#to people taking the worst interpretations of that event when moving forward with the character

[lemonhemlock]

How would you have written the hotd story or maybe changed it?

GRRM, is that you??

I've had this ask sitting in my inbox since forever!! I'm sorry it took this long, but this question stumped me. 😅

I tried to do a little write-up re-imagining one of the more problematic scenes of the season here.

I will begin by saying that I really did enjoy this first season! Although sometimes it feels like I'm in the minority. :) But there were a lot of things that I loved, like the atmosphere, a lot of the storytelling, the humanized characterizations, the editing, the MUSIC, the costumes, it felt very, very recognisably Game-of-Thrones and such a relief to be going back to Westeros after these accursed last few years!

One of the things I really loved was how each episode gravitated around a specific event and corresponding concept & allowed the narrative to flow in relation to this one shared thread that kept the characters purposeful. Not many completely unrelated or superfluous scenes that I can recall.

I understand the need to keep to the tried-and-tested 10-episode structure, but considering all the time jumps, I would have made them longer. Streamlining is great, but even a few additional scenes would have helped a lot, I think.

The main issue I have relates to framing and audience manipulation. Let's be serious, they HAD to soften the characters up, because they have to captivate the audience moving forward. No one wants to watch a show where people are just irredeemable arseholes, as much as fans love to boast about it declaratively. Book purists are never going to be enough to sustain a big financial investment like GOT/HOTD. Casual viewers are the ones who have to keep coming back to the show, not us nerds dissecting it on tumblr, twitter & reddit.

So, in that sense, girlbossing Rhaenyra up makes complete sense. It's an easy framing that every Tom, Dick & Harry can follow along with. They did a good job with humanizing Alicent & Aemond as well. The problem is with Aegon. He is the only character in the show to have received Mushroom's worst interpretation. As Rhaenyra's direct rival, you cannot do that to him and still expect the audience to side with the greens. Even show!Daemon is sanitized from his book!self. If you're going to whitewash Rhaenyra, you have to present Aegon more indulgently as well. I'm inserting the answer I gave to a disgruntled anon a while ago. It's literally the only way you can play the "both sides have a point" angle to the audience.

I would have made Aegon the village idiot and drunkard and given him comic relief moments. I would have kept him bullying Aemond and taking him to a brothel, but I would have also shown him reaching out to his family members more as an adult. Maybe given him an OK relationship with Helaena, like they had in the books. Make him interact with his children a bit. This doesn't have to take up a lot of screen time, a few extra scenes could do the trick. Keep his characterization as incompetent and irresponsible, but refrain from making him completely reprehensible. Take away the distressing rape scene and the child-fighting rink, because that is just ridiculous when you're also giving RHAENYRA the white hart symbolism. Actually, make it even more ambiguous - Rhaenyra comes back with Ser Criston & the boar at the end of episode 3 and sees how a white hart has approached Alicent holding baby!Aegon. Who's the true heir now??

Secondly, I would have emphasized how the greens actually do have the legal high ground here and the better claim. I'm sorry, but including debates on medieval common law and inheritance rights are a must. The viewers were convinced at the end of the show that Rhaenyra should be Queen just because Viserys said so. And, I'm sorry to say, but that is just not the case. A lot of political elements from the Dance were taken straight from The Anarchy - Matilda's pregnancy, her not being in the country, her father making the lords swear an oath, him "retracting" his decision on his deathbed and naming Stephen instead. I'm begging everybody to go watch a few short primers on this succession crisis because this is just beyond. Just like Rhaenyra, Matilda is not acknowledged as a Queen of England, but as a claimant. Furthermore, Stephen was only Matilda's cousin through Henry I's sister. Aegon is Rhaenyra's brother. GRRM made her claim comically weak. The medievals are laughing at you. Please.

Thirdly, I would have highlighted how Rhaenyra's public perception actually is. I've spoken at length on this topic already, but she oscillates between appearing downright rude to unhinged (middle section of this rant here). There is no reason so many noble houses would support her. You have no way of telling that from the show, though, because there aren't any frames or lines of dialogue given to disgruntled nobles. Even young!Rhaenyra's behaviour in Storm's End as the heir to the throne is downright appalling. Therefore, I would include shots that make it apparent she is not well-regarded, despite her obliviousness.

Fourthly, I would emphasize how placing bastards in the line of succession to the Iron Throne is a crime and that crime actually has the cute name of "high treason". I feel like I've already exhausted this topic in my bastardposting tag. This is an issue of property rights, not of puritanical morals or slut-shaming.

And, lastly, I would make a point of showing dissent within the black faction as a result of the unfair treatment of House Velaryon. I would present Vaemond's murder as the extrajudicial execution it is. I would not have Baela & Rhaena so happy-go-lucky at losing their inheritance and exchanging it for status as Jace's and Luke's wives.

I tried to keep the changes as minimal as possible so as to not disrupt the flow of the show too much. I think you could have fit all of this in quite reasonably with an extra 10-20 minutes per episode. I know that what all of us really crave is full extra episodes, but I'm afraid that's not entirely possible all of the time. Show-runners do have their own constraints that we are not privy to. 🤷‍♀️

[jostenneil]

i don’t know how anyone comes out of tower of babel thinking bruce doesn’t feel absolutely ashamed with himself for what happened like on top of the way he’s desperate to save everyone once he realizes what ra’s is doing he’s not angry by the end of the event in those lost pages bc he has no remorse over what happened, he’s angry bc barbara or clark or anyone else could actually bring themselves to believe that he would have no remorse at all. why do you think he walks out before the league can even tell him the verdict of their vote? bc he’s already passed judgment on himself and knows nothing he could say would be good enough in their eyes to atone for the damage done, and that conversation with barbara afterward, in addition to clark’s vote, proves it to him

[hypnoticwinter]

Gamifying the Story Outline: A Simple Tool to Revamp Your Writing Process

0. What the heck is this? Ever had trouble figuring out what kind of story you want to tell in the first place? Not a fan of outlines, but end up with meandering, pointless stories that don’t do what you want them to? Do you mainly write pulp fantasy or sci fi? 

This is a tool that will guide you through outlining a story using some of the same concepts as a solitaire roleplaying game. All you need is a few ideas, a pen and paper, and a six-sided die.

You also need to understand some basic concepts: This tool isn’t a substitute for creativity, and if you think you have a better idea, run with it. This tool assumes that you’re going to be writing a fairly grounded story in the vein of a Dragonlance novel or similar - hero’s journey stuff. It’s not very good for more cerebral stuff, or anything more abstract.

With that being said, let’s get started. First, we need to ask some questions and define some notions.

1. Who is the Hero? This section assumes that there’s just a singular protagonist, but there’s no reason you can’t make it work for a small group of characters. 

The story is about a Hero, someone the story will focus on as they go on a journey. They’ll grow, change, face challenges, deal with setbacks, and so on. To that end, we need to know a few things about them. Aside from basic characteristics like name, appearance, etc., we also need to know:

1a. What makes them special? You could be writing the story about anyone - why them? What about them is special enough to write a story about? 1b. What are their strengths? Don’t get too cerebral here. Just list off three or four things they’re good at, and come up with a small backstory or notion for why they’re good at them.

1c. What are their weaknesses? Same thing here. Some weaknesses - real weaknesses, ones that can cause issues, and why they’re there. Remember, the more work you do at this stage, the better you’ll be equipped to move on later. 2. Who/what is the Villain? If there’s a Hero there has to be a Villain. Now, I’m using Villain as shorthand - this doesn’t necessarily mean a literal villain who’s a force for evil, it means whatever overarching force wants to prevent the Hero from accomplishing their goal, whatever that might be. Sometimes the Hero might not know who or what the Villain is, sometimes there might not even be a concrete Villain. But there has to be some kind of conflict or opposition - otherwise the Hero doesn’t have anything to overcome.

Just like the Hero, we need to know some information about the Villain.

2a. Who/what are they? 2b. What are their strengths? 2c. What are their weaknesses?

Remember, this is all the ground work. Put in the effort here and you’ll appreciate it later on. 3. What is the Hero's goal? The Hero always needs to have a goal. It's the reason that they keep going through the story. Their resolve can falter, of course, they can have doubts and misgivings and so on, but the goal has to always be present. This can be concrete or abstract, nebulous or poorly defined, but it has to be there to keep the story moving. If the kind of story you want to write doesn’t really have a goal, this tool probably isn’t going to do much for you.

3a. What is the Spark? The Spark is what some other story outlines might call the 'inciting incident.' The Hero's Spark is what gets them off their asses and starts them actually pursuing their goal for real. This is going to depend on what the goal is, what the setting is, who the Hero is, a lot of different factors, but there has to be some kind of tipping point that makes the Hero realize ‘okay, there has to be a change and I have to be the one to do it.’ 4. Creating the Timeline. The Timeline is a track of major events that will occur during the course of the story. The Timeline begins with the Spark and ends with the Confrontation. Prior to the Spark, of course, you can have as much set up as you want, and a lot of the time you’re going to not want to launch right into the story with the Spark, but that’s something you can figure out later. For our purposes, we’re starting with the Spark. In the space between the Spark and the Confrontation, the Hero will encounter Complications, both Minor and Major. Minor Complications are small incidents that stand in the way of resolving Major Complications. Major Complications are large incidents that stand in the way of the Hero's victory entirely.

You can use any number of Minor or Major Complications that you like, but I recommend 2 Major Complications between the Spark and the Confrontation, and 2 Minor Complications between each Major Complication, give or take. This can change on the fly depending on how the story goes, so remember to be flexible. Between each Complication obviously there will be time to lick wounds, make friends, develop plot, and so on, but that's something you can figure out yourself. We want to get the plot points down, knitting them together coherently is a job for later.

4a. Complications. To determine what kind of Complication you’re dealing with, roll the die. 1-3: A Complication of Circumstance Complications of Circumstance are difficulties that arise for the Hero without malice or intention behind them. Maybe the weather turns at the worst possible moment, or something is rescheduled, or sweeping changes of some other kind affect them.

4-6: A Complication of Intent Complications of Intent are difficulties that arise specifically because the Villain is targeting the Hero and trying to hinder them. They can take forms similar to a Complication of Circumstance but the cause is specifically because of the Villain. They can also take more precise forms than might be appropriate for a Complication of Circumstance, like an assassin, a battle, a conflict, etc. You can also roll the die again to refine Complication type: 1-3: General A General Complication is one that affects many people or a wide area. Blackouts, flooding, famine, wildfires, are all examples of General Complications. The Hero might be the root cause of the Complication, if it is a Complication of Intent, but it will affect many more people than just the Hero. 4-6: Specific A Specific Complication is one that affects just the Hero, or the Hero's immediate allies. An assassin, a theft, a parking ticket, and so on, are all examples of Specific Complications. Even if a Complication is Specific the Hero might not be the cause of it - it may just be random chance without interference from the Villain. 4a1. Minor Complications Minor Complications fill the space between Major Complications. A Minor Complication is an opportunity to learn more about the Hero and the other characters, to explore the world of the story, or to develop the plot in other ways. Minor Complications only have, as the name suggests, minor implications on the story as a whole and don't affect it much, BUT they do still need to affect it in some way.  4a2. Major Complications Major Complications are serious events that have the potential to change the direction entire story. Major Complications are plot points that require several chapters at least to resolve, and will change the Hero for better or for worse once completed. 4a3. Resolving a Complication At a base level, all you have to do is ask the question, "does the Hero win?" and then roll a die. Look on the below table for the answer. 1: No, and... 2: No. 3: No, but... 4: Yes, but... 5: Yes. 6: Yes, and... Now stop. Think about the answer you rolled and interpret it. Apply it to the Complication you came up with. Does it make sense? You always have the authority to roll again, or just say screw rolling and choose what happens. But sometimes it can be fun to just see what happens. You do want a healthy amount of variation, of course - the story will probably be pretty boring if the Hero manages to just effortlessly cruise through every Complication, or if the Hero is getting curbstomped repeatedly by bad rolls, but given how many Complications there are to resolve, most likely there’ll be a healthy spread of wins and losses across the course of the Timeline. Now, moving on - what exactly does ‘no, but...’ or ‘yes, and...’ mean? First, yes or no always answers the question ‘does the Hero win?’ That’s the outcome for the Complication. The story still has to move forward but depending on whether it’s a yes or a no and whether it’s a Minor or Major Complication, you might want to do some brainstorming as to the direction the story will go next. If the result you rolled has ‘but’ in it, that means the result is tempered. A ‘yes, but...’ isn’t a perfect victory, something bad happened as well, and a ‘no, but...’ isn’t a total defeat, there’s some kind of silver lining.

Likewise, an ‘and’ means that the result occurs in the superlative. A ‘no, and...’ means the Hero lost hard, just like a ‘yes, and...’ means the Hero wins hard. Whenever the Hero wins a Complication (i.e., rolls a yes), they get a Minor Boon. Whenever the Hero loses a Complication (i.e., rolls a no) they get a Minor Bane. If the roll includes a ‘but,’ they get both a Minor Boon and a Minor Bane. And if the result includes an ‘and,’ the Boon or Bane they get is Major instead of Minor. Mark down what they got and read on to see what exactly that means.

4a3a. Boons and Banes. Boons and Banes are assets the Hero gains through the course of the story that have the opportunity to render aid or cause harm when the Hero is involved in a Complication. There are three types of Boons and Banes, Minor, Major, and Superlative. Minor Boons or Banes are lost after being used in a Complication, while Major Boons or Banes remain in play but become Minor after being used in a Complication. Superlative Boons or Banes are never lost after Complications - if these are ever changed or lost, it’ll be because you the writer stepped in and changed them. The Hero begins the story with one Superior Boon and one Superior Bane, each based on the Hero's greatest strength and weakness respectively. The Villain also imposes a Superior Bane based on its greatest strength, and a Superior Boon based on its greatest weakness. Banes and Boons can only be used in Complications where they would be relevant. A Hero who has a Boon for fighting, for example, can't use that Boon if the Complication is about socializing. A Boon can be used in a Complication, if applicable, to grant a +1 bonus to the roll to resolve the Complication. Likewise, a Bane can be used in a Complication, to impose a -1 penalty to the roll. The minimum roll is still 1, and the maximum is still 6. 

When you’re resolving a Complication, you can choose not to add a Minor or Major Boon or Bane and instead choose to hang on to a Boon or Bane the Hero already has that would be lost due to being used in the Complication. You can roll the die to refine the type of Boon or Bane a Hero has: 1-2: A Boon of Knowledge / A Secret Bane This Boon/Bane reflects knowledge kept secret from others. As a Boon, it reflects something the Hero knows but the Villain does not. As a Bane, it reflects the opposite. 3-4: A Boon of Improvement / a Bane of Entropy This Boon/Bane represents tangible improvement in the Hero's or the Villain's equipment, assets, skills, or talents. It can also represent the opposite - a Boon of Improvement could represent a new weakness the Villain develops, for instance. 5-6: A Boon of Allegiance / A Bane of Servitude This Boon/Bane represents an ally to either the Hero or the Villain. They may be temporary or they may become a recurring character in their own right. It can also be an organization or group rather than one person. It could also be used to mean a betrayal - a Boon of Allegiance could mean one of the Villain’s servants switching sides, or vice versa. When completing a Complication, you need to keep several things in mind: 1. How exactly did the Hero complete the Complication? 2. What did the Hero use to complete the Complication? What Boons and Banes were involved? How did they affect each other? 3. What's the explanation for Minor Boons and Banes being lost after the Complication? What's the explanation for any gained Boons or Banes? 4. How does this affect the Hero moving forward? Will they have to change their objective, or rethink things? Are they on the offensive or the defensive? Are they confident?

5. The Confrontation. When you've dealt with all the Complications in the way, you get to the Confrontation, which is the final standoff between the Hero and the Villain. Every remaining Boon and Bane should factor into this one - this is the big moment, probably the climax depending on how you structure your story, so all the stops should come out. But don't roll. Whether the Hero wins is something you have to decide, based on the story so far. This one can't be randomly generated.

And after the Confrontation the rest of the story should be pretty easy for you to wrap up on your own. The Hero either accomplishes their goal, or they don’t, and the consequences of each have to be dealt with.

6. Example. Let's work through an example. Let's call our Hero Veronica, and the Villain Louise. Veronica is good at swordfighting and archery, so she gets a Superior Boon for that, but she's shy and standoffish, and can't swim, so she gets a Superior Bane for that.

Louise is an Evil Knight. Louise is good at burning, pillaging, and fighting, so she imposes a Superior Bane on Veronica for her expertise in that, but she constantly underestimates her opponents and doesn't treat her underlings well, giving Veronica a Superior Boon for that kind of thing.

For Veronica's Spark, we decide that her Goal is to rescue her boyfriend Sylvester from Louise's evil clutches, and that the Spark, therefore, is Louise kidnapping Sylvester.

The first step for Veronica is to travel to Louise's fortress, which is a long ways away, through the Windy Woods and over the Moldy Mountains. We're going to go with the standard template, with two Minor Complications between each Major Complication and two Major Complications in total before the Confrontation.

So, to recap, Veronica is a shy, standoffish warrior woman who's excellent with a sword and a bow but who can't swim or handle social situations, who is setting forth on her trusty mount Roanoke towards Louise's Frosty Fortress to rescue her boyfriend Sylvester.

The first Minor Complication is a Specific Complication of Intent. This means that this is an action by Louise specifically targeting Veronica with the intent of preventing her from rescuing Syvester. Let's say that Louise gets word that Veronica is coming and sends an underling to go and push a boulder onto Veronica as she passes under a cliff. Now let's think about our Boons and Banes. Veronica has a Boon for fighting, but that isn't really going to help here. Similarly, her Bane for social situations isn't going to hurt her either. Louise imposes a Bane for her aptitude at pillaging, but I don't think it applies because she didn't come herself, she sent an underling. So it's going to just be a flat roll with no modifiers. Does Louise succeed and avoid the boulder? We roll a 5, which is just a flat yes, with no positives or negatives, but she'll still get a Minor Boon out of it. So, the boulder misses. For the Minor Boon we roll a Boon of Allegiance - let's say that she manages to catch the underling and convince him to join her by promising that she'll get rid of Louise. Let's call Veronica's new ally Bruce. Veronica and Bruce keep going, and there'll be plenty of opportunities to worldbuild, to expand on their character, and so on.

The second Minor Complication is a General Complication of Intent. Let's say that Louise found out what happened through her network of spies. She orders her raiding party to head in Veronica's direction and search through each village looking for her. Their paths intersect in one village when Veronica, riding through, gets stopped by the leader of the raiding party, who thinks she looks an awful lot like Veronica. There are too many of them to fight, and Veronica thinks she'll have to try and bluff her way through it, but Bruce can pretend to have captured her and be taking her to Louise himself. This is a social situation so Veronica's Bane comes into play, giving her a -1, but with Bruce as a Boon that negates the -1.

Now, here I rolled a 6, but we already had a success for the previous Complication, so I'm going to reroll it. This time we roll an appropriately abysmal 2, which is a no. Let's say that the raiding party leader wants all the glory for himself, kills Bruce, and takes Veronica hostage for real, and throws her into Louise's prison nearby. This means Veronica ends up with a Minor Bane - according to our die roll it's a Bane of Entropy. Let's say that Veronica gets hurt when she's tossed into prison, and can't fight as effectively.

Now we come to the first Major Complication, and with Veronica being trapped, there are plenty of opportunities for what it might be. We roll a General Complication of Circumstance, so this isn't anything that Louise is behind, it's just a twist of fate. Let's say that a few days after Veronica is captured, there's a raid on the prison by a group of elves who are trying to free their imprisoned friends, and they end up setting everybody free, but in the chaos the prison also catches on fire. Veronica needs to get out of the prison before she's burned to a crisp, but there's a catch - some of Louise's elite guards have been dispatched to make sure nobody gets out of the prison alive. There's no reasoning with them and there's no time to disguise herself - Veronica will have to fight. She's got a Boon for fighting, so that's a +1 bonus, but she also is hurt, which is a Minor Bane for -1, evening out.

We roll a 6, which is a 'yes, and...' Veronica manages to fight her way through the elite guards, which will be a spectacular action scene when you get around to writing it, and gets free of the prison before it burns down. The Major Boon we roll is a Boon of Knowledge. Let's say that Veronica finds a map of Louise's Frosty Fortress on one of the guards and is able to study it and determine a few sneaky ways in, as well as the likely spot Sylvester will be held in. In addition, the Minor Bane of Veronica being injured and therefore not being able to fight well goes away. It doesn't make very much sense for her to already be healed, so let's say instead that she's able to take some gear off of the elite guards and it makes up for her injury. She returns to her path through the Windy Woods and leaves the burning prison behind her with a renewed sense of determination.

At this point, we can proceed with the story as we see fit, either proceeding onwards with rolling for Complications and Boons and Banes or taking over and coming up with things on our own. This tool is meant to inspire the creative process, not replace it completely. Obviously there are limitations; if you want to write something more cerebral or abstract, while the same base system of Complications is still applicable, it'll be a little more difficult to wrap your head around. What does a Bane of Treachery mean if the Villain is Society or Nature, for instance?

[shadowhuntering]

Matthew & Alastair comparison

I’ve been re-reading Chain of Gold in prep for Chain of Iron and I've noticed that Matthew and Alastair are a foil of each other.

I’ve also been re-reading Cast Long Shadows for investigative purposes and it furthers my realization.

Matthew and Alastair have been through similar issues, but are the opposite (if that makes sense) in some ways. eg. Alastair had to pick up after Elias who is a drunk; Matthew is also a drunk. How they responded to these issues tells you a lot about their nature.

This is my observations, purely for analytical purposes so if I sound particularly harsh towards a character, I do not mean to be.

1. Personalities are the opposite to the other.

Matthew’s personality is literally meant to "blind people" because he's sunny, outgoing and is meant to be the life of the party (or his mask).

