had someone on my heels.

That shiver down my spine, that rancid smell at my nose, I couldn't imagine it at the time, but that was the first time I felt fear.

Of course, I blamed myself entirely, I was exaggerating, everyone said so, I was terrified of violence in a way not suitable for the role I was supposed to fill in the future, I should have recovered quickly and restarted my training. I tried to forget that evening, as I had gradually forgotten that conversation on Hoth, but that was just the beginning.

The missions with Qimir keeping us company decreased over time, sometimes he just stopped by for a greeting or joined us more to keep me company if he had a free moment. I really appreciated the time together, I liked that we could remain silent without making it seem strange, once on Naboo he showed me almost the whole city since he had already visited it before. We got ice cream overlooking a lake in complete silence, the sunset was spectacular, and with the light sounds of the forest accompanying us, I fell asleep with my face pressed against his side.

The next morning, I found myself in my room with his cloak as a blanket since I was still dressed. When I tried to return it, he teased me, saying I had slipped on the ground when I pressed against him. I yelled at him that he was rude to tell me that, but only because I didn't have the courage to admit that I found it hilarious. If I had given him rope, he would have teased me about it for months.

When I was finally old enough to accompany the master on some of her more dangerous missions, my opinion on weapons had not changed, but I had made peace with myself and decided to find my combat style.

I was proud of how I built my lightsaber, but I had to modify it when I implemented the double-sided exit to have a double-bladed saber. It made me feel safer using it, more protected, and it was a more versatile weapon, especially for more enemies. So, once I got used to using it combined with a defensive fighting style, I finally felt complete.

On the field, I rarely used the lightsaber, trusting more in my control of the Force to block my opponents and stun them. I knew Vernestra was not entirely happy with how I restrained myself, but I tried to excel in everything else, hoping it was enough.

On a return trip to Coruscant, both wounded and tired, we talked once again about the problem that had arisen when it was needed.

What was supposed to be a quiet afternoon defending senators had turned into a nightmare when a bomb exploded at the meeting place, civilians fleeing in terror, and only a Jedi and a padawan handling the dozen terrorists shooting at the crowd.

The situation obviously got out of hand, and we survived by a miracle. Before calling the council to let them know what had happened, seeing me still so shaken, Vernestra hugged me.

I clung to her robe, barely holding back tears, the memory of all the wounded passing under my eyes still fresh, but she grabbed my shoulders, and looking at me with a determined face, she said, "You did well. I am proud of you."

A few minutes later, when we could finally sit down, I had the courage to speak.

"I killed them. It was so..." I was looking at the blue of hyperspace around us, lost in my thoughts, I don't know if I was talking more to myself or to her.

"You did what was necessary. On other occasions, we could have captured them, but we were at a disadvantage. Sometimes, to save lives, you have to make drastic choices," her tone always confident, as if it were all normal, and technically it was, for her.

I no longer knew what I was doing at that point.

"I know, but... my hands..." were shaking. They shaking even then, in the peace of our shuttle. I held onto the armrests tightly as if I were afraid of falling.

"Maybe Qimir is right."

I turned suddenly, confused, hearing his name mentioned out of nowhere. She sighed before looking at me again, "He thinks it would do you good to train with him a bit. He has been suggesting it to me for a while..." she cleared her throat before looking away.

"Maybe dealing with a more aggressive combat style like his would help you unlock. I know you two have become friends, and... he is much better than me at making you feel comfortable. He might be more helpful than I am."

I was taken aback, more by the fact that Qimir had suggested something like that without letting me know anything. It gave me a strange, somewhat unpleasant feeling that I couldn't quite identify.

But still, my problems at the moment were different, so I nodded. I already felt guilty enough for hesitating in the face of danger. Despite the comforting words, I couldn't shake off the feeling that I had failed.

“Just… be careful, okay?”

The look he gave me is one I would never forget. That… knowing glint deep in his eyes, like a warning bell. But I ignored it.

I nodded, but I ignored it.

When we got home, she headed towards the council room to submit her report. She advised me to go rest since it was already evening, but after saying goodbye to her, I quickly walked down the Jedi corridor. I had been injured and was limping slightly, the next day, I could get myself healed quickly by a healer using the Force, but at that moment, it was a different kind of pain tormenting me.

I knocked hard on Qimir's door without even thinking about it, two, three times before I heard some commotion on the other side, bare footsteps approaching the door before it opened.

“I hope you have a good reason for knocking on my door at this hour—” he mumbled sleepily, his hair messy and wearing only a pair of sweatpants. He rubbed the sleep from his eyes, confused, when I jumped into his arms.

My face pressed against his warm chest, and the tears I had been holding back until then started to fall relentlessly, accompanied by a few sobs.

He woke up suddenly, understanding what was happening. He effortlessly picked me up before entering the room and shutting the door behind him. “Hey, hey, my sweet flower, what's wrong?” he whispered in my ear, now fully awake.

I hid my face in his neck while he hugged me tightly, my legs hanging down the sides of his hips, my tears wetting the skin of his chest as I tried to stammer out coherent words.

I had never felt so small until that night, hidden in his arms. Although his cheerful personality made him seem childish at times, I tended to forget that we were a little over ten years apart, we didn’t really share anything except our loyalty to the Order and the same master, but we weren’t the same age, and we didn’t even have similar hobbies. We… he treated me like a little sister with absent parents.

I had run off to seek the safest comfort I knew, and he had given it to me without a second's protest.

He listened to my tear-flavored words without saying anything, his fingers brushing through my hair, partly caressing my scalp. He held me against his chest tighter when my sobs were too much to utter even a single syllable. He didn’t say anything when I was done, had me take off my shoes and most of my dirty tunic, and then lay down in bed with me.

I was pressed between the wall and his warm body, one arm on my side, and the covers wrapped around me like a cocoon.

The next day, still comfortably pressed against his chest, I took a moment to sort out my thoughts. I was ashamed of having lost my composure like that, i shouldn’t have fallen victim to fear, so I slipped away at dawn to avoid facing him. We never talked about what happened, I didn’t have much to say anyway and went back to focusing on my studies.

A few days later, Vernestra came to tell me she would be away to resolve the conflict that had arisen after that attack and that I was entrusted to Qimir as she had mentioned. I had already forgotten about that story, but it all came flooding back when we said goodbye on the platform. Her hesitant look as she stopped halfway up the ramp. I saw her sigh, maintaining a stoic expression before coming back to me one last time. “Trust your instincts, Padawan. If something makes you uncomfortable or… you just leave, got it? You’re still too young for certain matters.”

I didn’t have time to ask her what she was referring to, she boarded the ship right after and left, leaving me there with questions on the tip of my tongue.

Qimir sought me out soon after. I was hiding in the library every afternoon, hoping not to run into him and avoid training, but of course, it didn’t last long. With his usual light smile and calm demeanor, he approached me one morning, “Are you perhaps skipping your training, Padawan?” he asked, mimicking an authoritative tone.

I couldn’t even laugh. In the end, I gave in. I had promised my master, and the fear I felt that afternoon still gave me nightmares, so I followed him into the training room.

Fighting Qimir was like facing a hurricane, seemingly chaotic but, in reality, a perfectly concentrated deadly force of nature. I was used to exhausting rhythms, so I didn’t find it difficult, but what destabilized me was his gaze. It seemed like he really wanted to kill me.

Fast and lethal with his double violet lightsabers, he often aimed at my legs to make me fall and gain an advantage over me. I squirmed uneasily under that assault, of course, that was the goal of that training, but… there was a cold wind behind him. A suffocating sensation, a chill on my skin that made me doubt who or what I was facing.