Alastair on the other hand is literally "dark" he is broody, not very forth coming and can be very prickly

Ironically though, both have the façade of being conceited when they are the opposite. Though you could argue that Matthew’s alcoholism is a result of being selfish. However, he has little regard for himself which is the danger.

Definition of selfish: Concerned chiefly or excessively with oneself, and having little regard for others.

2. They share a similar notion of love not being real, or won't last. 

Alastair just having a very pessimistic view in general, but Matthew says it about himself. He has full faith that other people will have happiness, where he doesn’t see it happening for himself.

3. Alastair is unapologetically himself, whereas with Matthew he hasn’t been himself for a while, and even back before the events of Cast Long Shadows he was trying to fulfill what people needed at the time.

Matthew cares too much about the people around him to think about himself, but also tries not to care as he fulfills the bad reputation people have of him. He has a mask/façade(s) to help liven or distract, yet he also openly degrades himself. He keeps people at arms length so that they will not be disappointed by him, but also forms close bonds with people. He so badly wants someone to love him, but he doesn't want to help himself or be vulnerable to other people. He’s a walking contradiction.

Alastair does regret the things he did, but he doesn't think less of himself because of them. He did all those things to protect himself from hurt. Alastair also doesn’t care for his attitude. It’s not his problem if people don’t like it basically 😂 He clearly has people he cares about like Sona and Cordelia and prioritises them also. He is also actively trying to right his wrongs on not dwell on his past. He wants to move on with his life.

4. Matthew doesn't want to help himself, Alastair does want to help himself and become a better person.

Matthew openly degrades himself yet keeps his own secrets and thoughts of himself. He self-destructs as he feels he deserves it, even when people reach out and try to care for his well-being and that of others they also love (eg. Lucie’s confrontation). He doesn't see that he is hurting the people around him and also himself because of his attitude towards his own life really. He doesn’t have much of a quality for life. He is clearly depressed. He fails to let anyone in because he doesn’t want to help himself and also thinks too much about what people think of him when honestly the perception they have of him now is probably much lower now because 1. how he has chosen to deal with his mistake 2. how he has kept it to himself therefore making it look like the people who care about him would cast him out.

Alastair knows what he did wrong and is trying to improve himself for the betterment of himself. It was evident that at the time of Cordelia finding out about Charles, he wanted to break free, but once he got over being mad at Cordelia for snooping (rightfully so tbh) he understood that she loves him and would give him the support he needed; he had the inspiration from her to commit to moving forward and make amends for himself. Sure, he kept people at arms length in order to protect himself but inherently he does make himself vulnerable for other people. He still let in Charles, made himself vulnerable to love. Then with Thomas... he let Thomas see his guard down in Paris (and before that Thomas just saw right through him) and he ended up allowing Cordelia in, taking heed of her advice and love. He knew that Charles was hurting him and other people, so he stood up to him. He is much more open and vulnerable which is ironic really.

To me, the progression Alastair has already made makes me believe that the same will come for Matthew. However, the bottom line here is that Matthew self-destructs and doesn’t want to help himself whereas Alastair wants to be a better person and look after himself. Alastair has self-love which is what Matthew severely lacks.

5. Both had to grow up fast due to responsibilities of looking after their father...

Matthew arguably has "Mommy issues". This is not me making excuses for Matthew, or even criticizing Charlotte in any way, this is just my interpretation of Cast Long Shadows...

Matthew seems to have low self-esteem and love for himself due to abandonment issues it seems. He probably felt abandoned as a child by Charlotte. It's not that he was unsupportive of her or holds anything against her, but when you look at it objectively, his upbringing shaped his reaction to Alastair and to himself. She literally left him crying at 6 years old and told him to "look after your father" as she had to go off with Charles. Cast Long Shadows is a huge emphasis of how the feeling of abandonment from Charlotte, leading to how he instantly believed that Charlotte had an affair with Gideon and took drastic action. This I feel is because he never felt comfortable to openly discuss to her about himself really. He also didn't trust her...

I do not wish to insult Charlotte as her job is serious and I'm so proud of her, but unfortunately, due to it, it made an impact on who Matthew is now. He didn't trust, nor feel comfortable enough to sit down and talk to Charlotte because he never really got to know her properly or wanted to burden her. It probably also felt like she had favoritism over Charles, and Matthew didn't want to step on her toes. She also never noticed the little things he did like make her favourite scones and he just went feeling unloved or unappreciated (though he should have said something?). She would ask of him to be sensible, didn't really engage much in his humor which probably contributed to how he viewed himself as well as he already was so self-conscious and was vying for her attention. No offense to Henry but his immersion into his science probably left Matthew feeling abandoned as well as he was the one caring for him, then Christopher is the one who understands and engages. Matthew was his carer, effectively, making sure he ate, drank, slept and wheeled him about. He did love his father though, so he didn’t mind. Though Henry does praise him when he breaks the news about them expecting which just made Matthew feel more guilty of his accidental poisoning.

It’s like Matthew wants all of the attention, but he never voices what he wants aloud. This results with no one paying him much heed. In Cast Long Shadows there is also a comparison to James and Lucie’s relationship with Tessa and Will. James and Lucie have communication with their parents, along with known support and trust. Matthew does not seem to have this as he seems too afraid to voice it, not because he is scared of Charlotte and Henry, but because he is too considerate of them. I also find it Ironic that the next story in GotSM is Every Exquisite Thing where there is a huge emphasis of Anna and Cecily’s relationship with each other. Anna being too scared that Cecily would be critical and not understand her, but when Cecily comes to Anna at her worst, she completely understood Anna and supported her, making her feel better. To me this is another stark contrast to Matthew where his parents are too busy to build a good relationship with him, and when there is a heart to heart (Henry talking with Matthew) it is too late and doesn’t ease his mind. Anna also points out how no one would approach Matthew because “he did not do well under confinement”- it makes sense, he doesn’t like confrontation. 

(I can go into further detail about Cast Long Shadows with Matthew’s upbringing being detrimental to his view of himself)

Alastair however has "Daddy issues". Alastair has a similar case of looking after his father, but he came to resent his father because he never got himself better or was so drunk to even remember or acknowledge Alastair and his help or I suppose confront his problem. Alastair knows what it can do and simply does not want to re-live it, and as Cordelia is now friends with Matthew, he doesn't want Cordelia being hurt by Matthew either or having to pick up after him as he did for Elias. That is also where they butt heads. It is too coincidental that Matthew is also drinking to forget, and is not wanting to make himself be better and deal with it. Alastair is trying to protect Cordelia, but he is also allowing her to make decisions for herself.

In ChoG Alastair says he was 10 when he learnt to fill the brandy bottles with water to mask the levels that had been drunk. He was probably picking up his father and "looking after him" well before that. Alastair tried to protect Cordelia from this because he was being more considerate for her sake. He wanted her to have a childhood he was robbed of. He is also being a foil here of Charles. Charles was so self-involved that he never decided to even think about his younger brother, Matthew. Alastair was compassionate; Charles was not. Alastair is a good older brother; Charles was not and was even accusatory that Matthew being parabatai with James and being in London is what caused Charlotte to be ill... he just has so much resentment...

I also believe that Alastair wanted the burden off of his mother, and I'm wondering if he knows more about Sona and her feelings towards Elias being sour and terrified (This is I feel what is indicated in the teaser of when Elias appears where Sona seems to go pale) despite rushing to him and hugging him etc.

“Sona went white and laid a hand against the wall to steady herself. "Elias?"” 

Alastair was bitter and twisted and he never wanted people to know because he knew it was a weak spot for him. It is what sparked him telling Matthew the rumor in the first place. 

“ "I wish I could say the same for you," said Matthew. "Has no kind soul thought to inform you that your hairstyle is, to use the gentlest words available to me, ill-advised? A friend? Your papa? Does nobody care enough to prevent you from making a spectacle of yourself? Or are you simply too busy perpetrating acts of evil upon the innocent to bother about your unfortunate appearance?" “

...

“Instead Alastair said: "Who are you to play the moralist, talking about tricks and papas, considering the circumstances of your birth?" “

He ultimately had inherited his father's shame which was wrong. It's what Cordelia has told him as well. Alastair shouldn't have to think of the mess of Elias; it is his shame to deal with, not Alastair’s.

Though arguably, as a result of Alastair giving Cordelia an innocent childhood, it opened the doors for Cordelia to want to reach out for him, due to her optimism and love, and as he loves his sister dearly, he takes what she has to say to heart. They will now face things together as a support network and hopefully they also have communication with their mother. Although their family may be "broken" they arguably have more communication and togetherness than Matthew does with his family.

(Sorry, that bit was long)

6. Result of their nature after childhood being robbed

Matthew seems to act more of a "child" anyways, being more “frivolous”. He is being reckless, he is a little petty as well. Whereas Alastair decided to grow up too fast and is more mature and relatively grounded. It did harden him to begin with, but he doesn’t want to completely isolate himself. He’s just simply more rational. This I feel is in their nature though, not nurture. 

7. Matthew is slowly driving everyone away, this is kind of what Alastair tried to achieve

Alastair at the Academy decided that he would be the bully in order not to be the one being ridiculed, thinking that he would be better off and retain a hard skin, but all it did was make him regret and never allowed him to create good bonds with people. Then when he came back from the Academy, he distanced himself from Cordelia. I interpreted this as him dealing with his guilt and regret and tried to not get Cordelia too close to him because of it, but Cordelia cared about him too much. Though it could’ve just been that he got too used to having a hard skin, not letting anyone close. Throughout ChoG he builds his bond with Cordelia, and we also see James coming around to Alastair. Thomas as always was curious and saw his better side and Christopher was seemed ready to give him a second chance. Though due to Matthew’s spew at the end, there is distance between him and Thomas and others (save Jordelia).

Matthew is driving everyone away, simply because he is being so reckless. He had originally established good relationships with people. Then, when Lucie confronts him he literally avoids it, no matter how realistic she was being and how much he cared for her, but that was it; he cared too much for her to tell her. We see that even James will snap at him in COI

Teaser #41: "There is no point to it," said Matthew. "If you will never see reason or good sense—"

"Because you're a bastion of reason and good sense?" James snapped. He knew he had a temper, just like his father; his anger spilled past everything else, tasting of copper and fury. "Matthew, you are drunk. For all I know, you mean nothing you are saying."

"I mean all of it," Matthew protested. "In vino veritas—"

"Don't you quote Latin at me," said James. "Even if you were sober, you've never taken love seriously enough to lecture me. Your passions have been a series of dalliances and ill-conceived attachments. Look at me and tell me there is something you love more than that bottle in your hand."

Matthew also decides to move out and get his own place to force independence and probably drive even more of a wedge between himself and Charlotte. We also knows he has an argument with Charlotte; his apartment and car is undoubtedly a result of that, escaping the conflict and confrontation. 

Anna had wanted to talk to him (Every Exquisite Thing), Magnus also wanted to help him. Lucie has always wanted to help for the sake of James and James has always known something was off. They just know that he wouldn’t say anything, and I think most were in the hopes that he would eventually say something. We know that Cordelia is most likely the one he tells thankfully! It is ironic that it is Cordelia for both Alastair and Matthew as well. So it already looks like Chain of Iron will provide the break and repair of relationships for Matthew, similar to Alastair’s progression of self-love.

8. Matthew is very open about his sexuality. Alastair does try and keep it hidden, however it’s more complicated. This is a reflection of their concern of judgement.

Although Matthew keeps things to himself, he admittedly is not afraid of what people think of him as his expectations of himself are so low. However, he is also ruled by the expectations of others, all through his life people had low expectations of him (again, another thing that influenced his actions in general) and he feels to fulfill that obscure one in spite?? The reputation the he has, has always been obscured because in everyone's eyes it will and always has been Charles who will inherit and uphold the good reputation as Consul as they don’t see Matthew as smart or responsible. However, the latter there he doesn’t help prove them wrong...

Alastair keeps his sexuality secret, that is until Cordelia finds out and he eventually warms up to her. Plus he was dependent of Charles as well, but committed himself that he wouldn’t be the side-dish. He wants to love himself for himself, not be hidden as a secret.

There is also a "reputation" element of the family that he still wants to uphold. He is learning though that he has to put himself first and should make amends for his reputation and not have to be burdened by others. Though I would argue that Cordelia is the one who is more concerned about it, but now she knows the truth she is wavering. It’s more complex.

To conclude: 

I feel like their stories will either reflect the other, or will be intertwined somehow. As Alastair has dealt with a drunk and looks down upon alcoholism in general because of his experience makes me believe that Matthew might need Alastair's perspective to grow up. Once he understands Alastair I feel it may pave the way for forgiving and loving himself. 

Alastair was the "spark" of making him spiral, but he was well on his way of questioning his family's loyalty and love of him before that (hence why we were given so much background) and it played into his weakness. Matthew I think wants to take it out on Alastair (he says he didn't blame Alastair or the Faerie. Alastair is just easy to take his frustration out on) as he is not prepared to come to terms with himself or even his family for that matter for his grievance. He loves his family very much and that’s why he feels so guilty, but it's wrong for him to believe so easily and hide his guilt away and that has to be due to his upbringing...

tldr; Alastair and Matthew have stark comparisons to each other that it’s probable that they are detrimental to each other’s character arcs.

@sparkofsummer

[loonatism]

WHAT IS THE LOONAVERSE? PART 1 – THE SCIENCE

LOONA is special among K-pop for its immersive storyline. These girls are not just k-pop idols performing a song, they also perform a story and that story is what we call the Loonaverse.

So, What is the Loonaverse? In a few words: The world and story that LOONA inhabits.

Yeah. Duh. But what is it?

Well… it’s complicated.

The Loonaverse is a fictitious story that borrows elements from real science and fantasy to build its world but also uses allegories, metaphors, allusions and other literary devices to tell its story. Our job as spectators (and specifically us theorizers) is to look beyond those devices to understand the message they are trying to send. In this post I’ll attempt to explain the science of the Loonaverse: parallel universes, time loops and the mobius strip.

PHYSICS VS FICTION

The Loonaverse can be described as the physical universe where the characters of LOONA live and where the events of the story happen.

By physical universe I mean that literally: its own universe. There are multiple theories that explain the existence of multiverses; from infinite universes theories to bubble theories to parallel universes to daughter universes; all incredibly interesting readings and all with fundaments in real physics.

On the other hand, the Loonaverse is a fiction story. Created by the creative minds of the people working in BlockBerry Creative (The company LOONA is under) and specifically by Jaden Jeong (who is a polarizing figure amongst Orbits). As a fiction story it is undeniable that the Loonaverse takes elements form science fiction and fantasy to build its story so going hard into the nitty gritty physics of how it works is ambitious at best and purposelessly time consuming at worst (though if you are interested in the nitty gritty of multiverse theory by all means go read about it, is mind-blowing). Nah, for the purposes of this (really not that long once we get to it) theory, we’ll focus only on a few key science related aspects:

MATHEMATICAL UNIVERSES

This particular multiverse theory debates whether math is a tool used by us to describe our universe or a fundamental truth of the universe itself. If it were the latter, then the possibility of multiple universes with vastly different mathematical structures is possible. This implies a different set of physics working in those universes. Basically: physics and mathematics themselves may work differently in different universes: It is as simple as is sounds. (Yeah, 2+2 may = fish in another universe, or flying is possible and even normal).

Using this admittedly long explanation for a constant in science fiction and fantasy, we now have a physics approved explanation for all the odd things that happen in the Loonaverse: super powers, climbing in air, destroying the moon, walking in the moon and most importantly: time disruptions.

 SPACE/TIME RELATIVITY

So… time is weird. Physicist can’t decide what exactly is time. Is it a dimension? A physical force of the universe? An illusion we humans use to perceive existence? Does it even exist at all? We’ll just assume it does and use Einstein’s theory of relativity to explain it.

So… The universe is composed of a 4-dimensional fabric called space-time. (Like, picture an actual tablecloth). When anything with mass falls into that tablecloth it creates a bend, that bend is what we call gravity. This gravitational pull modifies both how space and time are perceived. Everything close to that gravitational pull will move at exponentially slower time than anything outside of it. In simpler terms: Time varies depending of your relationship with another object. But if gravity can modify the way time is perceived, so can speed. The explanation for this is long and complicated and involves a difficult choice between speed not being absolute for anything except that light has an absolute speed and those two statements don’t match. But Einstein, being the clever guy he was, came up with Time dilation: The faster you move the slower time moves for you.

A simpler way to understand all this is to just watch the movie Interstellar. They did a really good job of conveying Einstein’s theory.

Of course, physics haven’t been able to prove the possibility of moving through time backwards, only forward. But hey! We are dealing with a different universe where the laws of math and physics don’t abide by Einstein’s theories. Well let’s unify science and fiction and talk about time travel.

 TIME DONUTS AND THE MOBIUS STRIP

Yeah, we finally got here.

The Mobius Strip. The one constant in the Loonaverse is the Mobius Strip. It’s importance has been confirmed by BlockBerry Creative and you’d be hard pressed to find any theory that doesn’t include it somewhere. So, What is a Mobius strip?

Also called the twisted cylinder, it is geometrical shape that has one side, one curve and it’s non orientable, forming a loop on its own. The properties of the mobius strip come into play in the sense that if you were to travel through it, you would go through you starting point once but from the opposite side of the strip before returning to your original starting position.

Here’s a 3D model of the thing: https://www.thingiverse.com/thing:239158

Curious things:  If you were to cut down a Mobius strip through the middle you would end up with long mobius. If you were to cut it twice at 1/3 the size each cut, you would end up with one long ass loop and one shorter loop that surrounds it.

Here’s a video that shows that: https://www.youtube.com/watch?v=XlQOipIVFPk&ab_channel=ThinkTwice

Okay one more schiency term to explain:

Time donuts (not really called that way) is a time travel/time machine theory  that claims that a donut like vaccum that envelopes a sphere of matter and surrounded by a strong gravitational pull would create a void where time/space would collapse into itself, crating a sort of time loop where the closer you move to the sphere the bigger the gravitational pull to the point where you could even start going backwards. Here, space/time is the time machine (yeah, trippy). The physics to this theory are quite debatable at best but it is a theory nontheless, and perfect one for our purposes.

A new time-machine model with compact vacuum core by Amos Ori: https://arxiv.org/pdf/gr-qc/0503077.pdf

IT ALL COMES TOGETHER

Okay I read all this sciency stuff and I still don’t get it: How do all this relates to the Loonaverse? Well, my patient reader, all this science mumbo jumbo helps us understand the main conflict of the Loonaverse: escaping a never-ending time loop.

The theory states that the Loonaverse happens in a parallel universe where the laws of physics don’t abide to our own. In this universe the girls (LOONA) inhabit a space (moon maybe) that moves through time inside of a Mobius Strip, which itself envelopes a large dense sphere of mass, thus creating a time loop. The closer the girls get to the sphere the slower time moves to the point it may go backwards. Because they move through time in a Mobius Strip, the amount of time it takes them to re start the loop is long (though I am not sure how long). In the mean time they will go though their starting point but in the opposite side of the loop.

This means the girls are essentially trapped in a never-ending loop. Think Groundhog Day, Palm Springs, Russian Doll, Happy Death Day; and if time loop movies have taught us anything is that time loops kinda suck after a while.

But this also gives us the tools to possibly escape this loop. Our physics don’t abide in this universe, there are super powers, and mirror images and the possibility of escaping if we understand how it all works in the first place.

With all this science talk, doesn’t that make the Loonaverse a ScyFi story? Well… No.

Science Fiction as a genre uses technological and/or scientific advances to investigate and/or explain a human reality. It usually comes in the form of a warning (Brave New World) or as an exploration of what makes us human (Blade Runner). Science Fiction explores the possibilities of humanity in a technologically advanced future. Because the story LOONA tells us doesn’t explore the possibilities of a technologically ridden future or focuses on our relationship with these advancements, it cannot be called ScyFi.

TLDR:

The Loonaverse is the world and story that LOONA inhabits. It borrows form real life science and fantasy elements to better tell its story. It exists in a universe where the laws of physics differ from ours and where there is a set time loop in the form of a Mobius Strip, which the girls are trying to escape.

REMEMBER: This is all my interpretation of some very complex theories, theories I am unabashedly morphing to my will to fit a certain narrative (like scyfi and fantasy often do). Also, I didn’t come up with the idea of escaping the time loop, it’s kinda the oldest theory out there. It may even be confirmed by BlockBerry Creative. I am just explaining it the way it makes sense to me.

 Next: How does all this science help explain the narrative conflict of the characters in the Loonaverse?

[murdereraisuha]

screaming about chapter 5 but more coherently this time

This is gonna cover 1. the recent update’s events in comparison to my previous theories & expectations, 2. the winner of the VDC and Vil’s character development 3. Kalim & Jamil’s character development, and 4. the main story moving forward

Spoilers for everything up to 5-67. Word count: 2117

So, in my “Jamil is Snow White” theory post, I used the events of the original Snow White to try and guess how TWST chapter 5 would correlate to it and what characters would fill what roles (Snow White, huntsman, prince, etc.) in the story.

Originally, I kind of assumed the beginning of chapter 5 would line up to either the beginning of the movie or halfway through when the Queen is already hatching her plan to get Snow White with the poison apple. However, it seems like the movie events have actually been compacted into 5-57 to 5-67.

After the NRC rehearsal, Vil becomes the most beautiful, corresponding to the beginning of the movie when the Queen is still the most beautiful. Then, Neige, out of his natural cuteness rather than hard work and practice like Vil, usurps him, representing the point Snow White becomes the fairest in the land. The next part with the apple juice and Rook coming to the rescue is a mix of the next part of the movie, when the huntsman tells Snow White to run, and the part of the movie with the poison apple. Then, the MC and the rest of the dance team kind of act like the dwarves by fighting the Queen/Vil. However, other than that, everyone follows their corresponding role: Neige is Snow White and Rook is the huntsman.

I think the story as it has played out makes sense. I was initially startled by Vil suddenly going murder mode, but. To work so hard on this song and choreography and training up your team, only to have the media love your lifetime rival who’s only brought an arrange of a kid’s song with clumsy singing and dancing to the table, potentially crushing your plan for victory here... I understand Vil’s feelings here and the sudden, desperate decision to curse Neige.

Rook’s actions after that don’t seem too out of line with what we know about his personality and his unconventional beliefs/actions regarding beauty and Vil’s beauty. Seriously though, wtf please don’t just drink poison. Anyway, I really enjoyed Kalim coming in then. The way he noticed Vil’s face being like Jamil’s before his overblot? The part when he tried to remind Vil that no one drank the juice so Vil hasn’t hurt anyone yet? Good stuff right there.

However, the way things played out also disappointed me somewhat. Though we had a Kalim & Jamil interaction, we still haven’t had a good resolution to their character/relationship development, so hopefully that’s in the final part of chapter 5. Furthermore, though Kalim did slap the apple juice away, I really felt like he and Jamil would have had more involvement with poison/curses in this part considering all the stuff in this chapter about Kalim being poisoned in the past.

There’s also the fact that all Jamil did was evacuate the area, it was Kalim and Rook who were around when Vil overblotted. The pattern of the previous overblot causing the next has kind of been broken. It could mean that the pattern was actually the dorm leader causes the next overblot?? Anyway, I’m hoping that Jamil will have his time in the spotlight in the next part.

-----

So that kind of brings me to the future. First off, who will win the VDC? Personally, I think that it will be NRC. With everyone so enthusiastically proclaiming in 5-67 that they’re going to win the championship, it would feel off for them to fail. From things that Vil has said this chapter, like in 5-37 when he admonishes Deuce that effort isn’t enough to succeed, it seems like the bad route/worst case scenario of Vil’s outlook is to lose hope that his efforts will ever give him success or a happy end. Therefore, the good route would be for him to keep hope, to keep the belief that he can get his happy end, and I think winning the VDC would be the thing that would support this belief. I do not think he would learn much from losing; if he has already lost and got relegated to the role of villain so many times before, one more time would not mean much to him. 

Other people have said that Vil also needs to learn to chill and stop holding people to such high standards, which is something I agree with. Though Epel’s beliefs on masculinity and power were pretty harmful, Vil’s methods of trying to correct those beliefs were also harmful. Vil’s treatment of Epel at the end of Epel’s ceremony robes story seriously left a bad taste in my mouth. The thing is, something or someone would need to prompt a change in Vil’s beliefs for a change to occur. After Deuce and Epel’s  outing, they seem to be pretty chill with Vil, so there aren’t any conflicts in the group. I can’t think of anyone in the team other than Kalim and maybe Ace who would have a strong enough opinion on not pushing yourself too hard that they would try and give that opinion to Vil, and Kalim’s already had a big interaction with Vil in 5-62.

So, I feel like any further Vil character development this chapter would come from an interaction with Neige. Going back to the debate of who will win VDC, we know that Vil resents Neige for always being the hero. If Neige won yet again, would Vil take what he says to heart? However, if Vil won, that would be a new situation. I think that the first things he hears from a Neige that has finally lost would be impactful to him.

I’m not sure though of all this though because of this line in 5-66:

Vil’s saying that throwing a tantrum and taking it out on other people was awful of him. Though it obviously refers to his attempts to murder before and during his overblot, it could also point to an overall shift in mindset regarding how he treats others. His attempts to mold Epel into a poison apple, for example, stemmed from his own ambitions and frustration at Neige, which you could interpret as a sort of tantrum that he then took out on Epel. Vil may have already learned to relax on pushing his high standards on others.

Regardless of if that’s true or not, I personally think that Vil and Neige still have a lot that they could learn from each other, assuming my perception of Neige as being innocent rather than a white lotus is correct. Vil’s team’s performance had a lot of cohesion and rehearsal put into it, but it was very competitive focused. On the other hand, Neige and the dwarves obviously had a lot of fun with their performance. However, it was clumsy and they were ill prepared. Therefore, Vil could teach Neige more discipline and planning while Neige could teach Vil about how to not lose sight of finding joy in your work.

-----

As I have already said, I’m hoping for more Kalim & Jamil stuff in the final part of chapter 5. I originally theorized that something would happen to one of them, probably Kalim, and that would lead to some sort of reveal about their feelings and the chapter would end with them clearly on the trajectory to repair their relationship and really become friends. 

Since nothing happened yet and neither got poisoned/cursed, I think then that the event that sparks the finale of their character development would probably relate directly to the VDC. First off for our possibilities, we have the two’s families watching as Jamil takes the spotlight as a main vocal while Kalim is in the back. Given what we know, I don’t think Kalim’s family would be too happy about that. The conflict from that definitely seems like it could result not only in some sort of understanding between Kalim and Jamil, but also maybe even a change in Jamil or his family’s status. For a less dramatic possibility, we also know from 5-47 that Jamil’s sister will be coming to watch. If she makes an appearance, perhaps she will have some unexpected insight to say that would lead to a discussion & development between Jamil and Kalim.

Finally, my Jamil becomes the most beautiful theory might still be partially true, though idk if that’s just me not wanting to give up on it cause of how funny it would be. Basically, the theory was that, after the VDC performances, the internet/media become super interested in Jamil due to how talented and handsome he is. I originally thought that could serve as a factor for Vil overblot, but now I think it could prompt some discussion & development between Jamil and Kalim due to it serving as a clear example of Jamil finally showing his true ability and by how much Jamil was letting Kalim win. Furthermore, Vil might be affected by an event like that. Though the overblot’s already happened, perhaps something happening with Jamil specifically would lead to something happening between him and Vil, fulfilling the pattern of the previous overblot doing stuff with the next. I’m out of ideas for the Scarabia boys, so let’s continue.

-----

Honestly, I don’t think anything will happen with Idia and Ortho outside of a quick teaser at the very end of the chapter. Considering that we still have to cover all the stuff with the VDC performance and its results and the aftermath of the results, Idia’s presentation thingy might not even happen until chapter 6.  ?

Idk, rn I’m more concerned about the overarching plot with Mickey Mouse than I am about chapter 6 Ignihyde shenanigans. So, we had a little flash of the Queen/Hag during the day, and also we finally discovered that Malleus is Malleus. So things are picking up a bit. I’m not sure if something unexpectedly big this chapter will happen though. I’ve seen people saying that the boss was surprisingly easy so there might be another big battle coming up. I don’t actually play the game so I don’t know anything about that, is it intentional or is it just that the chapter took so long to update that y’all had tons of time to beef up your boys? For me, it did feel like the Vil overblot was the climax of the chapter. With all the other stuff like the VDC results and the Scarabia boys’ character development, I don’t know if there’s any more room. There could be some big new info with Mickey Mouse or Grim’s bad eating habit, but I can’t picture something happening that would warrant another boss battle.

I do have some thoughts on Mickey Mouse, but I think I’ll save my memey ones for another post and wait for the end of chapter 5 before getting my serious thoughts together. Anyway, now a little talk on chapter 6. So, we have 4 options: chapter 6 will be something regarding Idia’s presentation, something regarding Deuce borrowing the magical wheel, something combining those two plot points, or something else entirely. 

Well, for something combining those two, Riddle was the one wanting Idia to go do the presentation in person, right? So, Idia probably doesn’t like Riddle that much. Maybe he wants to make some sort of plan to get back at Riddle. What can he use? 

Uh I just looked back at 5-39 to figure out what exactly is up and one translation says Deuce forcefully borrowed the magical wheel and another says he borrowed it as a huge favor??? The original says 無理言って借りてきた, deepL translates it as forcibly borrowed, 無理を言って means asking for something unreasonable. What exactly are the circumstances here?

Okay whatever, look, Deuce is in some sort of debt to Ignihyde. Idia could use him since he and Riddle are in the same dorm. Idk my train of thought got wrecked by the translation confusion.

But anyway so we know Deuce is probably gonna be Meg. I’ve never watched Hercules and I don’t know anything about it aside from what I’ve just read on wikipedia. The summary there says that Hercules kills a bunch of monsters and becomes famous then Hades holds Meg hostage in exchange for Hercule’s powers and Hercules accepts the trade but then “Hades reveals that Meg was working for Hades all along” ??? And then in the end though “ Hercules chooses to remain on Earth with Meg”. So what happens, is Meg good or what? Alright it might be better to at least wait for whatever sneak peek of chapter 6 we get at the end of chapter 5 before speculating. Let’s end this here before it gets any longer.

[skullsandwineglasses]

Awu - A coping character

Like a lot of people, my immediate reaction after watching episodes 59-63 was dissatisfaction and frustration. It seemed like Awu was a passive character. I still think she is passive, but that’s not necessarily a flaw or something that we should fault her about. This is going to be a helluva long post, but let me try to explain. 

Awu is what you would call a “coping” character. She copes with obstacles thrown at her. She reacts to the machinations that blow up around her. She doesn’t really strive for things, except for probably general happiness. In the trailers, you hear her say in the voiceover, “I just want to be with the one I love”. Awu is a romantic. We saw this when she was young and crushing on Zi Tan and how she begged the emperor to grant her the wish of marrying for love. When she is a married woman, we see her wanting to start a family with Xiao Qi. We see her actively seek out ways to boost her health so that she can bear a child. Her ultimate goal is to find true love and have a family. 

In a way, she reminds me of the Mandalorian. There’s a meme that says that even though the Mandalorian is the main character that the audience follows, in the grand scheme of things, the Mandalorian is actually just a side character among a group of main characters. The Mandalorian doesn’t strive for much. He just wants to be a Space Dad (TM) to Baby Yoda and to find a jedi to train his adopted child, and he has absolutely no interest in the politics in the galaxy. But, he’s always unwillingly thrust into politically-charged situations by these “main” characters around him who have their own political missions. 

As a princess, Awu is the center of attention. Everyone dotes on her. But she isn’t a key player in the palace politics at all. She has no desire to be apart of it, even though everyone tries to pull her into it: Daddy Wang trying to force her into an military-advantageous marriage, her Empress aunt trying to get her to marry her son the crown prince, and then her Emperor uncle using her to help protect his will. Everyone has their own political agenda that each would have long-lasting consequences to the empire, but all Awu wants is to live happily ever after with the person she loves. This goal of hers never changes throughout the drama, which I admire. Even up to episode 63, she’s asking Xiao Qi to let go of vengeance and leave the capital with her to go live up north like they’ve always dreamed and planned together. While I don’t really agree with her asking XQ to give up vengeance, I completely understand why she asks him. 

Among a cast of characters who are constantly planning and scheming, even Xiao Qi now with his drive for justice and vengeance, it almost feels like Awu doesn’t belong, and I think this difference between her and the people around her is why it can seem frustrating to some viewers. We project our emotions onto her and expect her to react as we would. We expect her to act like how we think we would act in that situation. But Awu has always been different from the people around her. I don’t think she’s ever really been in-sync with any character expect maybe for her mom, her maids (Jin’er doesn’t count), and Xiao Qi. So now that her and XQ are slightly out of sync in terms of their attitudes, we’re feeling a little on edge. 

I think many would agree that Awu is a smart character, but she doesn’t scheme. And again, that’s because she’s a simple young woman, so we can’t expect her to scheme since she’s never had to. She’s never had to scheme to survive. Even when her whole family schemes, they always think about sparring her because of how much they loved her in the past. People complain about her being the last one to find out about things, but that’s because she doesn’t really involve herself in matters outside the house. She always thinks the best of people and so she never suspects them. She’s saintly to a fault. In a way, Awu is a very idealistic character, but also a resilient one since she’s able to remain true to her original nature even after witnessing the worst of her family. I admit, this was a little hard to buy at first, which was why I was frustrated with her, and her character isn’t everyone’s cup of tea because it’s a really Mary Sue kind of character, but after having cooled down these past few days, I’ve learned to respect her. With all the cunning and ruthless female leads recently, it’s nice to see a female lead who stays true to herself even after facing adversity, instead of becoming hardened and jaded and cynical. I feel like we hate on these kinds of FLs too much, kind of like how everyone hated Bella from Twilight back in 2010. I secretly really liked Bella and related to her when I was a teen, but I boarded on the hate-bandwagon because everyone else hated her. 

BUT, I think what’s causing all the backlash is what people expected Awu to become based on how she was set up from the beginning. It almost feels like the writers couldn’t decide if they want her to be brash and rebellious, or loyal and true to the times. So we end up with a confusing combination of both, and different viewers end up having different expectations of what they want her character to be, hence all the disagreements about how to interpret her actions and decisions.

At the beginning, we’re introduced to a sheltered, loved, and carefree young woman of noble blood. Awu is then forced to marry a man she hardly knows, her lover won’t elope with her, and her husband leaves her on her wedding night. This is her first major turning point, and we see an immediate change in her. She matures overnight. She seems to have lost her carefree innocence. She isn’t as bubbly as before. 

Because we see this major change in her character so early on in the drama, this is what we expect to continue moving forward for her character, and that she’s going to keep being molded in this way by life-changing events.

She’s then captured by Helan Zhen and has to try to survive, and she does this very well when you consider her sheltered and noble upbringing. In fact, a lot of the things that Awu does in the drama are out of line with her upbringing. She supports the Emperor’s decision to grant XQ, a peasant-born general, the ranking of a prince. She is able to adapt to the rough lifestyle in Ning Shuo. She’s able to whistle like a bandit, much to Xiao Qi’s surprise. And when you think about it, you begin to wonder, where did Awu learn to whistle and ride a horse like that? Who snuck her out of the prime minister’s manor in order to teach her these things? I doubt it was her brother or the princes, considering how useless and misogynistic they are. Her grandmother taught her politics and the arts, which helped her become worldly and cultured, but she didn’t teach Awu what a peasant’s lifestyle is like. So it’s actually a huge surprise that the spoiled daughter of a princess is able to fall in love with a low-born general and feel safe and at ease with him so quickly and easily. We’re briefly told that Awu likes selfless heroes, and so that’s our explanation for why she was able to fall for Xiao Qi. But to me, I think her falling in love with Xiao Qi is another example of how Awu is able to cope with the circumstances. 

When Xiao Qi rescues her and takes her back to Ning Shuo, she’s resistant towards him. She seems defeated. Lifeless. We think her time in captivity with Helan has induced another permanent change in her. When Xiao Qi opens the window to let some fresh air in, she calls hims “cu lu” ( 粗鲁), which means rough. It’s something you say when you insult someone for being inelegant, thoughtless, and rude. She scorns the women’s taste of clothing in Ning Shuo, and is surprised when she learns that XQ, along with the rest of the army, only showers once a month because of the lack of hot water. 

BUT, what begins to change Awu’s mind so quickly is seeing how righteous and devoted Xiao Qi is. She sees him as a good marriage partner. Her situation could have been a lot worse. After all, after seeing how unhappy her mother, the Empress, and Wanru were in their marriages, Awu expected a similar situation with her own arranged marriage. But instead, she quickly realizes what a lucky hand she’s been dealt, so she accepts XQ and lets herself fall for him. She doesn’t really have a choice anyway, so she embraces it. I especially love the scene during the siege when she tells Zi Tan that she fell in love with Xiao Qi because of his heroism and his selflessness towards the empire, while she now looks down on Zi Tan. If only Xiao Qi were there to hear her confess her love to him so vehemently. 

In Ning Shuo, we see Awu begin to soften towards Xiao Qi. She becomes her old carefree self again around him. THIS is something that deviates from most coming-of-age stories that feature a female lead who is irreversibly changed by a traumatic life event. Awu returning to her normal, positive self instead of being jaded foreshadows how her character will behave for the rest of the drama. Yes, Awu doesn’t “grow” like other female characters, but she stays consistent and optimistic, which is a virtue in itself because it reflects her resilience. 

When Awu is separated from Xiao Qi and has to protect a city against a siege by her uncle, we see her rise up to the challenge on her own. We see her command an army. We see her stand up to Zi Tan. She shows potential of becoming a “rebel princess”, which again raises our expectations that she’ll become more involved in politics. But at the same time, she’s still a young woman who likes to cuddle with her husband and be doted on by him when he returns. This is the Awu that we’ve known from the beginning. She’s used to be doted on by people who love her. What we have to remember from this siege arc is that while Awu showed great leadership skills, this is not who she wants to be. She CAN be this person, but she doesn’t want to be. The drama subtly reminds us of this when Xiao Qi comes back and she melts into his arms. 

This aspect of her character is echoed again in episode 36 when she and Xiao Qi are cuddling in their signature corner of the manor. She says that she doesn’t seem to have to worry about anything when he’s around. XQ teases her about what she would do while he’s gone at war. She tells him that she can face anything on her own when he’s not there, but when he is here, all she wants to do is rely on him. 

We tend to forget that Awu likes to be doted on (e.g., remember all those moments throughout the beginning of the drama where she likes to lie in people’s laps. See this post.) This was how she grew up. Loved and spoiled. But Awu CAN be strong. She’s perfectly capable of being strong. That’s why the Emperor trusted her with his will. That’s why Wanru and Zilong trusted her with their child aka the future of the empire. But, she doesn’t want to be this person who has suddenly become the pillar of the empire. She wants to live a simple life. That’s why she sounds so somber when she talks to Nanny Xu about the meaning behind “Mu Yi Tian Xia”, and her duty as the wife of a general and the descendant of royals to unite the commoners with the blue bloods. It’s a tall order, but she’s willing to take on that responsibility for the good of the empire. Again, this shows that Awu is a reactionary character who copes with turmoil that comes at her, but that’s because she’s taking on goals that she didn’t want or ask for in the first place. She has an entirely different set of goals. She dreams of living out another story. But instead, she’s born into this one. 

After the siege, Awu’s next major turning points involve her family, and I think this is where it becomes divisive. She finds out about her Emperor Uncle having tried to have her and XQ killed, her cousin trying to steal the throne, her Empress Aunt trying to burn the Emperor’s will, her father trying to stage a coup, her mother killing herself as a result, and her having a miscarriage. In the end, she forgives everyone even after having seen the worst of them. Even after realizing that they’d sacrifice her for power. This is all understandable, even if saintly of her. These are the people who raised her, so I get why she would forgive them. Awu values family (to a fault). It’s not in her nature to abandon family, especially given how close she is to them. They helped shaped who she grew up to be. She lived a happy childhood with them. She’s never known abuse. Heck, even when they betray her, like the Emperor, they apologize to her soon after. Everyone seems to want to appease her. Even the Empress after all she’s done. Can you blame Awu for not having it in her to hate people? As rotten as her family is, they always try to spare her, and they only target her as a reluctant, last resort (even though they all want her husband killed though. It’s weird how they justify loving her, but still think it’s okay to kill her husband). 

Awu does make some questionable decisions and judgments though, and I feel like she thinks of Xiao Qi too idealistically and takes him for granted, which can sometimes be unfair to him. 

Case 1 is when she goes out of her way to help Qian’er and meets with Helan Zhen in secret and then dances with him. Like what many people have said, they feel angry that she danced with HZ before her own husband. And when Xiao Qi expresses anger and concern over her meeting with HZ, she insults him by saying he lacks a sense of familial duty since she doesn’t have a proper family or clan. This was a low-blow, but I excused it since it was in the heat of the moment. 

Case 2 is the aphrodisiac incident. I think this is when Awu realizes that she hasn’t been considerate enough of Xiao Qi. When she learns that Xiao Qi was the victim in the situation, she immediately defended him and cast out Qian’er. However, up until this point, Awu has always taken Qian’er’s side against him. There’s no doubt that Awu loves and appreciates Xiao Qi, but it sometimes feels like she forgets how much he does for her and how tolerant he is of her family. Xiao Qi, an undefeated general and god of war, is nearly assaulted at the hands of his wife’s cousin because his wife has a big heart and let the predator into the house. Awu has always seen Xiao Qi has invincible, but this was the moment when she realizes that he can be broken, and she can be the cause of it. 

Case 3 is what everyone’s been talking about recently, which is how she is reacting to Xiao Qi’s rage towards his betrayed fallen soldiers. While I understand that Awu is stuck in the middle, it also feels like she’s prioritizing her family over his feelings. She knows that Xiao Qi is angry, and yet she asks him to leave with her. She has the expectation that he will listen to her. She’s (quietly) making him choose between her and his army, which is unfair, even if she’s doing it for his own good. Do I agree with what she’s doing? Not really. But do I sympathize with her motivations? Yes. It’s taken me a couple of days, but I think I now understand. 

Xiao Qi definitely has flaws too (e.g., the contraceptive fiasco). They both keep secrets from each other and try to make decisions for each other. Two sides of the same coin. Ugh, these two frustrate me so much, but I still love them so much. 

Overall, people are expecting Awu to be one type of character, but they ignore how the drama’s been characterizing her. We can agree or disagree with her character’s development, but when you break it down, Awu’s character makes sense and is actually quite consistent, which is surprising for a 68-episode drama. Usually characters take a 180-degree turn after being drawn out for so long, but Awu has stayed true, for better or for worse. Do I still get frustrated at her sometimes? Of course. But, I can sympathize with her. 

Rant over. 

[yaboylevi]

“Let’s talk!”

In this post, I’d like to examine why the words chosen to sway and stop Eren in chapter 133 didn’t resonate with some readers, as well as with Eren.

Disclaimer #1: This isn’t a justification of any kind. I merely tried to look in a critical way at the individual parts, because while reading them, I felt a disconnect with what the 104th thought could get to Eren.  As I read, it felt obvious that what they were saying wasn’t gonna work. So I asked myself, Is Isayama such a bad writer that all his characters say is so obviously inappropriate or ineffective, or is this on purpose? (I still don’t know the answer)

Disclaimer #2: I realize that the 104th was suddenly brought in front of “Eren”, so they were surprised, and didn’t have time to sort through their reasonings, but I’d also say they have had plenty of time before. Also, maybe the suddenness of it all was actually a good thing, so we could see how some of the characters really felt.