Vernestra was away for just under a month, during which I trained with Qimir when I wasn’t studying. One of the last training sessions was grueling. I began to doubt he wanted to take it easy on me from the beginning, we clashed forcefully -with our lightsabers- because “it’s needed to keep you sharp ” as if the strikes he aimed at me weren’t enough to keep me alert.

A particularly painful strike to the thigh made me fall heavily to the ground, the fabric of my robe smoking from the slash. When I looked up at him, now disarmed, I almost vomited. Those eyes… now I could recognize them. The eyes of a killer. The same as those men that afternoon weeks before who had charged into the crowd.

I fled the room, took a shower, and went to bed without dinner. I was sure I was going insane. I was tired and nervous and seeing things that weren’t there. I tried to shake off that voice in my head that screamed at me to be careful with Qimir, the guilt clashing with the fear. I tried to bury it all once again, deeper and further away.

And so my routine returned to normal once everything was back to how it was before, and the master had returned, although… I had started to avoid Qimir. It wasn’t that I was running away from him, it was more like a need for personal space, let’s say. Luckily, he was sent on a mission, but he wrote to me almost every evening with messages about his goals, to which I replied with monosyllables. He realized something was wrong, but when he asked me how I was or if something had happened, I dodged the question.

During a mission in the Outer Rim, I was able to indirectly spy on a call between Vernestra and Qimir. She was scolding him for some unspecified decision, but it was the final warning that made me waver. “You’re losing your composure lately. Leave the mission and return to Coruscant to meditate on your choices.” My breath stopped when I heard him shouting through the holopad. I couldn’t quite make out the words, but he was complaining about the poor results of the missions or something like that. I swallowed down that memory too. It had been an outburst due to a tense situation, it could happen. I had to stop thinking about it.

Shared missions completely disappeared. Qimir and I only saw each other to spend time together. One evening, he took me to dinner in a somewhat shabby place with the promise that I could bring my fellow Padawans there when we were older. The light conversation at the table was pleasant before silence surrounded us.

“I’m sorry we see each other less lately,” he finally sighed after dessert.

I shrugged, relaxed. “Well, we have our duties. And I need to keep studying.” I thought I had given a satisfactory answer, but he looked more frowned than before. “It’s unfair. I want a Padawan too.”

I chuckled at the thought. “I think you need a few more years for that.” But he didn’t laugh, instead, he… stared at me in a way I couldn’t decipher. “Why do you say that? You’re growing well.”

I frowned at the answer. “Qimir, I’m Vernestra’s Padawan. No offense, but it’s she who’s raising me,” I maintained a smile that he didn’t share. “You spend more time with me than with her.”

I shifted uncomfortably under his gaze. I wanted to tell him that it was normal since we were friends, but that had little to do with the conversation we had started. To tell him that, as good as he was, he still struggled to act like a real authoritative figure suitable for a young boy who needs to learn the Jedi way, but… of course, I said nothing.

I didn’t feel like it. That conversation died just as it had begun.

It seemed that as time went by, that cheerful air around him faded. Maybe it was the maturity I was gaining that woke me up from that waking dream I was living. I recognized certain expressions or glances better, those smiles that once warmed my heart now had a bitter aftertaste. I began to wonder if something had been wrong from the start. Sometimes those strange warnings from Vernestra or those fragments of memories where I had seen him in a different light, more sinister, would come back to me.

So, I made a decision.

It was better to put some distance between the two of us, maybe growing up, I would be able to face him better, understand what was going through his head, and once matured, I would be able to help him as he helped me.

I don’t know if that decision was the straw that broke the camel’s back, if it was something inevitable that had already begun, or if there was no escape. Looking back at everything that happened, the mistakes had started much earlier, but how much blame did I truly deserve?

I was young, naive, it wasn’t my job to see beyond the veil of lies, beyond the Jedi, beyond the Force.

I wouldn’t have been able to recognize the dark side under those circumstances.

And in fact, I didn’t recognize it until it was too late.

And there it was, right in front of me, taking my breath away.

[twelvemonkeyswere]

Brienne and Femininity (and Masculinity)

I’ve been musing how one of the most important topics in Brienne's storyline is femininity, and even though her story isn't finished, we can fairly see what some of her major themes are around this—particularly, how performing or failing at performing femininity affects her both internally and externally.

Often I see people pointing out that, in spite of all of Brienne’s traditionally masculine ways—her clothes, her skill set, her body shape, to name a few—she does not fully reject femininity. That she likes little cute animals and fairy tales and wears dresses, and is shy and blushes frequently. This is an important point because, very often, fantasy settings made the assumption that a woman can only be taken seriously if she goes beyond “her womanhood” and acts and thinks “like a man,” as opposed to other girls who are too busy mending or wanting romance. Brienne challenges those tendencies that GRRM saw in his contemporaries. Things have changed a lot since (hello The Locked Tomb, for example), but you can still see where he is working from, and how many of the aspects of Brienne's story still resonate with more modern audiences because, well, sexism hasn't stopped existing. It's also important because the larger asoiaf and got fandoms often refuse to see this side of her, reducing her to a walking sword or a cardboard cut out of a pushover.

Now, my main issue here is that I feel several interpretations of Brienne have now gone on the other direction, and focus so much on Brienne PERFORMING traditional femininity—wearing luxurious dresses, using make up, accepting lavishing gifts, or wondering if she can be desired, for example—that we've gone sometimes on the opposite direction. I feel like many times we’re afraid or do not know how to approach characterizing her as someone who rejects aspects of femininity without making her into another “not like other girls” stereotype.

My two cents on the matter is that if we focus too much in what Brienne can't but "wants" to perform, we forget that she is, in fact, gladly rejecting some common impositions of femininity in her society.

Beginning with swordplay at a young age, for example, she was very glad to ditch a more traditional education in order to learn how to fight the way we know men are taught in asoiaf/got. She is also explicitly more comfortable in men's clothes. We all like the scene where Jaime makes an effort to give her a dress and she appreciates it, but we don't even find out what happened to the dress, because, presumably, the dress itself is not THAT important, at least not as much as the fact Jaime gave her gifts as a form of appreciation. Dresses have been used in Brienne's past to mock her (the event with the bear being the most recent one), and the important part is that Jaime is the only one who has given her one without that ulterior motive. The point of the scene is that where everyone undermines and underestimates her, he is acting the opposite way. We’re seeing how the relationship between them has evolved and that he is doing his best to mend what has happened and what he has done. She is given a dress and a sword as symbols that someone else in the story is beginning to appreciate her for all she is.

Beyond that, we even get details on the old shield Brienne got at Harrenhal, but not a word about the dress. Brienne explicitly doesn't really like being in dresses, she prefers mail and breeches, and feels more at ease in them than anything else. This is not her hating dresses because she is above them. I can’t remember well but as far as we know it’s just her preference: I don’t recall her saying she hates dresses, just that she prefers trousers. She must have been wearing dresses her whole life! It’s not likely she is unused to them. But we do know the act of being given a dress is important in Brienne’s story. The problem is not that they can’t make dresses for her, the problem is that everyone who forces her to wear a dress wants to signal how lacking she is as a woman, trying to fit her in a box too small for her real shape and then mocking her because she doesn’t meet their standard. The problem is they want to make her uncomfortable and they want to humiliate her, because she dares to exist in a way that doesn’t conform to patriarchal ideals. And the problem is that she likes to wear trousers and mail. She likes to wear masculine clothes, and they want her to be very aware of how much they disapprove.