Let’s start with Jean:

“We’ll figure out the rest from here” and, after Eren says he won’t stop, “Why not? Are you saying you can’t trust us?!”

First of all, Eren has been feeling like he was partially* pushed to this outcome, because in 4 years they couldn’t figure out what else to do to save the island in the long term. They still cannot come up with anything better than “we will be left alone for a while”, so Jean’s words offer an empty promise. It has been established that Eren won’t settle for “a while”, he wants a “forever”. Never mind that a temporary solution would still require for Historia and her kids to be sacrificed.

*Eren also feels like it was his own fault, due to “his past self wishing for everything to disappear”. We are still not sure what this means exactly, and if it is true (I’m thinking of Paths shenanigans here).

Then, Jean talks about “trust”, particularly in comrades in arms. This is a topic that has been explored repeatedly since the beginning of the story, through Levi’s “make a choice” speeches, and Eren’s harsh experiences. Basically: when Eren decided to trust in his friends and comrades, in the forest of Giant Trees, Levi’s squad got killed, Eren captured, Levi injured. All in all, it resulted in many losses, and Eren has felt a deep guilt for that outcome ever since those events, all the way through Uprising Arc and probably even later on. No matter that it wasn’t his fault, he felt that it was. So the next time he had to decide whether to trust in himself or in his comrades, he decided to trust in himself. The story also calls back to the time he “chose wrong”, as if it wasn’t an obvious parallel already.

Eren is rewarded with his friends safe and sound.

So it is no surprise that, as much as Eren - I believe -  would love to trust them, experience told him that he cannot, or the price to pay will be their lives. Eren has been entrusting the SC to find another solution to the Rumbling for 3-4 years, and in the end Marley was close to declare war on Paradis. Eren isn’t averse to trusting his comrades, he just feels like he cannot, not on this one choice. (Albeit I think he’s trusting them to do the choice of stopping him - but there is something he needs to do alone).

When it comes to Connie, I feel like bringing up Sasha’s death wasn’t the best of choices. Eren feels guilty about that. He broke down in such a helpless, desperate way, that I find it hard that Connie’s words would absolve any of that hatred and guilt he must be feeling. “We are the same” - both Eren and Reiner have acknowledged this about each other, and if it has even a bit of credibility, then no amount of apologies for not understanding them, or forgiveness for what they did, is gonna make them feel any better about the death and destruction they have both caused and feel guilty about. 

It was when Reiner threw himself to the ground and refused to accept Eren’s understanding and forgiveness that Eren reiterated they are the same, after all.

Hence why Connie’s words couldn’t have had the desired effect. (Also, guys, look, the “let’s band together against a common enemy is RIGHT on this page...lol)

Now, Armin’s words.

To me, it seems like he doesn’t really know what to say. Or rather, he tried every idea that bounced in his head at that moment, without a clear strategy. He didn’t have time to form one, and besides it’s difficult to decide whether to use an objective approach or an emotional one when it comes to your best friends. But even then, I felt like the reasonings, and reasons, he brought up, failed to reach Eren in a significant manner. And by this, I don’t mean that Eren wouldn’t want to just drop everything and hug his friends... we all know he would, under normal circumstances, because there is no doubt he loves them deeply... but it seems to me he has resolved to push his own feelings down and just...move forward - which is in a direction away from his friends.

Armin starts with logic, “Eren has brought so much destruction that nobody will interfere with the Island for centuries”. Except, Armin has no proof. On the other hand, Eren has probably seen that there are still enemy forces advancing in their attack of the Rumbling, so if he were to stop the Rumbling now, they’d attack Paradis. “The island is fine now.” It isn’t. I think Armin is aware that this was a lie on his part.

Armin immediately realizes that’s not good enough, and that he’s wrong, and Eren knows, so he switches to the emotional route. 

“We were wrong. We forced you to this point”. It would not resonate with Eren, because Eren is too aware of the fact that what he is doing is not because his friends never understood him. As bad as they acted toward their friend, they aren’t the cause for this war. The Rumbling exists because there are people who were ready to destroy Paradis.

This prompts Jean to bring up another elephant in the room: “Eren is doing this for our sake”…which isn’t wrong, but telling Eren he doesn’t have to do it for them just won’t make Eren stop. Eren has repeatedly stated that he wants them to live, and be free. Armin has just reminded him that if Eren stops, that freedom will be crushed, along with their lives. Eren, of course, cannot accept that.

After Eren refuses to stop, Armin gets in full desperation-mode, saying they will be forever together. This is untrue, and I am not sure Armin fully realizes in the moment (how could he not, though?), because Eren will die in 4 years, Armin in 9. Besides the more pressing matter that the island can be attacked again, if Eren stops.

Lastly, “Don’t go any futher away from us than you already have”.

This is a sentiment that Armin shares with Mikasa, since all the way back to the Clash of the Titans Arc. At the time, they thought back on how Eren was always rushing forward, leaving them behind. Mikasa’s argument, in chapter 133, also touches on this. I said “argument”, but it’s more like a confession. The chapter is called Sinners for a reason, after all.

So yeah, Mikasa.

Amongst all the ineffective argument that were brought up, Mikasa’s words are the ones that took me aback the most, honestly. I am not sure if I am interpreting this right, but she sounds like she’s okay with falling to Eren’s level, as long as she can be with him. Nothing new here, but more specifically, the worst sins Eren has committed, for example killing innocents and children, which is what Mikasa focused her horrified shock on in Liberio, she is willing to do herself. That’s how you share a burden of sins, by taking part in committing them. And that’s what she acknowledges. What she wants. She says it quietly because she seems ashamed of that. Because she wanted to be like Eren, to stay close to Eren, and to share his sins, she killed and enabled Eren. So now that she has “committed the same sins”…? She has conquered a spot next to Eren? So he should stop and come back. This seems to be her line of reasoning. This is horrifying, I understand why she didn’t have the courage to yell it.

We know that Eren’s fear is that he may have enslaved her to his will, and whether he still believes it or he has just a few doubts left, seeing Mikasa admitting to something like this, must have reminded Eren of exactly why he wants Mikasa to be separated from him. ‘Cause this isn’t healthy.

Eren surely can’t feel any better by knowing Mikasa had followed that logic - maybe unconsciously. If he tried to be firm and cruel once to get her to “abandon” him, it can only get worse.

The second part of Mikasa’s little speech isn’t any better, as far as situational context goes.

In the text, Mikasa has embodied the concept of family in regards to Eren, just as much as Armin instead embodied their childhood dream of freedom.

And sure enough, Mikasa repeats what she told Eren in Liberio: “Please come back (home)”. Well, at least the Japanese version is the same, lol.

It is (still) her wish (it seems like nothing has changed in 30 chapters). But other than that, it brings up memories of Liberio, and of Mikasa’s disappointment and pain for Eren’s actions. The fact that Mikasa is willing to forgive (or better, accept) everything just because it’s Eren, may make Eren feel like she’s still not free from his influence. He may be feeling as if he brought her to accept killing innocents as something that can be partially overlooked…And I doubt it is what he wanted.

Besides, it seems that the story wants Mikasa to learn to let go as well. If Mikasa has kept on trying to keep Eren close, and it’s now become even as explicit as saying, literally, “come back home”, that “itterasshai” at the beginning of the manga counters this need and seems to imply Mikasa (who I suppose is the girl saying that) will learn to let Eren free to “go far away from her”.

“Itterasshai”, in Japanese, is a wish for someone to be safe on their journey, whenever they go out, with the expectation that they will come back. Mikasa is soflty smiling, meaning that she is okay with Eren “going out and away”. Meanwhile, the Mikasa who costantly repeats that she wants Eren to come back, to stay close, is a Mikasa who suffers and cries.

And finally, Levi. What a lacklustre moment.

It feels like Levi believes no word can sway Eren (he isn’t wrong, but still…).

Levi has never been averse to “talking it out”. He has always mostly resorted to talking, before anything else, when it counted. With minor characters such as Dimo Reeves, but mostly with regards to Eren: when the first Levi squad was about to attack Eren, Levi tried to talk them down; whenever Eren was in doubt or set on hating himself, Levi reasoned it out with him, with heartfelt little words that hit Eren’s core at the right angle. Even when Eren was out of his mind and high on adrenaline, fear and rage on the rooftop in Shiganshina, Levi opted to try and talk to him first.

The point is, he has always tried to understand Eren so that what he ended up saying, it would help the situation or resonate with Eren, or so he hoped.

This time, he doesn’t say anything of the sort. He merely admitted, in a very roundabout and lacklustre way, if not a bit too parodic for my tastes, what everyone else has said: that he would forgive Eren if he stopped now. Which isn’t bad, per se, but it’s not even close to what Levi used to be, or how he used to approach Eren.

Where Eren’s friends have missed out on what their words could achieve, potentially, due to a mix of not understanding Eren fully, and a concoction of feelings (panic, desperation, frustration) making them spout things that had no significant influence on Eren in that moment, Levi on the other hand didn’t even try this time, even though he has always done so before.

I am not sure if it’s because of Isayama’s total disinterest in Levi’s character as of late, or if it’s due to Levi himself not caring anymore - albeit it doesn’t seem the case, because he has kept on trying to find alternatives to killing Eren, so I don’t understand why he didn’t even try...

...unless he already knew it wouldn’t have worked out how Armin&Co wanted (and here I have conspiracy theories but let’s end it here lol).

Anyway, I hope this wasn’t too boring, I just felt like breaking down the scene a bit. Let me know what you thought of the various things the characters said in Paths, and if you agree with me, or if I am the only one who was disappointed by the scene, lol!

[peace-coast-island]

Diary of a Junebug

The trail of the Whispering Winds 

The Moonlit Woods transforms into a different place after midnight. It's still as eerie as ever, but in a different way though - as in different vibes. I hardly venture out here for good reason so when I do, it's usually with a group, preferably those versed in magic and supernatural stuff.

Last time I came to the Moonlit Woods was with Team Magic - Pippa, Mariposa, Angie, and Willow. While hunting for gyroids we came across an old travel log and found a cocostar tree, which is super rare, so we struck gold with that discovery. Being with the girls made me feel a bit more confident about venturing into the woods so since then, planning out my next adventure has been in the back of my mind.

Speaking of Team Magic, the girls are looking forward to coming back for another gyroid event. Mariposa's been working with Daisy Jane on gyroid designs since then and they're pretty much ready to go. We just haven't been able to set a date yet because the girls are busy with school and college apps but they're hoping to drop by sometime in the near future.

Instead of Team Magic, we have a new group accompanying us in the woods. They don't have an official name but they have been working as a team for years. There's Taiki, a freelance exorcist who comes from a family that has dealt with the supernatural for generations. He's a friend of Miki's, having gone to the same university together.

Nene's his best friend from his hometown - she actually spent a semester at Tome U so she also got to know Miki a bit. She's also the artist Rika has been following, the one who just set up a Patreon and is in the process of getting her webcomic, Seven Wonders, published.

Haru is what they call an untethered spirit. He used to haunt the halls of the school Taiki and Nene went to before it was demolished. Basically Taiki contacted Miki who contacted her brother and his friends at the consultation center so they can find a way to keep Haru around. I only know this because Mikayla asked for some sparkle stones and essences a while back.

Then I got curious and decided to do a bit of research. Turns out there's a lot of different kind of procedures that have varying results. So what Taiki and the others did was no easy feat and they succeeded either by luck or some other factors. In other words, Haru's still a ghost or a spirit, but now he also has a physical form. He looks young - 13 or 14 at the most - but he's obviously a lot older than that - though for the most part he's like any other guy as far as I can tell.

Nene is an artist and the author of Seven Wonders, a webcomic about a girl who befriends a spirit who resides in her school. The story's loosely based on her life - as well as Taiki and Haru's. She started writing it a few years ago, originally a side project to keep herself busy. Then she began updating it regularly and grew a following, prompting her to expand the story. The webcomic then reached international audiences when Taiki offered to translate her work into English so that's when it really started taking off.

The three of them go way back, having first met almost a decade ago. Nene managed to summon Haru in hopes of granting a wish, similar to what happens with the main characters in Seven Wonders. The two end up in a series of misadventures that result in them being bonded by a curse, resulting in Nene being connected with the spirits of the school. Then Taiki came along with the intent of exorcizing spirits such as Haru, only to end up befriending him.

They've been through a lot together, even defying fate (Haru's words) so they can have this future they're living in right now. From what I've heard, dealing with the supernatural - willingly or not - always has a price to pay. It's one of those things where no matter how lightly you tread, you'll step on a landmine either way.

In other words, there's always something to lose.

Taiki was never one to have a "normal" life considering that he comes from a family of exorcists. He has an older brother and younger sister, both who are powerful and pretty well known back home. Miki mentioned that he hasn't really spoken to his family much since moving out. According to Nene and Haru, Taiki was close to his brother, having looked up to him a lot back in the day. Nene and Miki have both speculated that the rift between Taiki and his brother was probably one of the reasons why he decided to stay in Mina Creek instead of going back to Inazuma.

Nene stuck around Inazuma before deciding to join Taiki. Even after graduating she stuck around the school to see Haru, working as a janitor so she'd have an excuse to be there. But when Taiki graduated the following year, the trio didn't see much of each other. Taiki went abroad to Tome University and while Nene still visited Haru and the other spirits, she had to focus on her studies.

Then Nene signed up for a study abroad program, which happened to take her to Miki and Taiki's school. I remember Miki talking about helping out this freshman who was an international student. She said he was struggling quite a bit so it was lucky that they ran into his old friend - his senpai, as he called her back in the day. During her time there while reminiscing with Taiki, Nene was inspired to write Seven Wonders so that's how it all began.

Nene ended up dropping out of university after that semester so she became an artist/content creator while working as a school janitor. Along with that she was also the bridge between the living and the spirits, a role she carried since becoming Haru's assistant when they first met.

In the years that followed, Nene and Haru got involved in supernatural affairs while Taiki offered his assistance once in a while. Things were going well until the school had to close due to financial problems. If that wasn't bad enough, the city was going to demolish the school and a bunch of other old buildings in that area. So Haru was in a tight spot as he would have nowhere to go since he couldn't be outside of the school. And as for Nene, she didn't really have anywhere to go either since being a janitor was what kept her afloat.

Thankfully Taiki and the others were able to come up with a solution or else Nene and Haru wouldn't be here with us. Taiki made the offer for Nene to join him in Mina Creek, something which she was understandably on the fence about. She says she's been adjusting to the move a lot better than she thought, probably because she has been here before so it's not too drastic of a change.

However, it's a big leap for Haru considering that he's been restricted inside a school for years and now he's in a foreign country surrounded by a lot of unfamiliar things. He does seem to be a fast learner - Nene and Taiki were surprised at how quickly his English's improving and if I didn't know, I'd think he'd been studying the language for at least a year or so. Taiki's obviously quite fluent while Nene's sorta in between - Taiki serves as an interpreter when they need a bit of help, which is pretty much what he does during his non-exorcist job.

So far Nene's enjoying life at Minai Creek, though she admits to missing home. She finds the change in scenery intimidating but also necessary. On one hand she's sad to leave the school and the other spirits but at the same time she feels it's probably for the best. Haru's holding his own, though Nene worries about him as the changes they're going through can't be easy on him. She's also worried about Taiki too, especially since it seems like he's completely cut off his ties from his home - by that she means his family.

Nene definitely comes across as a big sister/mom friend. Taiki sometimes calls her onee-chan, which is a way one addresses their older sister in Japanese. I've met Taiki a few times before and I see a different side to him when Nene's around. Or maybe it's because this is the first time I've really gotten to know him? He just seems more ...himself? open? ... when he's with Nene and Haru. It's sweet how much he looks up to Nene - whenever he talked about her in the past you can tell how much he respects and admires her - and now that I finally meet her, I can see it. I think Nene and I are gonna be good friends.

Taiki's had his eye on the Moonlit Woods for a while as there's a section that's kinda dangerous to tread if you're not well versed with spirits and such. Only the bravest exorcists venture there to help clean up the place a little and contain the bad karma by doing what's necessary. He did his research extensively before considering going to that place due to rumors of seasoned exorcists being ill prepared and becoming corrupt, which is the worst case scenario.

Since strength lies in numbers, Taiki needed a reliable team to keep things under control and make a speedy retreat if necessary. Haru and Nene's connections to the spiritual world are valuable, especially since Haru has a bit of a pull with certain higher status spirits that can come in handy in case things go south. As for me and the campers, we're kinda the brute force, serving as the muscle and sort of an anchor to keep the others grounded. Something about certain spirits having an effect on those who can see and interact with them and taking advantage of that by blurring the lines between reality and delusion so we have to keep them from straying.

I don't know how the trio does it, especially Taiki and Nene. To live between mortals and spirits is not easy, more of a curse than a blessing to many. For people like them, they have no choice but to fulfill their roles - Taiki in damage control and Nene in being the communicator. And for Haru, being a spirit who voluntarily chose to stay in the world of the living after being bound to one through a curse, I can't imagine that being easy on him either. There's a lot to unpack with these three and whether I'll get to know the full story or not, it's clear that there's a lot on their shoulders.

Like I said, there's always a price to pay when it involves things beyond our understanding. I just hope that it was worth it. Me being cautiously optimistic, I'd like to think it was or else they wouldn't be together.

The Whispering Winds trail, as expected, was full of perils. On one hand, it was kinda good that I was kept in the dark in an ignorance is bliss sorta way. But that also makes it a bit harder to know exactly what's going on. In a place where the spirit world and mortal world becomes blurred, it gets disorienting, to put it simply. We know we're there when us mortals can see some spirits so it's important to keep our guard up.

There's a reason why they call this trail the Whispering Winds. I heard voices from all around - it wasn't a pleasant experience, to say the least. It was jarring at first but then I grew numb to it. Still, it was an unsettling feeling - 0/10 do not recommend. This is why it's best to go in a group because unexpected things will happen so it's better to be (over)prepared.

In between exorcism rituals we did a bit of sightseeing, which helped lighten the mood. Haru introduced us to some spirits he knew to be harmless and they served as guides through areas they were familiar with. Taiki and Nene did most of the heavy lifting when it came to the rituals while the rest of us stood guard. From what I've seen, it looks like a lot of work - the kind of thing you should leave to the professionals.

All around us were these blue light orb things - spiritual remnants that serve as trail markers according to Haru. Depending on the traces the remnants can leave behind, Nene can manipulate them to open up new pathways. The deeper we go into the trail, the harder it is to navigate as it's supposed to be like that for good reason. Nene's the only one who can directly interact with stuff like that so people like her are the ones who really are granted access to forbidden parts such as these. According to Haru, he and Taiki can't touch them because it can cause trouble due to their blood - meaning it's off limits for exorcists and spirits.

The light orbs also gave us some much needed visibility as well as an eerie glow. When things got quiet, it sorta felt like we were just walking down a long, dimly lit path. When things start to get a bit hazy, that's when it was time to investigate. The feeling is heavy, almost suffocating - a heavy burden to bear indeed. When the heaviness is gone, we move forward, going as far as we can before hitting a dead end. From there, our trek is over and instead of venturing a different path, we go back the way we came, careful not to disturb the newfound peace.

It was an interesting experience - again, it's probably for the best that I don't know too much about it. There's a whole 'nother world out there with exorcisms, spirits, psychics...as curious I am about these sorts of things, I respect that it's not my place when it comes to certain aspects. It's a fascinating world out there but we can't experience or begin to understand certain things that are beyond our scope. It sucks sometimes being just a bystander or outsider but it is what it is.

[silver-wield]

I’m curious as to what you think about the friendship between Tifa & Aerith with the remake & if you have any (possibly in-depth) analysis of their friendship? Watching them interact during the remake really made me think about how much Tifa cares for Aerith & vise versa. I love how their friendship progresses over the game. I hope we get to see more of it in future games. I’m all about Cloti but I also love whatever Tifa & Aerith got going on for themselves, just the ladies lol

I gotchu, nonny!

About time we show everyone these girls can get along and hopefully people will stop trying to erase one of them!

Ok, spoiler warning for ppl who haven't played – do I still need to do this? Eh ok, (I tag FF7R spoilers as final fantasy 7 remake spoilers) and it's gonna be a VERY long one so prepare to scroll.

Also, this is one person's interpretation of the scene, so if you disagree that's cool and we'll agree to disagree.

You're also gonna have to excuse the janky quality on some of the screens, I'm grabbing them from Youtube and it's frustrating af trying to get the exact moment I want.

Other analyses if anyone's interested.

Shinra HQ vision scene (Cloti/plot analysis) 

Chapter 3 (Cloti reblog) 

Tifa character analysis 

Aerith Resolution (plot analysis/theory – I should probably update this since I've had other ideas since then) 

Train graveyard (not really an analysis, but I got some sweet screenshots of Cloti) 

Clotiscrew tunnel analysis 

Cloti reunion analysis 

The Promise Analysis 

Andrea's approval (Cloti ask response) 

Cloti action touching

Now, strap in and enjoy the ride.

Before the recap I'm just gonna say the vid I'm taking this from is over 20m of them being friends and they didn't even meet until late in chapter 9 and they weren't even together after chapter 12 and only reunited in chapter 17, so if they can manage to become bffs in such a short amount of time then yall warships can calm your chill too.

Oh and I'm also throwing in some Cloti asides since Cloud is in all of this too and I wanna lol. Maybe next disc we'll get more of the girls without the leading man.

Quick recap for anyone who's forgotten the series of events.

Tifa's gone to get info out of Don Corneo at Wall Market and asked Cloud to go back to Sector 7: “You've seen how much ass I can kick”

Aerith's decided that's a bad idea, so they head in and jump through a series of side quest hoops to get them inside Corneo's place.

After the goons knock them out and take them to the basement, Cloud wakes up and sees Tifa, who asks if he's ok. After his embarrassing moment where he remembers he's wearing a dress in front of his crush, Aerith wakes up.

Eugh, I've mentioned the utterly janky quality on some of my screenshots right? There's a split second after this where Aerith is beaming at Tifa that I'm trying to capture but it’s just not happening.