And we also hear a great deal about marrying and having children out of duty. There's a certain loss she feels there because she believes that, at that point, all those missed opportunities will never present themselves again. All her life, she grew up with a dichotomy that dictated that the chance of having a family or children was through duty or none at all, because she is her father’s heir and—they kept telling her—nobody would want an ugly, masculine, temperamental girl as a wife. They could only want her for the money she brought. The point of the story is that, once again, failing the standards of femininity has forced her into a mentality where she thinks she can’t be loved because nobody would like who and what she is. But even then, even with that thorn in her mind, she still feels relieved she didn't have to perform these particular duties. The only thing she’s sad about is that she thinks she's missed any chance at having a family at all and will never know what that might be like. She doesn’t actively want babies or even to be married. She is still young, and at least to me, she seems to view these things in hypothetical rather than explicit goals or wants. She thinks that, at 20, there is no opportunity for her to experience these things because of how her society works. It’s the lack of choice that she mourns, down the line. But she rejects that particularly role that femininity imposes on her now. She didn’t want it, and she is happy it didn’t go through. She literally fought an old man to prove how much she didn’t want those impositions.

All this is interesting to me because Brienne also sort of thinks of herself as her father's son as well as her father's daughter. It almost slips her mouth once or twice. She is aware, I think, that many times the differences between a son and a daughter boil down not really to gender but to the sort of duty they perform. And she wants to do the sorts of things sons do, too. Men regularly learned to fight and wore the clothes she liked best and used hard-earned skills in a way she wanted to use them. There are layers to this (we’ll get to that in a bit) but she is, I think, very aware of her masculinity, and, if left to her own devices, she seems comfortable in it. The problem is she is NOT left to her own devices.

Most of Brienne's self doubt comes from outside forces. As a woman, they underestimate her. As a woman, they think she is stupid. As a gender non-conforming woman, every jape uttered goes directly to her womanhood. As a woman, if she looks the way she does and dresses the way she does and fights the way she does, when she expresses any vulnerable emotion, any shred of “femininity,” she is mocked for it. She likes dancing and beautiful things and pretty boys but a woman as masculine as she is is not the sort of person who gets to express those preferences without judgment from those around her.

The point is Brienne’s world wants her miserable either way: being unable to be a woman the way they demand of her, because she is too much “like a man” for it, or being unable to be a man, because she is too much a woman for that. The point is she can’t win regardless of what she does. Because that’s how sexism works.

But Brienne’s story is, I think, one about choices. The thing is that the world makes it harder for her, but she shouldn't have to be one thing or the other. She shouldn’t have to be defined by one or the other. If she wants to fight in the mud and smell roses and wear chain-mail and talk to charming men, she should be able to choose all of those things. I think it’s easy to focus too much in what aspects of femininity Brienne likes or dislikes instead of looking at what the story is proposing, which is to look at what Brienne,as a person, likes or dislikes. What she wants. Her parallel story to Jaime is about how the world will always try to put folks in boxes, especially those who, for some reason or another, do not easily fit in those boxes. The question is not “what feminine/masculine parts of Brienne is she happy performing” but rather “what does Brienne want, and why does she feel like she cannot get it and doesn't dare ask.”

This is also what drives her to servitude. There’s a phrase out there that says that if you don’t think you can be liked, you try to become useful, so at least there’s a reason to keep you around. It’s heartbreaking to see how Brienne’s vision of herself has been so skewed by the emotional abuse, parental neglect, and bullying she’s experienced since a young age. She doesn’t think anyone will grow close to her, so at least she can be close to people by serving them. She wants to put her skills to use, she wants to find a place where she fits, where she can be more herself, but she isn’t sure what that looks like or how to find it. She’s still searching, and learning many things on the way.

And Brienne is still very young. We can see her confidence growing and her worldview challenged and she is beginning to see the realities of herself and of the world around her through various trials by fire. Misogyny makes her feel incomplete, but we know the things she trusts about herself while simultaneously seeing the way she constantly doubts others. How she can't never express all of herself without constant judgment or mockery.

I feel like yes, the fact Brienne doesn't reject all traditional femininity is really important to her themes, but by extension, it's as important that shedoes reject some of those traditional expressions of femininity. What she is truly rejecting is imposition, not femininity. What she truly needs to embrace is freedom, not masculinity. She's making her own vows, breaking her own promises, going through her own mistakes. She is learning the hard way. Agency in a world of limited choices is one of Brienne's main themes too. There are moral issues that go deep within her story as well as examinations of the effects of war and the struggle to find authenticity and connection in a community that refuses to acknowledge yours, a community drenched in pretense and lost in performance.

And I think it’s easy to get too caught up in her wanting to be a girlfriend or a mother or wearing a dress that we bypass the whole conversation around why that matters at all. I feel like Brienne's success isn't going to come from her fully embracing all her feminine traits or fully accepting all her masculine traits but from being able, down the line, to be exactly who she is.

[thewertsearch]

TT: You mentioned immortality. TT: Godhood makes one immortal? […] One will live forever, unless killed. The death must be either heroic or just. TT: How are those terms defined? Broadly, mysteriously, and according to the case of the individual. One may be killed by opposing a corrupt adversary and die for a just cause, as through martyrdom, for instance. This would be heroic. Or one may be subject to corruption, and slain by a hero. This would be just.

Heroic Players can die fighting 'corrupt adversaries', whereas Just Players can be 'corrupted', and 'slain by a hero'. There's a clear dichotomy here, wherein 'corrupt' God Tiers are particularly vulnerable to self-sacrificing God Tiers, and vice-versa.

I like it. It's a very mythological way for immortality to work, and it gels well with Sburb's fantasy narrative. Rose's alliance with the Horrorterrors probably marks her as corrupted, so God Tier ascension probably wouldn't grant her true immortality.

The concept is fascinatingly ambiguous, too. Morality is a controversial subject at the best of times, and allowing Sburb to judge the ethics of a Player's actions could get very tricky, very fast. There's no doubt in my mind that Sburb and I disagree vehemently about what constitutes a just cause, and I'm sure I'm not the only one.

TT: Which sort of death will you have when I destroy the sun? Neither. I'm not a god. I'm a guardian, a servant, and a weapon. I have power and knowledge far surpassing a god. But I am not one.

First Guardians are considered far more powerful than God Tiers, then. Aradia was able to get the drop on Jack, but Jack's really just a Kernelsprite imitation of a First Guardian. Scratch is far more threatening, especially since his brain isn't scrambled by dog memories.

...that said, his brain might be a little scrambled by whatever was in that HONK code. Who knows what Alt-Gamzee was cooking there.

My master can't enter this universe until I am killed. […] TT: That almost sounds like martyrdom. Are you sure it won't be a hero's death? Quite sure. My master is a very evil man. TT: Who is he? I won't tell you his name. But he goes by the title, Lord English.

About bloody time. This guy’s been sneaking around the back of the story for over two thousand pages, and it sounds like we're finally going to shed some light on this mysterious adversary.

But you must decide which objective is more important. You may decide to attempt to destroy the sun and end my life. This will neutralize Jack, who is also much more powerful and dangerous than myself by virtue of the ring he wears in addition to drawing energy from the same sun as I. He poses a significant threat to reality.

I'm still skeptical about this assertion. What could Jack's other kernels possibly offer that his First Guardian powers don't render obsolete?

Anyway - even if Jack does have better numbers, Scratch is still far more dangerous by virtue of the mind he wields.

TT: But in the process of killing him and you, I release your master, who is just as deadly? He's more deadly. But the danger he poses is sanctioned by paradox space. It is a known quantity. His very existence in a universe will mean it will inevitably be torn apart. But there are rules to his entry, and his grim procession through paradox space is rather orderly. The present equilibrium has accounted for him, and will continue to.

I did wonder if English was part of Paradox Space's natural ecosystem, charged with destroying old universes in much the same way Sburb destroys planets.

Even if he is part of Skaia's ineffable plan, I don't think that should stop us from ending his sorry ass. We might not understand English's motivations, but we do know that his plans destroy anyone unfortunate enough share his plane of reality, and countless lives have already been ruined in Scratch’s quest to bring him out. I don't really care if Paradox Space sanctions his actions - he needs to be taken down, and if that upsets the natural order, then it's time for a new natural order.