Okay, so Aerith has literally just woken up and the first thing she does is bounce over to Tifa and introduce herself, all smiles and cheer. Tifa for her part is confused but polite because who is this girl? This is pretty simple from Tifa's pov. She is just confused, but polite. There's no signs of “rawr that's my man over there you can't touch”.

Aerith is like that one kid who's always first to greet new people. She's very much the extrovert, compared to Tifa's introvert.

(Bonus: Grumpy Cloud is grumpy. It's like he expects Tifa to be more responsible when he hears her insane plan lol)

So, after hearing Tifa's story and hearing the obvious concern in her voice, Aerith jumps in to reassure her. You'll notice she's leaning forward with open arms. This is simplistic body language, she's being open and earnest. Tifa has her full attention on Aerith, so she's listening without any signs of dismissing her – even though they've literally just met and she has no idea what Aerith is like or what she might say.

(Bonus: Cloud rolling his eyes. He thinks they're both crazy lol)

Responsible Tifa makes a return here! After Aerith's done enthusiastically throwing all of them to the wolves, Tifa shows concern. She knows Cloud and she can fight, but she's worried Aerith will get hurt because of her. This is a girl she's just met and we've seen how she is with strangers (shinra middle manager), so going along with Aerith's idea with no reservations wouldn't be her. Both girls have semi-relaxed body language. Their poses are mirrored, so there's no one is better than the other here. They're meeting as equals.

(Bonus: Cloud appears to be looking at Tifa's butt in this screen lol)

So, we're out of the basement and dealing with rapists. Fuuuun. FF7 really went there back in the day huh? Tifa and Aerith are on the same page, you'll see. They're both disgusted. Aerith probably more so than Tifa, who I expect is a little more used to dealing with scumbags who don't take no for an answer. Semi mirrored body language – Aerith has her hands protectively in front of her while Tifa's are by her sides so that she can better strike a fighting pose.

(Bonus: Cloud at this moment in time is calling Corneo a depraved bastard lol)

Aerith's little eyebrow raise and knowing look here. Now, she doesn't actually know how much ass Tifa can kick, but it looks like she suspects anyone who knows Cloud has skills. Not to mention he told Aerith that Tifa can handle herself. (Or maybe it's meta!Aerith, who knows?) She's expectant, anyway and Tifa delivers. Not to mention the teasing dialogue the goons mistake for being sexy. But that's what douchebags get.

Vicious Aerith is vicious lol I just wanted to add this one because it's a great expression for her and actually shows a different emotion from her besides her typical mask of cheer. She actually looks convincingly dangerous here, unlike most of the time when she's about as threatening as a cupcake lol

So Aerith kicks the douchebag and Tifa follows up in a seamless display of co-op that showcases her fighting skills. She takes Aerith's lead and goes for it.

Then comes the fight scene. Massive co-op between the girls. Tifa protects Aerith at one point, who uses the opportunity to grab a makeshift weapon.

Tifa is the disciplined fighter using her Zangan martial arts and Aerith...uses a chair lol

I have to admit that's one of my favourite moments with her in the entire game. It also fits with the expression she pulled at the start of the fight – that vicious look showed just how far she'll go when she wants to win.

Both girls, all smiles, complimenting each other for a job well done! What else is there to say about this? Oh, yeah, neither of them needs a lesson in how to high five lol

Remember, they've just met like an hour ago, if that. They're already high fiving and getting along.

Ok, so we've moved on from Corneo's place and now we're in the sewers. Here's where we hit a change in behaviour from Aerith. She's no longer the bouncy puppy jollying everyone along to be cheerful and optimistic. She's now become very serious and grave. She could choose to reassure Tifa that the slums are safe, but instead she urges them to hurry. This is likely another instance of meta!Aerith knowing things before they happen.

Tifa is very in her own space during this section of the game; she's worried about her friends and her home, so there's a sense of urgency in all her dialogue. Worry is clear in her tone and Aerith empathises with that and reinforces the need to get back.

You'll notice in most of these moments between them that we're looking over Tifa's shoulder. That's her perspective we're getting, as opposed to when we get scenes with Cloud when we're standing in a third party location watching both. This is deliberate framing so that we relate to Tifa in this situation. We’re looking at Aerith with some distance, but a human perspective rather than an omniscient one.

(Bonus: Cloud still takes the time to flirt with Tifa by reminding her of their little “sayings” interaction from chapter 3)

About halfway through the sewers and the gang has to cross a manky water way. Cloud goes first, leaving Tifa and Aerith behind. Tifa is still worrying about what Corneo said. Her body language, expression and voice all convey a deep fear of what will happen.

Aerith, though probably meta!Aerith, again doesn't act how she did when they first met, which is to reassure her things will be ok. She's become very serious and quiet, unlike how she was in the beginning. Her face here clearly says she knows they won't stop the plate from falling, but I think she knows if she says anything it would just make things worse. She and Tifa are only just sort of friends at this point, so she probably believes it isn't right to confide in her when she's already worried about so many people.

You'll see again the perspective is Tifa's and she notices that something is wrong with Aerith. Despite having so many other concerns, she notices that Aerith looks down. Her question is that of someone wanting to have all the information about the worst case scenario, but before she can find out anything Cloud tells them to keep moving (nice timing)

And now we're at the crossing bit. Tifa's made her way over and waits with Cloud for Aerith. Tifa's very encouraging at this point, reassuring Aerith that she's almost across. Once the platform topples into the muck, she reaches out a hand and pulls her to safety. This is another example of Tifa being the protector.

(Bonus: Cloud grabs Tifa when she staggers.)

“Then it's a date.”

It's likely that by this point Aerith has realised Tifa is spiralling with worry. She offers words of comfort and says to think of something fun. They agree to go shopping, and Tifa suggests bringing Cloud along to carry their stuff (lol bf role)

What's interesting is their contrasting body language here. When Tifa lowers her guard she puts both hands behind her back, opening herself up. It's a vulnerable position for a fighter to be in.

Aerith does the opposite. She's put her hands in front of herself in a protective gesture. This makes me think that even though she's being genuine with Tifa, she's holding something back from her as well. This is likely another meta!Aerith moment because she's aware of her approaching death and doesn't want to make too deep a bond with any of the group.

(Bonus: flirty little lean forward and “nothing” from Tifa when Cloud asks what they said about him)

“I saved her, she saved me”

I know that's a line from Cloud, but it applies to Tifa and Aerith too. Tifa saved Aerith from the sludge and now Aerith grabs Tifa's hand to pull her to safety from the collapsing walkway.

Aerith knows she can rely on Tifa to help her and now Tifa knows the same.

Now, I've seen a theory floating that whenever Aerith touches someone she shows them a vision of OG canon. I'm taking this moment to point out that even though she grabs Tifa's hand, you can see she never touches her skin. Idk if this theory is right – I've not examined every time she touches someone – but it's an interesting idea.

(Bonus: Cloud pulling his “oh shit, Tifa in trouble I must rescue” face as the walkway caves in)

YAAS TEAMWORK!! They're more in sync than in the Don's place as they automatically work together to save Cloud, who looks annoyed that he didn't make it on his own lol

After that it's further into the sewers until we get to the waterpump minigame (I hated this).

Cloud is about to suggest he goes, but Tifa cuts him off, so she and Aerith head over to do it. Now, I was expecting some kind of chat between them or some kind of war hint, but it was literally just the minigame and nothing else. I guess the absence of something is something too?

And this is probably the only shipwar image in the entire game, so take it in, people.

I don't like it. I didn't like how it made me not like Aerith after everything she and the others have gone through until this point. Her dialogue towards Tifa is meaner than any other time and I feel like this is OG Aerith – the one yall expected. She mentions Cloud is “her” bodyguard – something Tifa wasn't even aware of since it's never been mentioned until this point and Tifa looks hurt by the way Aerith is talking to her. That's not jealousy on her face. She's dismayed this person she thought was a friend is acting not like a friend. The fact Cloud notices this and backs up Tifa's side by saying “Ghosts aren't my thing” is evidence he supports her and won't let anyone hurt her.

This is not a nice image. Hope the OG fans enjoyed it though and I hope it's the only shipwar reference Square makes. Tifa's worried/scared, which has more to do with the ghosts. Cloud is ambivalent; he's being SOLDIER Cloud. Aerith is enjoying the chaos she’s caused.

And the nasty shipwar moment is over and they're back to being friends again. Tifa's fear through this section of the game makes her cling to Aerith when the lights go out. Aerith, for her part, calls Tifa to her, so that she can look after her. It's a nice moment to rebalance their friendship after that earlier bullshit.

Tifa looks worried – although I've said before her default expression is pensive, which makes sense considering her personality.

Aerith doesn't look afraid at all. She looks curious. One of them wants to be there and the other very much doesn't lol

(Bonus: Cloud grabbing Tifa and protecting her is everything)

And we're past the bit with the ghosts stealing Aerith away and Cloud and Tifa rescue her.

Tifa crouches down and comforts Aerith. She's kind and sympathetic and you'll also notice that this is the first time we're seeing Tifa from Aerith's pov. This is what Aerith sees when she looks at Tifa. Someone kind who came to help her. A friend. Tifa smiles and offers her hand, reinforcing their friendship and that she'll be there to support Aerith.

(Bonus: Cloud and Tifa's complementary body language here towards Aerith really highlights how much in sync they are. They both touch the same shoulder and have similar poses. They really look like a couple whose goal is protecting their friend.)

And now in a reversal we have Aerith comforting Tifa. This is hollow comfort, however, since Aerith knows what's about to happen and they can't stop it. This is evidenced by the fact we can’t see Aerith’s eyes. Her expression is concealed. This doesn't stop her from reaching for Tifa because she sympathises with her struggle.

Tifa saves Aerith again, this time from falling pipes. Their friendship is growing, although at times it feels one sided. Tifa is the protector, looking after Aerith, while Aerith is the one who relies on Tifa. It goes towards Tifa's maturity, compared to Aerith's free-spirit. Tifa is the responsible protector, while Aerith doesn't have to be because she's got people who look after her.

This could be another instance of meta!Aerith, since she's very calm when she says this and doesn't try to stop Tifa. She might know that Tifa will be ok if she goes. Her word choice is....odd. It's not really her heart Tifa's following, it's her principles. She can't stand by and let people get hurt when she can do something about it. But the way Aerith says this line is pretty telling. There's actually a big difference when meta!Aerith is on the scene compared to OG Aerith – who is annoying af.

It's the mark of a fast friendship that Aerith can tell this about Tifa, that she needs to go help, but then again, it's also not that hard to figure Tifa out when she's so open. I can't think of a single instance in the game when Tifa isn't straight as an arrow.

So, we've had very few moments when we're looking at Tifa through Aerith's pov. And now we're back looking at Aerith through Tifa's pov. The look on Aerith's face is very serene and reminds me of the one in the bar when she saw the flower. That definitely suggests to me that this is meta!Aerith and that's who has been building friendships this time around and not OG Aerith – who is still annoying af.

I'm further convinced of this when Aerith mentions Marlene and the look on Tifa's face is all “What?” while Aerith's suggests she knows exactly where to find Marlene, what she looks like, how old she is, when her birthday is and what she had for breakfast.

An unspoken communication passes between them. Lots of micro expressions here and some quiet hums and nods. I mean, if we're at telepathy then they're definitely friends.

Despite being reserved, Tifa grabs Aerith's hands in gratitude. For someone who doesn't display physical affection a lot, this is meaningful for Tifa. She trusts Aerith and she's relying on her to save Marlene. She's grateful and doesn't have the words to express it. She just nods, once, and her eyes are damp like she's trying not to cry.

And one last teamwork shot because look, neither of these girls needed lessons how to high ten...Cloud lol

Ok, the last one is the most important – typical.

Tifa's asked Aerith if she's ok a lot over the course of the game – which is a lot a lot when you think how little time they had together. This is the first time Aerith asks after Tifa's wellbeing. It's probably one of the few times anyone asks how Tifa's doing and they don't mean physical condition. Sure, Cloud asks, but we know why. Everyone else assumes Tifa can handle it. Tifa says she can, so it must be true. Even when she's shaking from repressing her urge to cry. Even when she can't sleep at night.

I noticed this my first playthrough because it stood out, and it's meant to stand out. This concern from Aerith to Tifa and Tifa to Aerith is mirrored through their interactions. It's supposed to make you think better of the girl who isn't part of your ship. It's supposed to make you draw a line under OG Aerith and Tifa's jealous rivalry and start thinking of them as friends. Because they are friends.

Conclusion:

The devs tried to end the ship war by making the girls more friendly towards each other in hopes that yall would stop bashing the one you don't like. These girls clearly have little rivalry going on. They're supportive, kind, open and understanding towards each other. Their friendship is one of my favourite things in the game and did actually go a long way to making me like Aerith – did I mention I hate OG Aerith?

Instead of arguing who Cloud loves more, why not try appreciating each girl for the qualities she brings to the overall game and to each other's life? 

Aerith likes Tifa. Tifa likes Aerith.

[rainstormcolors]

@a-white-ravenstag​ asked: “RE: the ships discussion... Prideshipping/Timeshipping, or maybe Scandalshipping since I haven’t seen a lot of people talk about that one!"

The relationship between Atem and Seto Kaiba is genuinely one of the most complex relationships in the original story. It’s layered and has additional layers of interpretation to it.

And it’s my favorite relationship in fiction. Not that I’m arguing it’s the best one, but it’s my favorite.

I’m going to combine the things I’ve said before and smooth them out, and try to tackle a bit of this complexity. This will be like something of a master post I suppose (it’s long).

Lost Names, Lost Selves

There’s a parallel in how Atem and Seto both gave up their names and were then trapped inside prisons. They freed themselves in part but not wholly, and across the series carried the names of others as their own.

Atem searched for his true name, while Seto battled to feel at peace with his own namesake. One returned to his birth name as he remembered who he was; the other wanted harmony with his new name, to not give up what he’s gained but understanding the price and recovering the pieces of himself he’s lost.

They lost and found themselves.

Seto’s Attachment to Atem

Seto is a character so closed off, so cocooned in mistrust, who shoves everybody away. Seto has difficulty connecting and forming attachments to people, but Atem became someone he craved battle with, craved the challenge of.

Seto had been a keg of dynamite waiting for a match; Atem, a shadow himself, threw the match.

Atem became a focal point for Seto once he defeated Seto at cards and lashed out at him with his cruel penalty game, and this encounter would act as the catalyst for so many different things.

Atem became a target for all the boiling rage that had built up inside of Seto like a pressure cooker. But from there, with each encounter, their relationship evolved into something far more complex and meaningful. The obsession with domination and the human connection in the challenge were a duality. It was detrimental and provoking and exhilarating and rewarding all at once.

Something these two share, and only these two share, is a dependence on games to communicate, as both have a stunted relationship with the world around them. It’s something only they can understand.

Atem was invigorated by his duels with Seto as well. They felt alive.

I feel like this duel is emblematic of Atem and Seto’s entire relationship; how enthralled they are by each other, how they push each another to their limits of both their best and worst, and also their capacity to wound one another. Neither one set out to have this duel in these circumstances. They were blackmailed, with the souls of their loved ones on the line, and yet for so much of the duel they were enjoying themselves. They were enjoying dueling each other. But things became desperate as Seto found himself backed into a corner and suddenly it wasn’t fun anymore.

I’m curious how other people take Seto’s taunts here. I have the impression that in his own way he’s giving Atem permission to strike the final blow, telling him it’s the correct thing to do. Seto really has reduced his life to the value of a bargaining chip. I don’t think the narrative could’ve possibly made it any clearer that Seto was 100% committed to fulfilling his threat if Atem’s attack went through. At the same time, I don’t think Seto felt it would be a tragedy were he to die after losing. (The tragedy instead was in failing Mokuba.)

Don’t be mistaken: Seto is the one who raised the stake of this duel to be the price of a life and it was cruel to put Atem in that place. Of course, Atem chose to pay this price in his own hunger and desperation to win. Both of them agreed to the price of a life to win.

Atem’s choice was reckless and cruel. I think he may have had the idea of it being about “duelist pride” on both sides; that cheating can’t be rewarded and that he’d won fair-and-square, and that Kaiba knew this as well. Thankfully Yugi interfered with this disturbing arrangement.

But Seto and Atem do grow from that dark place, and move forward to become better.

The notion that defeating Atem would quench Seto’s obsession with dominating everything like some wave of a magic wand is absurd. Only long introspection can do that, and long introspection may only be the start. But there was so much more to their rivalry than the obsession. It wasn’t cold at all. The line between obsession, admiration, and connection is blurred.

And then there’s this.

If Seto is a person who believes in relying on one’s own strength, who sees depending on others as weakness, why did he help Atem here? Surely if Atem had lost, he was never truly worthy of Seto’s attention to begin with and Malik should have become the new focal point. Instead, Seto wants it to be Atem. Seto breaking his own code and dropping hints to Atem during his duel against the mime was pivotal. But I don’t think Seto understood the significance of this gesture. Not consciously; not yet.

Seto very clearly asks Atem to challenge his worldview. He wants Atem to challenge him. I’ve said before that Battle City was Seto’s attempt at self-therapy, and him provoking Atem here is part of that.

That Seto listens to Atem is significant. Because Seto, so impossibly stubborn, is supposed to see comradery as weakness and yet…

In the end, Atem’s words do reach Seto’s heart. And at the end of BC, Seto understands that Atem was right all along. And he’s happy to realize it. And for that moment Seto didn’t feel so lonely.

I quite like this scene in YGO R as well, a series overseen by Kazuki Takahashi. The softness in Seto’s reaction is something we’ve never seen before. He’s vulnerable, he knows he’s vulnerable, but he doesn’t try to cover it up or lash out:

The question becomes, when did the attachment form? When did it become about more than just winning? And when did Seto consciously realize it?

Seto is a person who refused to acknowledge sentiment and seemed lacking in self-awareness about his own loneliness. But across canon he was chasing Atem, chasing these moments of connection through dueling.

Atem ignited Seto from his dark numbness, pulling him out of his isolation. By defeating him, Seto’s eyes were forced onto Atem and his own vulnerabilities were exposed in a way he couldn’t ignore. As Seto struggled to save himself, Atem—for as self-righteous as he could be—turned Seto towards something brighter and in the end Seto actually listened to him. In turn, Seto validated Atem’s existence. Out of everyone, Seto was the one who valued Atem over Yugi, and he valued Atem for all the ways he was unique from Yugi as Atem struggled to find his own identity. Both Atem and Seto begin their stories as damaged wrathful children lashing out from their dark voids and it’s an absolute mess, but together they’re able to grow from that place. Their rivalry was passionate and exhilarating. And they left imprints on each other.

Is Atem dueling Seto enabling of his mental illness? Can a relationship be both beneficial and detrimental at the same time? These are valid points. But Atem himself seems compelled to duel Seto. And Atem is someone who sincerely wishes the best for Seto.

Atem Was Connected to Seto as Well

Atem felt the pull of friendship with Kaiba, and he recognized he needed Kaiba to grow into who he had become, to stand where he stood. They followed each other. They’ve seen each other at their worst, but they’ve followed each other to their bests. The line was blurry for Atem too, but Seto was important to him. He needed that challenge and he needed validation himself, through battle with Seto.

There’s an argument for how well Atem handled Seto during this duel but Atem wanted to help him, and Atem had been asked by Seto to challenge him.

I really love that confrontation in the tower between Seto and Isis, because it’s the culmination of everything that’s been pulling Seto forwards. It’s not any one thing that causes him to return to the arena, but rather it’s everything. It’s about understanding the value of living, it’s about listening to Mokuba, it’s about his bond with Atem, it’s about the miracle of human connections that Seto has both fought so hard against and fought so hard to understand. That’s why he goes back to give Atem The Devil’s Sanctuary card.

Seto gives him The Devil’s Sanctuary card as a test of their bond. And Atem in turn shows a gesture of pure trust in Seto as he accepts this card. And these moments confirmed his trust and bond towards Seto. It was the pulse of their bond he felt.

Atem, like Seto, is a struggling teenager as well, and in the end they reached each other. In the end, they reached each other’s hearts.

Seto Always Knew Yugi and Atem were Separate

Seto himself specifically differentiates between the two Yugis across the story.

He references “The Other Yugi” at the end of the pier duel in anime canon as well.

Most damning is that he knows Atem’s existence was granted by the Millennium Puzzle, well before the events of DSoD.

Let’s put this bad argument to rest.

Seto Loves Atem

That he’d only realize the full depth of his feelings for Atem after Atem’s departure falls in line with everything else we’ve seen of Seto Kaiba, whether those feelings are platonic in nature or something else. We watch Seto become more and more aware of his emotions over the course of the series, and it makes sense that his resistance to just how much he cares only crumbles once it’s too late. He’s a character who generally feels so little for people, almost as a survival mechanism, so the bond he built with Atem is striking and haunts him. It’s overwhelming to him to realize this significance of another person. In truth, I would argue that Seto himself doesn’t know how he feels for Atem. He doesn’t know if it’s passion for their rivalry or if it’s platonic love or if it’s romantic love. These kinds of emotions are so new and alien to him. It’s not just that he’s been sexually repressed. He’s repressed so much of every emotion and in the tragedy of losing Atem the dam finally bursts. Confusion, loneliness, doubt, outrage, feelings of betrayal, denial, and love. It’s an aching mess.

Seto is like a sort of wounded animal in the subbed movie, morose and impatient and desperate. He lashes out at Yugi, who he in passing acknowledges as having beaten Atem, but only in passing as he enters the sacred grounds of the Millennium Items. He doesn’t care about that victory. He does know Atem lost a game and then “died.” (Is Atem dead? Is Atem a god?)

Kaiba has always been a character exploring the interplay of cruelty and vulnerability, and how cruelty can be an expression of vulnerability.