Besides, we probably don't even need to destroy the Sun to stop Jack. We have plenty of other angles to work, from exploiting his psychological weaknesses to negotiating with his slightly more reasonable deputy. Additionally, Jadesprite won't be out of action forever, and Jack can't even harm Jadesprite, due to the aforementioned psychological weaknesses. Even if she's inherited Bec's 'don't fight Agents' programing, that doesn't stop her from simply stealing his Ring. She's done it before.

Jack however is a loose cannon. He will not stop until he destroys everything he encounters.

Yeah - to be honest, Scratch, I'm starting to think you're laying it on a little thick, here. Is Jack really the omniversal 'threat to reality' that you're making him out to be?

Let's not get it twisted - I have no trouble believing that he's dangerous to individual sessions. But does he really have the juice to wreak cosmic destruction on the scale of Lord English? His battery is only as strong as a couple of universes, and he has to share it with every other First Guardian in the cosmos.

Plus, the kids can't be the only Players in the multiverse to accidently prototype a First Guardian. I'm sure it's rare, but it can't be once-in-all-the-worlds rare. There should be plenty of other rogue First Guardians floating around Paradox Space - and if they're all enormous threats to reality, then reality should already have been destroyed.

In conclusion: No, Doc. I don't think Jack Noir is an English-tier threat. And for the record, I think there's a much more dangerous First Guardian in this equation than the Sovereign Slayer.

[quietmonologues]

So. I hate shipping discourse and I try to keep it off my blog nowadays. I also don't consider myself a part of the fandom. But, I find discussions about this series particularly engaging and interesting, and Elucien do have me in a bit of a chokehold these days so I feel the need to get this off my chest and put this out into the world.

A common question I see is "why do people ship Elucien? They don't even like each other". And to that, I say this:

What about it? This is why shipping discourse in this fandom (and in general) is so ridiculous, because why is there confusion as to why people ship Elain and Lucien together? SJM literally wrote them as a potential pairing, that's why she made them mates. Pairing = shipping. It's not rocket science.

Two characters not liking each other is never gonna be a deterrent for them becoming canon or for people liking them as a ship. That's why enemies to lovers is such a popular trope. However way you define enemies (on opposite sides of a war like Zuko and Katara, or thinking ill of one another based on misunderstandings and assumptions like Darcy and Elizabeth), when it's done well, the story of two characters changing their opinion about each other, getting to know each other on a deeper level, and growing to love each other after their initial discomfort/hatred/loathing/indifference is a compelling story. It's about the journey, the development, and overcoming all the hurdles and bumps that are in their way.

Another reason for why the "they dislike each other" argument is so weak is because you literally have two other canon couples in this same series who had very rough starts. No matter how you feel about these two pairings, it's blatantly clear that Rhys and Cassian did put Feyre and Nesta in uncomfortable situations and have hurt them (physically/emotionally). But clearly, that was not a deterrent for them getting together in the end. So why the heck are Lucien and Elain different? Why is "Elain is so uncomfortable around Lucien" a continuous argument? It's so hypocritical given the fact that Lucien is the only guy that isn't forcing himself upon his mate.

Also, I'm sorry but some people (me...I'm some people) are tired of the "dark, battle-born, winged-warrior brother" and "previously human, traumatized archeron sister" pairing. Elain and Lucien are both associated with nature, they're both social and like interacting with people, they both experienced a deep love previously, they both abhor violence, they are both overlooked by others yet have the ability to see what others can't. They are a compatible pairing to me because they share many characteristics that are harmonious and complementary. They are the anti-thesis of Night Court aesthetics and thought, and if they ever have a book together then I can only hope it's the best one in the series.

And yes, the "Elain needs sunshine" and "Lucien is the heir to the Day Court" connection is important, my goodness. That's what symbolism is!

Sometimes it's that simple.

Okay, that's enough shipping discourse from me.