His speech in the sub is an introspection, reflective of his place in the series, initially a person who functioned by violence, but now carrying a new understanding of how futile and hopeless violence is. Even winning is futile and meaningless.

Seto has been betrayed so many times in his life, and he’s now been deeply wounded by Atem’s departure, yet another betrayal in the chain. He feels abandoned. He calls flesh a prison of the soul, and later proclaims Atem will be a prisoner of the Millennium Puzzle. These lines of dialogue are an expression of mourning for Atem and an expression of rage. It is also Seto acknowledging that what he’s attempting to do is also a betrayal.

The duel with Yugi is a conversation of grief, where he lets these emotions spill.

Of course in the end, Seto is still the one who proposes the team-up to Yugi. He’s still the one who sacrifices himself. He’s still the one who believed in Atem. He had faith in Atem in the end, and Atem returned to save them.

The trust Atem had given to him, Seto returns to Atem.

I’ve said before The Darkside of Dimensions confirms to me Seto loves Atem. I stand by that. The desperation and longing, sheer longing. When Seto’s cornered in his duel against Diva, his thoughts of Atem are what inspire him to make such an improbable move. His expression when Yugi completes the Millennium Puzzle is heartbreaking. Denial, mania, and bargaining are the well-documented marks of grief. All the while, Seto has no interest in Yugi as a player and no interest in Yugi’s title. Their duel isn’t given a proper conclusion but Seto has no interest in a rematch, because it was never about the card game.

It’s fair to say Seto clinging to Atem like this isn’t healthy. It’s completely unfair to dismiss those emotions as meaningless.

In DSoD, there’s so much desperation and such deep wounds; Atem has hurt Seto, and Seto attempts to betray Atem, but in the end they’re quietly smiling at each other. They’ve fought so hard to be here, with so much struggle and pain, and they haven’t even bandaged their wounds, but just seeing each other has made everything worthwhile. And it’s just this gorgeous moment of complete forgiveness and understanding and connection.

I’ve found you.

[cinemaocd]

The Mirror and the Light raises more questions than it answers

Going into The Mirror and the Light, the third and necessarily final book in Hilary Mantel’s Thomas Cromwell trilogy, the basic plot wasn’t much in doubt. Thomas Cromwell would rise. Thomas Cromwell would fall. In the summer of 1540 he would be executed. Along the way his son would get married, while he remained single, despite wide-spread speculation that he was angling after the King’s daughter Mary Tudor. Those who Cromwell promoted would be raised as well and some would remain loyal while others would betray him. Cromwell’s fall would come some time after Henry VIII’s unsuccessful marriage to Anne of Cleves, and his role in promoting that marriage would play some part in his downfall. Cromwell’s past interactions with his two most powerful enemies, Stephen Gardiner and the Duke of Norfolk, would also have some bearing on his downfall, since they were the main figures behind his arrest.

These are the undisputed big historical facts that Mantel had to work with, or in many cases, work around. There were many other smaller facts that she had to play with as well, some of which appear in the book as delightful asides like Cromwell putting a neighbor’s house on rollers in order to settle a boundary dispute, or Cromwell importing beavers to control the streams and rivers of England. There was also some evidence that Cromwell had an illegitimate daughter, born sometime after his wife’s death. Mantel massages the timeline to make this fit into her backstory of original characters from the first two books, and cleverly ties the daughter to the seemingly random charge in his arrest that he “sheltered Anabaptists.”

Of course Mantel created a whole plot, a series of original characters, and interpretations of historical figures and events for the first two books. They were fiction, after all. Like any good writer (and Mantel is an excellent writer, always in control of her material), she left questions unanswered to hook readers into the third book. If you were expecting these plots to be tidily resolved, you will be disappointed in The Mirror and the Light. The book fails to resolve many questions, creates more plot threads and then leaves those loose as well. Does that mean the book isn’t successful? I would argue that it is precisely because she fails to resolve these puzzles and questions, that Mantel manages to walk the knife edge between genre fiction and literature with a big “L.” She is certainly aware that these characters have all been the main actors in romance novels and murder mysteries as well as history plays. Indeed that is the subtext of almost every movement of plot within the novels.

While Wolf Hall seemed to be a conversation with playwright Robert Bolt about the veracity of A Man for All Seasons, which made Thomas More the hero and Cromwell the villain; this last installment seems to be deeply concerned with T.S. Eliot’s Murder in the Cathedral, about the murder of Thomas Becket at the hands of Henry II. Cromwell digs up Becket’s bones at their resting place in Canterbury, tears down statues of Becket and even keeps the supposed remains of the martyr in his house, in case the king changes his mind. He  considers commissioning a play that shows what a terrible person Becket was for disobeying his king and bowing to Rome. Henry II was excommunicated, and Mantel dwells on the possibility that if the current Henry suffers the same fate, the whole nation could be lost to invaders given free reign by the pope to do their worst to the heretics. This is one of the reasons Cromwell is so eager to align England with Lutheran princes via the marriage with Cleves. But of course, Cromwell, as always, has half a dozen reasons for everything he does.

Eliot celebrates Becket as a champion of the separation of powers of church and state, a founding principal of modern democracies and one which was much threatened during the time Eliot wrote the play, 1935, with fascism on the rise in Europe. Of course it does not take a rocket scientist or even a political scientist to put two and two together with our own times. Cromwell would be anti-Brexit, pro NHS and anti austerity. Yet, he would also be the kind of neo-liberal who would be quietly feathering his own nest, profiting from selling off National Trust properties all the while making speeches about the enduring greatness of the British monarchy. For every eerily prescient passage about the plague and it’s random destructive path through society, there is a reminder of just how foreign a country the past is: Cromwell--a becon of rationality and enlightenment--believes the source of his fever is a snake he held in Italy. For every kindly head of an English department who is inspired by Cromwell’s leadership, there is a despicable grotesque like Steve Bannon who admires Cromwell’s ability to seize both religious and political power who sees himself, like “self made” white men everywhere, the victim of the elitism that Cromwell faced. 

But these are questions for people who get their essays in front of more eyeballs than I ever will. What do I, the Cromwell fanatic think of the new book?

I think die hard fans of the first two books will be generally pleased with this installment. We get so much more Cromwell than ever before. We are moving more slowly through his life and we are, with exception of a few enlightening flashbacks, solidly in the company of the mature, sardonic, earthy man that we we got to know in Bring Up the Bodies. In short, Cromwell at fifty is a pure joy. Mantel as with the previous installments surrounds him with a crew of lively and memorable companions. From his son who has come into his own as Sassmaster of Austin Friars, to the irrepressible Christophe, who stays with Cromwell through his confinement and walks with him to his execution, cursing the king as Cromwell could not, I love everyone in this English Reformation. Even the bad guys like Norfolk and Gardiner remain fresh. Mantel uses them thriftily, lest we tire of their antics, so that when Cromwell is blindsided by an Easter dinner with Gardiner and Norfolk it is one of the highlights of the book.

As we move closer to his doom, Cromwell has flashes of his fate, but the history fan, or even just the person who has made a close reading of Cromwell’s wikipedia entry, can see it collapsing all around him. Yet, miraculously he never wears out his welcome as other iterations of the character do. As much as I enjoyed James Frain’s Cromwell early in The Tudors his characterization gets more shrill as the story moves forward to the point where his execution is almost a relief. Cromwell is a convenient villain because so many of the facts of his life actually support that conclusion. Mantel used every trick in the book from making him the victim of child abuse, to giving Cromwell a love of animals and children to humanize him in the first two books. In the third she sharpens all of these tools, even as she readies Cromwell to make that last journey from the tower.

In the first two books, there are a number of tropes that are quite worn and flimsy. For example, the idea that it was Cromwell selected the group of petty noblemen executed with Anne Boleyn because they once participated in a masquerade mocking his former master, Cardinal Wolsey. The men were guilty of something to be sure: a kind of greedy, entitled, elitist malice, but not the crimes for which they were executed. It is a weak premise really, but Mantel made it work because of the way she showed the working of Cromwell’s mind, and the way in which she brought the reader so thoroughly into his schemes. By the time you realize that you have been spending time with a mass murderer you are so under his spell that you begin to question the entire premise of narrative fiction. Can any narrator be relied upon? Is there any such thing as a villain or a hero? Are there not elements of both in every person? Can’t the guilt for all of this blood really be laid at the feet of the often childish monarch in whose name all of this happened? Where does personal responsibility begin and end in the midst of atrocity?

All of these larger questions are floating around in the background of The Mirror and the Light and as Cromwell focuses in on the grim task of disemboweling England’s religious houses for personal and political gain, you wonder what price all of this is going to have on his soul. In Wolf Hall, Cromwell fell into a fever, (probably malaria--which had a basis in historical fact) after he managed More’s execution. Though More’s death should be seen as political triumph for him, he views it as a personal failure. Cromwell does not like saints who don’t behave like rational men. He likes men like Geoffrey Pole, who he interrogates in The Mirror and the Light. Pole gives in easily to intimidation, talks a blue streak and is pardoned and released. Cromwell suffers another bout of the fever--which he believes will ultimately take his life-- after bringing down the last and largest religious house in England, the nunnery at Shaftesbury. Now it is true that Cardinal Wolsey had an illegitimate daughter who was housed there, but Mantel takes that fact and weaves into the fabric of her story. Again it is a flimsy premise and again it works because it is surrounded by unassailable bulwark that is Cromwell’s character. Cromwell arrives at Shaftesbury with the vague plan of trying to do something for the Cardinal’s daughter before he turns her out of her home. He winds up disastrously proposing marriage to her in an almost comical scene, a proposal which she rejects with such venom that he weeps for only the second time in three books. This is a man who has lost his entire family, suffered deeply all through his childhood and adolescence and yet this is only the second time he weeps? It’s not quite logical, and like the masquerade plot, it feels all a bit creaky, yet we believe it because Cromwell.

Wolsey’s daughter also accuses Cromwell of poisoning Wolsey, a rumor which has touched Cromwell’s ears earlier in the book, from the dying lips of another bastard child, this time The Duke of Richmond, the illegitimate son of Henry VIII. The injustice of the accusation drives Cromwell’s grief more than the girl’s rejection and he becomes haunted by the idea of who is spreading this rumor. While it could be any of Cromwell’s numerous enemies, it is never fully resolved. On second or third read of this or the other books, we might find the clues that Mantel hid in the story. Similarly multiple readings of the first two books reveal clues as to who terrorized Anne Boleyn by leaving her hate mail, setting her bed on fire and murdering her dog. Mantel has not exactly solved that mystery but she puts the probable solution into the mouth of one of her least trustworthy characters, Lady Jane Rochford, the wife of the late George Boleyn. If Cromwell believes her, he doesn’t say. We are left to decide for ourselves.

In the end, Cromwell’s bout of grief-driven malaria does contribute to his downfall, as he misses a crucial session of parliament, in which Stephen Gardiner forced through a series of laws meant to reverse the Reformation. Cromwell has to stand by and watch friends and fellows in the struggle to create a bible in English, burned at the stake.  In Wolf Hall, Mantel says that a “blacksmith creates his own tools,” meaning that Cromwell created the very laws which he used to take down Katherine of Aragon and Anne Boleyn. The blacksmith imagery pays off in the final chapter of the last book, when we are reminded of Cromwell’s childhood nickname “put an edge on it” when he spies the dull instrument with which is to be executed. In The Mirror and the Light, the blacksmith is left at the mercy of his own tools. Unable to find proof of Cromwell’s heresy as a religious dissenter, Gardiner uses the law that Cromwell created to prevent any of Henry’s heirs marrying without the king’s permission. He takes idle gossip started by Cromwell’s oldest frenemy Eustace Chapuys, that Cromwell is planning to marry the Lady Mary Tudor, and uses it to fabricate the evidence used in Cromwell’s arrest. He uses the exact methods that Cromwell used to bring down Anne Boleyn: spin a rumor into fact while using the king’s momentary dissatisfaction as the window of opportunity to make ordinary ambition look treasonous.  

The scenes with Mary are both heartbreaking and hilarious, as are many of the scenes with other possible, past marriage candidates such as Bess and Jane Seymour. Just as Cromwell’s relationship with frequent correspondents Stephen Vaughn flavored the earlier books, Cromwell’s relationship with Thomas Wyatt is the closest thing to a romance that Cromwell has in The Mirror and the Light. Cromwell’s seemingly irrational loyalty to Wyatt is explained away by a deathbed promise to Wyatt’s father (there is also a convenient deathbed promise to Katherine of Aragon retconned into this book to explain the lengths he goes to to save Mary Tudor from father’s wrath). Another flimsy trope that works because of the strength of Mantel’s characterization. 

In prose that is frequently breathtaking and always interesting, Mantel saves some of her best stuff for describing the relationship between Cromwell and the king. If his friendship with the poet Wyatt is like that of a lover, his strange entanglement with Henry is like that of a spouse. In one scene Cromwell and Henry fall asleep together on a sofa. The intimacy is heartbreaking, partly because we know how it will end. When Cromwell is in his most pitched delirium of fever he realizes that Henry will use him up and spit him out. When he recovers himself, he writes The Book of Henry --treasonous advice to some imagined future privy councilor. Even if he does not consciously acknowledge  that Henry will kill him, as he has his other spouses, his fever self, his true self, seems to realize it.

[primrooks]

Wands of a Feather: An Elena of Avalor/Sofia the First Crossover

[Chapter 1] // [Chapter 2]

*One of the most surprising and fun aspects of writing this story has been creating all sorts of different OC's, sometimes right on the spot! Quarry, Isadora, Hiba and Raadi are all my characters (as far as I know, we never do meet the royal wizard of Khaldoun in StF), and I was especially excited to tap into the idea of deaf mages and non-verbal magic within this universe. I'm not part of the deaf community myself, so if anything looks off, do let me know!

AO3 link here!

Chapter 3: The Tri-Kingdom Showcase

The lone figure suddenly formed into two, one a few inches taller than the other. The first presenters stepped into the spotlight, another stage effect courtesy of Isadora. The shorter of the two was a kindly middle-aged woman, wearing a midnight-blue robe and draped with a shimmering silver cloak, her head covered by a knotted white headscarf. Next to her was a teenage boy with freckles dotted across his brown skin, clad in an elegant teal robe and a patterned russet turban. A leather satchel hung from his left arm.

Both bowed deeply before the crowd, then the elder wizard stepped forward to gauge her audience.

Her hazel-eyed gaze held some kind of gravity that pulled at Mateo’s attention. Nothing in it was scrutinizing, just attentive. Quietly aware of the people before her, and silently asking them to share in that awareness.

The woman gave a tender grin, and then began to gesticulate with her hands, smoothly forming various signs while never tearing away her gaze.

“Welcome, friends. I am Hiba, Royal Wizard to His Majesty King Nasir of Khaldoun,” interpreted the young boy, who’d stepped up to Hiba’s side.

“This here is my apprentice, Raadi,” she signed, at which Raadi gave a small nod.

“I am humbled to be performing this morning for all of you, though I must say, the journey from our country to the isle was… more eventful than perhaps our company hoped,” Hiba continued. It amazed Mateo how Raadi matched his voice to the subtle inflections of his master’s gestures and facial expressions, with only cursory glances away from her hands.

Then as if on cue, Raadi took a couple steps to the side, while Hiba extended her left arm and summoned a tall staff out of thin air. The top of the bronze staff was adorned with gilded feathers curling around a bright sapphire orb, and the body was carved with rows upon rows of delicate engravings. Mateo vaguely recognized some of them as runes, but most of the writing seemed to be calligraphy native to Khaldoun. Another wave of Hiba’s hand caused the engravings to glow a purple light, and as they did, Mateo noticed the various jeweled bracelets and swirling golden bands that decorated Hiba’s forearms.

A swirling array of lavender lights emerged like ribbons from the staff, coalescing with one another and steadily taking solid shape before their eyes. The lights took the likeness of a giant thirty-foot serpent, its eyes blank as snow and its maw lined with jagged teeth, with enormous tusks curving out of the sides. The illusion looked big enough to ram its head through a fortress, and it eerily stared down upon the audience while gliding through the air. Its jaws opened and closed just slightly as it prowled in a circle, and Mateo couldn’t help but gulp as it passed above his head. No one made a sound, even as the serpent stopped above Hiba’s head.

“Our ship happened to be passing through a pod of these serpents, and some feared the worst,” Hiba signed.

She then turned toward Raadi. “My dear apprentice confessed that he thought his life was forfeit right then and there.”

Raadi dutifully interpreted his master’s last comments, before he shot back at her with a piqued expression.

“Leave it to Madame Hiba to never skimp out on the details,” he spoke, turning so that he directly faced his master with his signs. Hiba chuckled, as did the audience. But then the spectral serpent curled upwards, and the laughter stopped as it towered above them at its full height. The room grew tense once more as it stood with its eyes unblinking, mouth agape, and then…

It started to sing.

Waves of a soft and ominous melody filled the air, like a shell horn’s strain ringing through a cave. The effect was similar to how Mateo had heard Naomi describe whale songs back at school. Its voice carried echoes of some dark and fathomless part of the ocean, its melody as unhurried as the tide. Mateo then remembered one other thing Naomi warned about serpent calls: many an untrained sailor had met their watery fate by mistaking their song for a whale’s.

Serpents travelled in large pods beneath the water’s surface, using their song to guide their brood during summer migrations to the north. If boats lingered too long in the migration path, they were met by the viciously territorial serpents. The lucky ones knew to make a swift and quiet escape with their ships, and she meant lucky. Even Naomi’s mother, a master of the seas, had vessels nearly capsized by their tusks and tails.

The sound carried beyond the theater area to the further corners of the pavillion, and Mateo briefly turned his head to see if anyone outside this crowd had noticed. There were a few curious faces (mainly children and their parents) who looked up at the illusion in awe, though others carried on unperturbed.

He turned back to the serpent, and saw that more light illusions had flown out of Hiba’s staff. They formed a few smaller serpents, brighter in color, which flocked close to the first serpent as it led them higher above the stage. Isadora’s spotlight followed them as they swam through the air in synchronized twisting and swirling patterns, joining one another in song.

As they circled closer around the theater area a couple of times, showing off well-timed maneuvers that earned bursts of applause from the spectators, Mateo caught Hiba in the corner of his eye. From her billowing sleeves she drew a small square of paper inscribed with thin ink lettering. She flicked it into the air, and the paper burst into a flash of fire.

And just as quickly, the whole pavillion dissolved from Mateo’s sights. Stalls, trees and solid ground had vanished, and all background noise was covered by a pregnant hush. Darkness surrounded them, until an array of tiny lights blinked and swirled into being. Before long, the crowd found themselves sitting in the middle of a galactic cluster, where the brightest star of all shined above: the North Star.

“The crew on our vessel managed to pull us out to safety, but I grew curious as to how often such encounters occurred.” Raadi stood by Hiba once more, holding her staff as she continued her speech. “I asked the captain for records of the sea serpents’ migration patterns, and he gave me an even more invaluable asset.”

Raadi drew three pieces of paper from his sleeve, folded into neat boomerang-like knots. He tossed them one by one into the air, and the papers morphed into their own streaks of light. As with Hiba’s illusions, the streaks gathered like strings rolling up into a ball, and expanded to become different sea creatures: blue caballos marinos, green tortoises, even a gigantic scarlet kraken. They each joined with the serpents as they looped around one last time, before gliding upwards to the North Star.

The crowd’s applause broke out louder, before being quelled by a sharp knock upon the stage. Hiba gave three gentler taps with the staff, and the light illusions she and Raadi conjured formed into a luminous, emerald-colored orb. The orb ballooned into a large globe, and white lines formed around its surface, mapping the various continents of the Ever-Realm.

“The captain showed me all the records of different migration patterns that he and past generations of Khaldounian sailors had collected through their many voyages.” Moving her hand in a curling motion, Hiba conjured an illusory sun, casting light upon her globe.

“The creatures of the sea follow where the cold and warm waters flow. They track the seasons as we still sometimes do with the stars.” Hiba stretched both of her arms out, and summoned her sea beasts once more, in smaller versions that ducked in and out of the surface of her globe. The globe then started to rotate on an axel around the sun, tracking the seasonal paths of the creatures with the sun and the North Star as their constant guide.

As he stared up at the map, Mateo vaguely recalled Abuela and Mamá’s stories about the North Star, how the star’s different positions in relation to the Ever-Realm horizon acted as a compass to early Avaloran sailors. The most fascinating stories recounted how the ancient Maruvians created calendars and predicted turns of fortune from the night sky.

He once tried to map the sky himself, and although he found the process a bit too precision-based (resulting in many scribbled-out and ink-stained parchment notebooks), he loved to just look at the maps from school and compare them to the star and moon charts in his Abuelo’s archives. While the calculations behind the charts felt weighty and tedious back when he was nine years old, something about his Abuelo’s notes on the constellations and the stories they told would keep him up for hours past his bedtime.

“My hope with this Astral Atlas is that all who sail upon the seas will instantly know where and when the most dangerous creatures of the sea might cross their paths, and to see how all life, no matter how monstrous its appearance, follows the same patterns as we do,” Hiba explained, giving a knowing smile.

With another sharp “TACK!” from her staff, her illusions - the globe, beasts, star field - vanished in an instant. Mateo blinked, gathering his senses back to the canvas-filtered sunlight and the general murmur of the exhibition hall. His confusion was shared with some of the younger sorcerers, but the elders looked more quietly impressed with Hiba’s showcase.

“And before you ask: no, you won’t need that whole light show to use the atlas. In fact, one shouldn’t have any trouble carrying one of these around. And yes, everyone will get one to take home,” Hiba finished, eliciting a number of excited whispers.

After he was done interpreting, Raadi reached into his satchel and pulled out a black board segmented into two. He folded out from the part, and from its surface popped out an animated atlas just like the one he and Hiba conjured, though on a smaller scale. The detail was no less impressive on the model, and the board itself was as thin as a school slate.

At a small nod from his master, Raadi closed the board and placed it back in his bag. He joined Hiba in bowing to the audience, who responded in kind with elated applause. Mateo even saw some of them give a standing ovation.

He looked back at Hiba and Raadi, who were signing between themselves, grinning ear to ear as they exchanged words that he wished he could follow. But their expressions carried all the clarity he needed: while Raadi appeared bashful, in contrast to the collected front he presented on stage, his master couldn’t be more proud.

+++

“Incredible...” Cedric muttered to himself.

He’d been watching the Khadounian wizards’ performance from a hidden seating area backstage, located off to the side from the main platform. The longer he thought back to Hiba’s star map, the more his stomach felt like a black hole, warping him from the inside. He wanted to pace around, but he stood stock-still, afraid of making a spectacle.

He’d have expected no less from a wizard of her caliber, but Hiba had created an invaluable aid to sailors and adventurers of all stripes. How could his trick match up? What was a gussied-up child’s toy compared to that?

He hoped that Quarry wouldn’t take notice of his nerves, as the eagle-owl busied himself with treats while resting on his own perch.

“Heh. And she had the mettle to tell me that she came up with all that last minute,” chuckled a sagacious voice from the bench next to his.

Wu-Chang was seated with his oak staff laid across his lap, stroking his long white beard as he looked over Cedric’s shoulder. Hiba and her apprentice were now making their exit towards the opposite end of the stage, while the young master of ceremonies stepped up to the center in a dazzling dash of pink.

As she began raving over Hiba’s act to hype up the audience for their next performer, Wu-Chang stood up and leisurely smoothed out his gold-and-veridian robes.

Cedric could recall a few times in his childhood when he’d seen the Royal Sorcerer of Wei-Ling perform, either for King Roland I or in shows with Cedric’s own father, Goodwin the Great. Goodwin was not a man known for his flattery, and one thing that used to (somewhat) quell Cedric’s anxiety over his father’s approval was that, however critical he was about his son’s magical education, Goodwin would apply the same eagle eye for error on his own rivals.

Wu-Chang was one of the rare few to escape any scathing appraisal, and Cedric could see why. The elder sorcerer was a master of the traditional arts, held a storied record of service, and performed for royals and subjects alike with the same gentle reverence that eased his crowds into some truly wondrous spectacles. For all his years of service however, Wu-Chang rarely spoke of retirement, which made Cedric wonder how he himself would fare the further he got along in his years.

“Hopefully I won’t lull our guests too well,” Wu-Chang joked, standing by the curtain leading up to the main stage.

Cedric tried to laugh, but the pathetic exhale that came out of his mouth sounded more like a wheeze.

“Is your throat alright?” asked Wu-Chang, clearly concerned.

“It is, it is,” Cedric assured him. Out of habit, he cleared his throat, immediately undercutting his claim.

“Do you need to sit down?”

“No, thank you, I’m fine.” Then Cedric plopped down on the bench, briefly spooking Quarry. In place of smacking himself on the forehead for making a fool out of himself, Cedric gave a blithe shrug.

“Oh, perhaps I didn’t get as much sleep as I thought.” His words weren’t doing much to save face, judging from Wu-Chang’s slightly raised brow. Cedric avoided his gaze, trying to seem distracted by giving Quarry another snack.

“They wouldn’t be out there if they didn’t want to see you,” said Wu-Chang.

“Pardon?” Cedric asked, looking back up.

Wu-Chang gave a small smile. “I’m just recalling what my old master told me. He said that all I could do was give them the show I prepared. Whatever I did, be it a success, failure, mediocrity, was still a learning experience, and after that I only had to focus on how to make my next act even better.”

Cedric bit back a groan. However well-intentioned, he was not in the mood for a pep talk.

“I should say so,” Cedric stated, effecting a proud tone and stance. “A Royal Sorcerer must strive for nothing less than excellence.”

“An admirable goal, in theory. It would depend on how one measures the concept of excellence,” Wu-Chang countered.

“I think that neither you nor I have little to worry about in that regard. Experience and expertise should speak for themselves,” Cedric touted. Quarry flew up to his shoulder and gave two happy hoots.

“I can see that. You’ve improved considerably since you were a child, Cedric.” Wu-Chang had replied with nothing but sincerity, but that didn’t stop Cedric’s shoulders from tensing nor his throat from tightening.

“Oh, you… you remember me from back then?” Cedric uttered.

“How could I forget? Your dear father and mother always had so much to share about you.”

“Ah, as I’d expect,” he sighed.

“And! Without further ado! We’ve got another spectacular guest lined up and ready to go! Let’s see who’s behind Curtain Number Twooooo!” boomed the emcee. Cedric had taken note during rehearsals, but that young woman’s voice could fill a canyon.

“I bid you luck,” said Wu-Chang.

“Yes, I-” Before Cedric could finish, the other sorcerer vanished with a snap of his fingers, leaving a puff of scarlet smoke. The red smoke quickly evaporated, though Cedric still had to fan some of it away from his eyes.

“-To you as well,” he finished drily. He didn’t have to see the ecstatic welcome Wu-Chang was getting from the crowd. Their cheers were proof aplenty.

“Greetings. My name is Wu-Chang, Royal Sorcerer to His Imperial Highness Emperor Quon of Wei-Ling.”

As the introductory speech went on, Cedric sat back in his bench, and Quarry settled onto his lap. He gently stroked a hand down Quarry’s crest, letting his familiar’s quiet hoots fill the space.

He couldn’t let his nerves get the better of him, not after all those days of planning and practice. He never felt more prepared for a performance, and he especially didn’t want his new familiar to look bad because of him. Unfortunately, one thing hadn’t changed: the waiting was always the worst part.

[imagineyoungjustice]

1.5k Followers Milestone Drabbles 7/10

Sure thing! May I request a drabble for a reader who's powers come from her imagination, but she did a horror marathon reading/watching? -Anonymous

So a quick rundown of how I interpreted the Reader’s powers: Basically with their powers the Reader can make anything in their imagination a reality. This means any constructs can alter the world/physically interact with it. In the case of these horror creatures/characters, they gain all the abilities they had in their respective books/movies and can indeed kill people in the real world if they want.  -Terra

Also for some clarification, this is not to be interpreted as a Dick Grayson x Reader, this is to show a platonic relationship between the two as Reader is a minor while Dick is an adult. This is meant to be more a mentor/protege interpretation.

Tags: @ljblve​ @loverbug1123​ @aworldwideapart​ @wallywestie

Want to be added to our tag list? Send us and ask!

Warnings: Some mentions of death, but I don’t get into a lot of detail about it.

           Your heart was pounding against your chest, your sweat beading upon your brow from the exertion and fear coursing through your veins. Your eyes were wide as you took in your surroundings in a frantic motion, your mouth agape with the attempt to bring enough oxygen to your lungs. The coast was clear for the moment, you weren’t followed. Your mind supplied a very unhelpful that you know of that you did your best to shake off. Your situation was bad enough without your thoughts further sabotaging your brief reprieve. You tried the code on the Watchtower’s zeta-tube console, your gut churning with dread as the console failed to spring to life.

           There was no escape. You were stuck in here with them. You heard a rustling in the vents beneath you and froze in terror. Of course, it wouldn’t be long before you were found. The Watchtower might be big, but as a former Green Lantern base, it had a lot of open space. There weren’t many places for someone like you to hide. You gulped, and froze in your place, hoping that it wasn’t one of the creatures that could hear the beating of your heart, or pick up on your heat signature. You let your breath out (slowly) when the shuffling faded as the creature moved on.

           You didn’t dare waste anymore time. You took off down the few corridors the Watchtower held, doing your best to be as discrete as you possibly could. You were all alone on an orbiting space station-asteroid-thing while your literal worst nightmares roamed the same paths in an effort to bleed you of your life. The League, the Team, all were gone on missions, and with the Zeta system to at the very least the Watchtower down, it would be hours before anyone would arrive to save you from yourself. Yes, this situation was of your own creation, and the reason why you had been left behind in the first place. Your powers were born from the limits of your own imagination. Anything you could ever dream of; you could mold into reality.

          Of course, this was just as much a blessing as a curse. Fear made your abilities unstable, out of your control. You learned this the hard way at a young age. A simple thirty second add for a horror movie while watching television with your parents, and the next thing you could comprehend was screams their agony as the creature manifested itself in front of your very eyes and ended them with no mercy.

          It was hours later the League had found you, and decided to take you in. You were told later on that the creature you had described was just standing there when they arrived, that somehow you had managed to deconstruct it on your own when you had first glimpsed the red and blue of Superman’s suit. You weren’t sure how, and you weren’t sure why the creature hadn’t killed you as well, and it had become your mission to find out how to master your abilities.

          That was why you were left behind despite being a member of the team. You were understandably deemed too dangerous to bring out onto missions until you could control your abilities, something you had no issue with. You could kill people by losing control, you didn’t want that to happen. On the Watchtower, your creations couldn’t escape to wreak havoc on the local population like they could if you were in the cave. They were just as much stuck in here as you were.

          And it was because you were alone that you had committed what was undoubtedly your worst decision yet, and you’re proud to say you’ve made quite a few in your life. You thought exposure to your worst trigger of your powers would help you, so you sat down with your laptop and played the few horror movies you had loaded onto there the night before. A lifetime of avoiding anything related to the horror category of entertainment had left you more than ill-prepared for some of the even “milder” horror-type stuff than you had thought (if some of them could even be considered horror, you weren’t exactly an expert on movie genres). So you had started with one of the Alien movies, of course then you jumped to one of the Predator ones, and worked your way up to ones like Insidious and The Ring (among a few others) and you were now suffering from it. So you had Xenomorphs, demons, predators, and -you didn’t quite know how to classify some of the other ones- you had no idea how to get rid of them. Well, you did know that the first step was to not be afraid, but it was difficult when you kept imagining your parent’s bodies and what your creations were capable of.

          By the time you locked yourself in the League’s briefing room, your lungs were on fire, sweat pouring down your forehead and face from the exertion of running. You could hear some of the creatures outside the door, but they didn’t yet make an attempt at coming in. You weren’t sure how long that would last. You sat in the back corner of the room as far away from the door as you could manage, bringing your knees to your chest.

          “-come in. Can you hear me?” Your comm device had you almost jumping out of your skin, but you would be lying if you didn’t feel the immense relief at hearinf your team leader’s voice right now.

          “I’m here, Nightwing.”

          “That’s good to hear. Listen, we can’t access the Watchtower. The whole place has been put on lockdown and the Zeta-tubes are offline. What happened?” He was concerned, and it helped soothe a bit of your fear to know that.

          “I wanted to test my powers a little since no one was around… it got a little out of hand and I can’t make them go away.” You felt a small bubble of shame surface at the admission, realizing how dangerous the situation you had put yourself in was.

          “The Watchtower was set to go on lockdown in case of event like this, since the League couldn’t be sure that your constructions couldn’t use your Zeta designation to leave.”

          “What does that mean for me?” You were staring to get worried again, you thought that hearing his voice meant that he and The League were on their way in the bioship to take care of this like that had every time before.

          “It means no one can get in, even if we fly up there, until they’re gone.”

          It was at that moment you began to panic in earnest. To make matters worse, your panic attack set off your creations, and you could hear them clawing at the door to get in. The whole time, Nightwing was in your ear, trying his best to talk you down from your frenzied state and get your breathing back under control. “I… I can’t. I can’t control them.” You whispered, your voice on the verge of breaking.

          “Yes, you can. You did it before. You’re stronger than you think you are, we all know it, the only one left to believe is you.”

          You let out a small laugh despite yourself. “That sounds corny.” Before he could say anything else, you let out a startled scream as the Xenomorph construct crashed into the room from the vents above. Your heart was immediately thrown into a rapid frenzy as the onyx creature began to creep towards you, hissing and showing off it’s razor sharp teeth. You started backing away, and before you realized what it was doing, it had put itself between you and the corner you had been in previously, your back to the ever-weakening door that held back your other creations.

          Tears were streaming from your eyes now, your heart beating with such force that it was bordering on painful. If your constructs didn’t kill you, you were sure your heart would end up giving out. You could hear Nightwing’s voice, but it sounded distant in your current state. You were trapped and there was nowhere left to run.

          The Xenomorph kept coming closer, and now you could see it’s weird second jaw darting in and out as it was almost upon you. “The key isn’t getting rid of your fear!” Nightwing’s voice managed to cut back through the fog.

          “What?”

          “You’ve spent all this time attempting to not feel any fear when it comes to your abilities, but that’s not how you’re going to get control of them. You need to be able to act in spite of your fear! Feeling fear is natural, but you have to learn to be the one to control it, not to let it control you.”

          Shaking worse than a leaf, you turned your focus back to the advancing Xenomorph, trying to pour all your frustrations about your failed attempts to control your powers to the forefront. You were still afraid, but you had been afraid back then too, and yet you still somehow lived. You squared your shoulders, and with as much force as you could muster, you shouted. “Stay back!”

          The Xenomorph halted in its tracks, and you nearly collapsed from it as a result. You could still hear the others pounding on the door behind you, the metal of the door groaning from the effort. It wouldn’t be long before it finally gave way. You had to act fast. “Back up.” You tried another command, and you almost couldn’t believe you eyes when the Xenomorph did exactly as you had commanded it, going until it touched the other wall. You took a few steps forward and started to feel emboldened when it didn’t react. The final test. “Disappear.” With a hiss, the construct faded from existence. You fell to your knees, the memories from before making their way to the surface. You remembered yelling at the creature then to leave you alone and wishing the League would make it go away when you saw Superman approaching.

          They were your creations, and they would do as you commanded. Not the other way around. You turned to the door just as the other constructs finally bent the metal to pour through. Though they still terrified you, you knew they wouldn’t hurt you if you didn’t want them to. Taking a deep breath, you fixed them with a determined glance. “Go away.” In an instant, they joined the Xenomorph and faded from existence.

          No hostiles remaining, lockdown Terminated. Zeta-tubes are now back online.

          You collapsed to your knees as you heard the Zeta tubes flaring to life, announcing members of the team as well as the League. That was how Nightwing found you a few moments later, taking deep breaths as you attempted to bring yourself down from the worked up, stressed out state you had been in for the larger part of the day.

          “Thank you.” You mumbled when he knelt next to you.

          “I only reminded you of what you were already capable of. You did this all on your own.”

[joyofcrime-elinorhigh]

2018 Year in REVIEW: Part 1

 Doing these list was a lot easier back when I actually had cable...

 Hello everybody, my name is JoyofCrimeArt, and another year has come and gone. And with 2019 is right around the corner, I think it's time to once again continue the annual tradition. That's right, I'm talking about my end of the year recap! Cause 2018 was a huge year for the cartoon community!-

Oh wait, that's a picture of a dumpster fire. Don't know how I mixed those two up...  If you've been following my page for a while now, you'll already know how this works. But for any newcomers, I'll be going through a list of several of the most notable events and animated series that happened over the course of the year. I'll be going over these events is roughly chronological order (Though I may swap a few things around to keep similar topics together) all while giving my own personal thoughts and opinion on each one. Anime and theatrical films will be exempt from this list, as it's already long enough as it is. I'll mostly be focusing on TV series and animation news. And while OBVIOUSLY I won't be able to cover everything I'm try to hit you with the highlights, along side some things that may have gone under the radar. And when I'm done I will count down my favorite series of the year from worst to best, give the year a grade, and decide which network "won" the year.  I would also just like to be transparent here and say this concept is stolen directly from the anime youtuber Gigguk. I liked the concept, and wanted to apply it to something I loved. Also, if you want to check out my previous years in review, you can do so here. (2016 Year in REVIEW: Part 1) And here. (2017 Year in REVIEW: Part 1) But with all that out of the way, let's get into 2018 year in review. -------------------------------------------------------------------------------------------------------------------------------------------------------------  And what's a better place to start with than with everybody's favorite cringe lord. That's right, I'm talking about the Christian Minecraft Server himself, Butch Motherfluffin' Hartman! Who announced that he...would be leaving Nickelodeon. Which is just weird to think about, y'know? Butch Hartman has been working at Nickelodeon for close to two decades. And now he's just gone seemingly out of the blue. Sure, not all of his shows were great, but you can't argue his impact. He helped define the network and was one of the channels biggest tent-poles along with Dan Schneider.  In other news, Dan Schneider has announced that he would be leaving Nickelodeon. Which is just weird to think about, y'know? Dan Schneider has been working at Nickelodeon for close to two decades. And now he's just gone seemingly out of the blue. Sure, not all of his shows were great, but you can't argue his impact. He helped define the network and was one of the channels biggest tent-poles along with Butch Hartman.  ...Wait?  Yeah, these are massive hits for Nickelodeon. But honestly, it might be for the best in the long run. If you look at Nickelodeon for the last twenty years or so, it's always been dominated by shows from the same handful of creators. So maybe losing these two will force the channel to take some chances on some fresh talent, rather than relying on the same people over and over again. For good or for bad, I think we're going to see some big changes for the network within the next couple of years.  I just wonder what these creators are going to do going forward. Especially Butch Hartman, I hope he has some kind of project planned. If he did I think a lot of people would be really excited for it, y'know? -------------------------------------------------------------------------------------------------------------------------------------------------------------  In other news, it was announced that My Little Pony Friendship is Magic would be canceled in the year 2019.

https://www.youtube.com/watch?v=uOtGi2McE6A

I never watched much My Little Pony, only seeing the first season and a handful of episodes from the second. So this news isn't that big of a deal to me, but I know that it is for a LOT of other people out there.  I mostly just feel bad for Hasbro honestly. Cause let's be frank here, when they do make a G5 My Little Pony series...people will crucify it. It doesn't matter what the series is like. The reaction will be knee jerk, as THIS series is what people consider to be the definitive interpretation of MLP. If they change things people will be mad, and if they keep things the same people will find it to be a rehash. There's no real winning. I would suggest that Hasbro holds back on rebooting the series for at least a couple of years after this. Let the series die down a bit before starting something new. But I know there not gonna do that. They're going to want to make a new series as fast as possible in order to capitalize on the massive fandom. But still, nine years, that's a pretty good run for a show I think everybody was expecting to suck when it was first announced. Even though the show was never my cup of tea, I can still respect the show for the impact it's had. -------------------------------------------------------------------------------------------------------------------------------------------------------------  Meanwhile, Cartoon Network decided to grace us several new cartoons this year. The first of which is Apple and Onion.

https://www.youtube.com/watch?v=1A9YzON11nw

The series follows a pair of food, Apple and Onion, as they begin life as adults living in the big city in a world of other anthropomorphic food people. The series is created by George Gendi, who has worked as a storyboard artist on both The Amazing World of Gumball and Sanjay and Craig. And that's exactly what this show feels like. A cross between The Amazing World of Gumball and Sanjay and Craig.  This show is nothing that you haven't really seen before. It's the pair of naive but optimistic idiots who get excited about everything around them. They annoy the people around them, but always find a way to make for it in the end. They're childish. They constantly break out into these in-prob raps, which I think is a trend that Adventure Time and Regular Show started. It's that kind of show. They're not really much difference between Apple and Onion besides Apple being a little bit weirder and Onion being a little bit more neurotic.  Something that this show does do that different is the delivery. In most of these types of series the characters would always be yelling and shouting slang and stuff. But the deliverer here is pretty dry and subdued. The dryness coupled with the somewhat odd looking character designs honestly makes this show feel less like a Cartoon Network series and more like an [adult swim] show with all the raunchiness taken out. There's something just unnerving about this show, and I can't tell if it's intentional or not.  Despite the shows flaws, I do kinda enjoy the elements about moving out and tackling adulthood. Both characters grew up in a very sheltered environment, and don't know much about the real word. We see them with relatable worries. Things like missing their parents on their first night alone, or being desperate to make they're first friends. But most of these moments are really only in the first episode and after that the show just goes back to following the typical "dude bro" formula. Which is a shame. The show has a really base to work off of, but it didn't do anything with it. And instead just became something cliche. -------------------------------------------------------------------------------------------------------------------------------------------------------------  TBS began creating it's own original animated series. Seemed like an odd move given the fact that TBS is owned by Turner, which already owns [adult swim]. Would TBS be able to find a way to differentiate itself? Well, to find out the answer to this question, let's have a look at the show that TBS seems to be most heavily pushing. Final Space.

https://www.youtube.com/watch?v=4EHbt_kSkG8  Final Space follows the adventures of Gary Goodspeed. A space criminal who has spent five years in solitary confinement aboard a prison ship filled with nothing but robots. But just a few days before his release he encounters an alien creature that he names Mooncake and decides to adopt it. But it just so happens that an evil alien empire happens to also be looking for this exact alien in hopes of using it's powers for universal domination. So Gary, along with a ragtag group of friends he meets along the way, have to work together to protect Mooncake and save the universe from said evil empire.  This show is something very unique, and there really isn't any other show I can think of that I can really compare it to. Not only is it one of the only "lore shows" that are aimed at adults, but it also one of the only american adult cartoons I've seen to really incorporate not just comedy but also drama and action as well.  One one hand, I love the combination of it all. It's all a combination I've never really seen before. Nearly all adult cartoons are comedies. And while that's not bad in any way, It's great seeing an adult cartoon tackle a more complex story. The show also manages to have really high stakes, with an adventure story with the entire universe potentially being in jeopardy. The series main villain, Lord Commander, shows just how much scarier a villain like say Bill Cipher or White Diamond could be if they were allowed to kill people onscreen. There is a sense anybody can die, which I really appreciate. The show also has a lot of heart...ehhh, for the most part. It is really refreshing when most adult cartoons rely on dark, cynical humor. Again, not that it's a bad thing, it's just nice to see an adult cartoon with a more optimistic viewpoint is all. "Cynical" does not automatically equal "adult."  However, there is a big problem I have with the series. While all the show's individual elements all work, they really don't all gel together very well. I don't mind a show tackling drama, comedy, action, ect. in fact, I tend to enjoy stories more when they're able to do more than one thing. But there isn't much easing these different elements into each other. And as a result the tone is all over the place. Every time something serious would happen Gary would end up making some kind of dumb joke that kills the mood. Even though the shows stakes are high, it feels like it's not until the last couple of episodes where Gary starts taking anything seriously. And it ends up making Gary seem really annoying. The show will be mostly light hearted, but then will throw out absurdly dark jokes out of nowhere that feels like they belong in Rick and Morty.While every element of the show is strong on it's own, it feels like they're all at odds with each other. It feels like the show wanted to be everything at once, but ended up being the jack of all trades, master of none. I admit these problem does begin to get a little better as the season goes on, but it still ends up kinda killing my enjoyment of the show as a whole.  I don't want to be to hard on this show though. It's clear that a lot of people really seem to like this show a lot. And you can tell from the interviews that the creator, Olan Rogers, feel very passionately about the series. And while I wasn't as crazy about the show as a lot of people were, I still admire the ambition and am glad that it exist. I'm glad that TBS is really promoting it, cause it is something that is unlike any other adult cartoon out there right now. And if this is the direction that TBS's original animation is going to do moving forward, than I think it defiantly will have it's own space separate from all the other adult cartoon channels out there. Olan Rogers has been very open to criticism of the show on twitter, so I am cautiously optimistic for season two. If the show can iron out some of these problems in season two, I think it could have the potential to be something really special. But as it is, it feels like great ideas with meh execution.   -------------------------------------------------------------------------------------------------------------------------------------------------------------  So Infinity Trained got picked up, and- 

  https://www.youtube.com/watch?v=gBNxGZP49ls

 Sure, you're all hyped now. But just wait till Infinity Train has it's first "filler" episodes! Than you'll turn your back on it faster than you did with Steven Universe! -------------------------------------------------------------------------------------------------------------------------------------------------------------    Roster Teeth gave us a new animated series in the form of "Nomad of Nowhere." A show that it felt like they didn't promote nearly as much as there other series. Which is a shame cause the show is actually pretty good. 

 The series follows The Nomad, a magical immortal being with the power to bring any inanimate object to life. In this world magic is feared and forbidden, with only the king and his top governors allowed to hoard the power. The series follows The Nomad as he travels town to town, helping people with his powers, all while being hunter down by various people trying to capture him.  The show has a real Samurai Jack vibe, which makes sense as the people behind the show listed Jack as a main inspiration. Both series follow quiet, or in The Nomads case mute, protagonist traveling around helping people all while dealing stalked by bounty hunters. But the series does manage to differentiate itself to not just a ripoff. While someone like Jack is a stoic badass who's driven by a mission, the Nomad is just a bumbling goofball who really just wants to survive and help people. Nomad of Nowhere also benefits from recurring antagonist who get there own character development in the form of Toph and Scout. Two characters who come close to approaching Steven Universe levels of "sad lonely lesbians." And THAT is quite and accomplishment!

 The series has a bit of a slow start, but gets better as the season goes on. The animation, while not fantastic, is "pretty good" and about on par with other 2D Roster Teeth series like "Camp Camp." One complaint I do have with the animation is with the way the objects that the Nomad brings to life are animated. They're just given stick arms and googly eyes, and I feel like the could of gone a bit more creative with that. The series is nothing mind blowing or anything, but it is fun. It definitely deserves more attention than it's gotten, as I feel it's been pretty overshadowed by Rooster Teeth's other works. Check it out if you haven't. It's all on Youtube for free. -------------------------------------------------------------------------------------------------------------------------------------------------------------  Cartoon Network decided to give us another new series, created by Matt Burnett and Ben Levin of Steven Universe fame. And that series is Craig of the Creek.

https://www.youtube.com/watch?v=UIflRLSjzH8

 The series follows a young boy named Craig and his two friends Kelsey and T.J. as they just kinda...live life. More specifically it follows there adventures around the creek, the top hang out for all kids in there town. It's a fairly quaint series just following the life of these kids as they deal with all the different cliques that occupy the creek. It's one of those shows where they most mundane things as incredibly importance. Despite the show being made mostly by people who worked on Steven Universe, I'd say that the show is more comparable to something like We Bare Bears. However, there still are some elements of the show that are VERY Steven Universe.  You can also tell the people who made this show worked on Steven Universe because anime references...

(Image source KnowYourMeme.com)  Also the sad lonely lesbians.

Seriously, what's the point of making character who are ambiguously gay if you're going to make it so obvious! Why not just have them start out as a couple! And why can't a lesbian couple ever just be happy in one of these cartoons! Why are they always sad and lonely!?  This show...is fine. There's nothing wrong with it, but I have to admit that I couldn't find myself getting that into it. While it is funny enough, I just don't think there was anything in this series that felt particularly stand out. Craig feels like the same "naive but kind fun loving" hero it feels like every Cartoon Network show seems to have right now. The shows art style is INCREDIBLY similar to most other Cartoon Network shows, (specifically Steven Universe.) Like, nearly the exact same. I know that they share a lot of the same crew, but so does OK KO, and that has it's own style. Even the concept feels like a toned down Clarence. Everything about this show just feels like something I've seen before. All of this wouldn't be a big deal if the show had some kind of unique quirk or execution or something. But it really doesn't. The show isn't bad but it's incredibly... average. It's the most average show of the year. -------------------------------------------------------------------------------------------------------------------------------------------------------------  [adult swim] made several new shows this year, too. One of these series is Ballmastrz: 9009. A show that I didn't know much about and wasn't too interested in before I saw the trailer. But when I saw the trailer-oof, man. 

https://www.youtube.com/watch?v=V4OaHcvzPh8

What the FRICK is this madness?!  Ballmastrz 9009 follows Gaz Digzy, an athlete living in the post apocalyptic future. She's a star player in a futuristic sport known simply as "The Game." However, after a drunken bender she ends up being kicked off her team and is forced to play on the worst team in the league, the Leptons. If she can help the Leptons win just one game, she'll be given permission to return to her original team.  The world of this show is pretty much the OK KO universe after a nuclear apocalypse. There is a TON of anime influences and references going from the obvious to the obscure. I also like how the show get's right to the point with establishing it's lore, instead of dragging it out. The series manages to have an overarching continuity that rewards people watching it in order, while also having episodes stand on there own for people to jump in at any time.  And OH MY GOD the animation. This is probably one of my favorite looking TV shows out right now. I love the sketchy look of it. The animation varies from comedically bad to INCREDIBLY fluid. It just adds to the anime aesthetic. The show is made by creator of Superjail. I've never seen that show, but from my limited knowledge I do have to say if your expecting the same level of gore you're not going to get that much. There's some gore, as this future has just invented immortality apparently, but there is a surprising lack of carnage compared to what I was expecting given the creators reputation.  The show isn't perfect however. The biggest flaw is actually the characters. There not bad, but there not great either. Gaz is an alcoholic, drug attic, sex crazed snark machine who uses these vices to make up for the fact that her life feels empty. As she, being the best at her profession, has become bored. Cause y'know, I've never seen that character done ANYWHERE else before. 

 In addition to Gaz, we also have Baby Ball. A robot ball who is just Master Shake from Aqua Teen in both voice and personality. There's also Ace, who is the typical "friendship loving shonen protagonist"  played by Jessica Dicicco. These three are the only characters who really get much screen time. The rest of the Leptons all pretty much stick to there one personality trait, maybe an episode about them if there lucky. I wish the show focused more on the team as a unit instead of just three of the characters.  The series also ends on a bit of a joke ending, which feels a bit unsatisfying for a show with a continuous continuity. The plot they set up in season one pretty much wraps up, so I don't know what the show is going to do if it gets another season. But I really hope it does. The show isn't perfect, but it's a fun ride through and through. The whole series is up for free on [adult swim's] website, no cable login in requires. I would highly recommend checking it out. It's like OK KO, just with more raunch and less propaganda aimed at children. ------------------------------------------------------------------------------------------------------------------------------------------------------------- And while we're on the topic of [adult swim] decided to renew Rick and Morty...FOR SEVENTY MORE EPISODES! Like...oh my God! The show has been running for five years so far, and has only aired thirty one episodes. If they continue at that pace, that means Rick and Morty will be on until...2031, give or take.  Rick and Morty will outlive us all...

https://www.youtube.com/watch?v=mUpsKsBqqwE

https://www.youtube.com/watch?v=mUpsKsBqqwE

https://www.youtube.com/watch?v=mUpsKsBqqwE

Play all three videos at once for maximum IQ)  But it's okay. It's all fine. Unless, Rick and Morty has some kind of drop in quality sometime within the next SEVENTY episodes. Y'know, like a lot of fans say it's already has. But then again, I already don't like this show, so I'm not the best person to comment on this. I'm sure a lot of people are excited about this announcement. -------------------------------------------------------------------------------------------------------------------------------------------------------------  Disney decided to move all of there original animated series off of Disney XD and back onto Disney Channel. A move that honestly just makes sense. Disney XD is a secondary channel that not as many people have. But for some reason for the last several years Disney always treated it as the top channel, with episodes of cartoons not airing on Disney Channel proper until MONTHS after they had already aired on Disney XD. With more and more people cord cutting each year, it just doesn't make much sense to have so many shows premiere on a channel that a lot of people do not have. Many people have said this is the end for Disney XD. And while it is probably the end of it being a "big channel" it'll still be there along side channels like "Boomerang" and "Nicktoons." At least Disney XD still has originals like the Marvel cartoons, anime like Pokemon, and reruns of older Disney shows. There's an audience for that, even if it's not as huge. I mean, where else can you watch Fillmore in the year 2018? That's what I thought. -------------------------------------------------------------------------------------------------------------------------------------------------------------  Ace is in the Gorillaz.

...  And they said Avengers: Infinity War was the most ambitious crossover of all time. -------------------------------------------------------------------------------------------------------------------------------------------------------------  And finally, I have to ask you all...do you know what a Thundercat is?

https://www.youtube.com/watch?v=2qi41rHz4ps

 My God...just, my God. In the several years I've been in the cartoon community I have never, EVER, seen a clusterfu*k quite like this. Powerpuff Girls 2016 WHO? Teen Titans Go! WHAT? Nah, man. This is the real tea right here, sis!  So, Thundercats is getting a reboot coming out next year. It's called Thundercats Roar. And the internet...has opinions on it.  If you compare the actual percentages of likes to dislikes on both videos, there is actually a higher percentage of people who liked Youtube Rewind 2018 than the Thundercats Roar trailer. Yeah...  So what are people so upset about, exactly? Well, there are several reasons. One of which I've seen several people in the comments list is the creators man bun. Guys, come on. We all agree that man buns are a sin against God and nature, but let's leave the mans appearance out of this, alright? Many people are also mad at the seemingly more comedic tone that this series seems to be going for, saying that it's another example of an action cartoon being rebooted as an eleven minute comedy. I mean that does seem to be a trend as of late. From 2017's Ben 10, Rise of the Teenage Mutant Ninja Turtles and of course Teen Titans Go! I mean just look at the titles. Teen Titans GO! Thundercats ROAR. The comparison seems easy to make.  There are also people who are upset about the fact that we're getting a new Thundercats show instead of a continuation of the previous series, Thundercats 2011. I've never seen that show, but from what I understand it was a really well received action cartoon that got mistreated by the network and got cancelled without resolving a lot of the plot threads. It can seem like salt in the wounds when your mature, serious action series ends on such a note only to be replaced with a kiddie comedy. As a Young Justice fan, I've been there.

https://www.youtube.com/watch?v=LNp8JQJjKAw

 But the biggest reason I have seen for the outrage is...the CalArts style. Hoo Boy...  So let's go over some history. CalArts is a school that was founded by Walt Disney and a lot of other people. A lot of famous animators have got there starts at CalArts. Everyone from Genndy Tartakovsky, Craig Mccracken, Pendleton Ward, JG Quintel, Pat McHale, Alex Hirsch, Butch Hartman, and many many others. The CalArts style however, is a term that has come to refer to what is often considered the way "modern" cartoons tend to look. Distinct features include thin outlines, really noodle-y arms, the "bean head" shape, and large eyes without colored irises. And boy oh boy, do people have OPINIONS on this style.  First off, I wanna clear away some misconceptions. Not everything that people label "The CalArts style" is actually made by people who went to CalArts. Steven Universe, Gumball and Undertale, two series are often listed as having the "CalArts style" are both made by people who didn't attend CalArts. And obviously not everyone who went to CalArts draws in the "CalArts" style. However, and this might get me some hate but I have to say it, I do believe that there is an argument to be had that there definitely is a "modern" art style that is prevalent in animation today. I'll continue to refer to it as the "CalArts" styles since that's what everyone else calls it, but I believe the better term would be the "2010's style."  And this is nothing new. In the 2000's everything had the "knock off anime" style. And in the 90's everything had the "thick outline UPA inspired style." And in the 80's everything has the "Macho Man Action Figure " style. However, I have seen a lot of people use this as an argument on why you shouldn't complain about the CalArts style. And that's something I disagree with. There are a lot more cartoons coming out now of days compared to the past, and people in general expect more from them. And this is a good thing cause it forces the medium to evolve. You shouldn't come accept something you consider sub-par just because it was deemed okay to do so thirty years ago. And this is coming from someone who doesn't hate the CalArts style, but does feel it to be a bit overused at this point. But also a series art style should match the story there telling. The creators say that Thundercats Roar will have both action and comedy. And while we won't know for sure till the series airs, but these designs don't look like they're very tailored made for action. The designs don't look like they have any weight to them at all. Lion-O looks small, and the lighting on his body is very bright and stretchy looking. Almost like he's made of plastic. He looks like a chew toy.  But still, I'm not going to judge the show until it comes out. (So look forward to that in 2019 Year in REVIEW.) However, I'd be lying if I said I was particularly looking forward to this. Even if there is some action in it, I've simply grown tired of these more comedic superhero shows. They're just so many at this point. Even the good ones feel done to death for me at this point. But this is all just such a big deal for a show Cartoon Networks probably going to dump at 7:30 am anyway. If you hate the show, don't be a jerk and make bomb threats to CalArts, which is something that somebody actually did! It should not need to be said that doing that is bad. And if you're excited for this show, don't be pretentious and claim that anyone who doesn't like the style is just a man child who doesn't know anything about the animation process. People can like or dislike whatever art style they like. And the least productive thing to do is to say that someone else's argument is "invalid." And when this show does finally comes out, what will probably happen is that people will freak out for a few episodes, and then move onto the next thing.  This segment is longer than most of the show reviews and this series isn't even out yet! AHHHH! -------------------------------------------------------------------------------------------------------------------------------------------------------------  And that's where I'm going to end this part. But do not worry, we still have several more stories and series to get to before we get to the end of the year! So come back in hopefully a few days, as we go over the second half of 2018 for animation. What are your thoughts on the shows that I talked about here? What are your favorite series of 2018? Tell me all that and more in the comments down bellow. Please fav, follow, and comment if you liked the review, and let's all hope we can get through the second half of the year without any more huge controversies, okay? 

I'll be the round....about....  Have a great day. (I do not own any of the images or videos in this review. All credit goes to there original owners.)

https://www.deviantart.com/joyofcrimeart/journal/2018-Year-in-REVIEW-Part-1-778591454 DA Link

[lookwhatilost]

i finished my second watch of bojack s6 p1 and here’s a predictably massive post of some thoughts/observations abt it

spoilers under the cut obviously

the “fuck” of the season definitely came in a moment that i didn’t expect, but i rly liked how it was used. like, it was a callback to when gina dropped it in the last season –– something that traumatized her vs a reaction to her PTSD symptoms. a lot of people seem unhappy w it but i think it’s more powerful than people are giving it credit for being

the gatsby reference in e3 rly brought to mind that there are, like, a lot of gatsby tie-ins w this show and i never rly pasted them together mentally bc of the ubiquity of the “rich guy is utterly depressed and alone” trope. like, the imagery related to the pool, the shallow parties, the yellow car, the spacious but empty house, the billboards staring him down as he drives when he’s hallucinating in s5. charlotte/daisy being a weak parallel in that he had feelings for her when they were younger, held onto them for years, only for her to be married when they reconnect, but it’s worth mentioning that the glow stick balloons were green.

someone on reddit pointed out that jameson’s baby in e1 had physical traits associated w fetal alcohol syndrome. like, short, upturned nose, eyes that are far apart, and low ears. it’s hard to say if it’s intentional, but he’s drawn w a lot more detail than a lot of the other babies i’ve seen in the show. if it’s purposeful, like, that’s amazing attention to detail

i liked how the season opened on a planetarium flashback, because honestly, the immediate aftermath of sarah lynn’s death is definitely kind of glossed over in s3 when it initially happens. and though i suppose the added information isn’t terribly surprising (like him lying abt the events that lead up to her overdose and minimizing his own role in it as much as possible), it did make me wonder why i hadn’t thought abt it before

bojack rly does show signs of serious growth in the 6th season and it’s cool to finally see him move forward w/o simultaneously backsliding in other ways. a lot of his good actions in previous seasons were only rly things that benefitted him. and there are a lot of examples of it, but i think the one that stuck out to me the most was w his therapist. when he fell off the wagon, it’d have been rly easy for bojack to look the other direction and walk away like we’ve seen him do before. realistically, he has no real incentive to care for doctor champ’s wellbeing if he’s no longer staying at pastiches, but he checks him into rehab anyway, and when doctor champ throws his insecurities in his face to be hurtful, he immediately identifies it for the petty jab it is instead of letting it fuel his negative thoughts and using it as an excuse to dive into self-destructive behavior. honestly e6 was the emotional high water mark of part 1, even though it wasn’t the kind of gut punch that the dramatic, narrative focused episodes of bojack tend to be

i’m glad that the writers finally /did/ something w todd that made him feel like an actual character instead of jst a device for the comedy part of the show. i used to watch this show w a friend and we always used to say that todd had very little depth given the amount of screen time he occupies and seeing them move away from that was refreshing. his struggle w jorge is very relatable as someone whose parents have always pushed me towards things i didn’t sincerely want based on their expectations and desires for me vs my actual opinions of what success and happiness would look like for myself. but, on the other side of the coin, there’s finally a little bit of confrontation of the fact that todd’s erratic behavior and shenanigans are very taxing things for people who care abt him to deal w. and todd is rly the only character who’s somehow defied the show’s formula in that he never faces accountability for the things he does. like, he’s enabled PB’s impulsivity many times and drove him to bankruptcy, care of PB Livin’, and it’s a detail in the show that’s never truly been acknowledged or talked abt at all. he fucked PC over when he wouldn’t follow through w his sham marriage to courtney, and it was met w a cheesy speech from her abt how he needs to follow his heart and do what he thinks is right. it always struck me as a weird oversight, and to finally see someone take him to task for how taxing his behavior can be was refreshing. his only other “depth” was the asexual stuff and honestly? that is stupid and does not actually count for anything

if it didnt warm your heart when PC named her daughter ruthie then you dnt have one. i wasn’t as invested in her narrative as i’d have liked to be, but its good when PC is happy and that’s what everyone wants

IM SO GLAD JUDAH IS BACK. also i still hope he and PC end up together (and maybe she has a viable pregnancy this time w him a la sex and the city charlotte but that’s a little too cornball sappy for this show). generally rly enjoyed how characters from previous seasons were incorporated this time around. but i dnt want them to bring back vincent adultman jst to spite everyone who’s always saying “bring back vincent adultman”

pickles is still my least favorite character even tho the surprise wedding episode was probably the one i found the funniest. realistically i wanna see things work out for PB but his relationship w her is obviously not the move for him, and she’s also the worst

i like diane and guy together, they have rly good chemistry but i also have a bad feeling abt where things are headed w them. he seems ambivalent abt how principled she is and the scene where his son comes to the party and he makes her leave when he could have jst introduced her as a party guest if it even needed to happen at all... there was jst something off abt it. like you can definitely see the cracks in the foundation already and it’s disappointing

the scene btwn PB and bojack where bojack says to him “but i understand that feeling of needing to bottle up your guilt, not burden other people w it. you think you’re protecting them from your toxicity, you convince yourself that you’re being selfless, but it comes out in other ways and it infects everything” hit close to home bc it reminded me of someone i used to bond over this show w and like... whew

i rly love how the dominoes are being set up w the reporters (even tho their his girl friday shtick got old fast) bc the way things are culminating, the story getting out is liable to expose bojack for everything. if they approach penny and she talks to them abt what happened, she’s liable to tell them that bojack and sarah lynn went to ohio to find her in the time before sarah lynn overdosed, and the pictures that her classmates took of them could establish a time frame. he was in new mexico when he was supposed to be filming secretariat, and that knowledge could lead to them finding out that he’d been digitally replaced in the movie. when this information gets out, it’s very likely that gina will dogpile onto it w the truth abt what happened on the set of philbert, since trying to conceal her ptsd is actively hurting her acting career bc of the reputation she’s developing as a problem actress, and even though she dznt *want* to be “that girl that got choked by bojack horseman”, she won’t have a choice if she can’t get jobs otherwise. i guess there’s always a chance that penny and charlotte won’t talk to them, but now that hollyhock knows about what happened in new mexico, either way his personal life will be hurt by this. i’m not sure what’ll happen to him professionally, since there’s a recurring point the series has been making w famous people never being held fully culpable for their negative actions, and it’s a dicey thing for them to approach w a character that many viewers find sympathetic without ending on some myopic note abt cancel culture (whether intentionally or by popular interpretation) but im excited

i also hate how my obsessive watching and rewatching of this show meant that the intended pete repeat reveal (like, you’re not supposed to recognize him until his identity becomes obvious through the prom night story) was sort of compromised for me bc i recognized his voice and the second he introduced himself, i placed him IMMEDIATELY but it was still such a great scene. it’s the most tense i remember feeling when watching and an all around great cliffhanger

the final line of e7 comes off as some rly grim foreshadowing–– “it looks like you found solace in our show. stay if you’d like. in 30 minutes, we start over”. but it’s such an incredible line in context. my god, i fucking love this show, you guys