#we finally made it to the first subplot!!!!!!!

[askcapital]

[ @ask-the-shiny-pokemons / @bluedoodles ]

[golden-redhead]

You see, the biggest problem with this is that Five HAD a love story all along.

His love for his family has been THE very foundation of the show and what kickstarted the entire chain of events.

He spent 45 years in the apocalyptic wasteland because he loved them too much to give up.

He found them in every possible timeline.

He reversed time for them.

He became an assassin to get a shot, however small, at coming back to them.

He’s been through countless timelines, doing his best to save and protect them in every single one of them.

No matter how dire the situation, he always pushed to find a way to save his family. His devotion was stronger than anything and there was no line he wouldn’t cross for his siblings. No matter how self-destructive the cost, he sacrificed himself again and again just for a chance at reuniting with them and saving the world so they could live.

It was a destructive kind of love, yes, but also inspiring. I think it resonated with many people because love can be intense, we love and want to be loved with this kind of intensity and dedication.

So, to throw it all away for a romantic subplot that no one asked for is not only a huge disservice to Five’s character but also goes against everything he represents. We already knew he’s capable of love and that he loves deeply.

I don’t understand how the showrunner who worked on the series for 5+ years can say that Five had to have an arc like this. It doesn’t make sense. He already had a love story. Arguably, the most beautiful and deepest of them all. He didn’t need more, what he needed was to have it returned and to finally settle down after multiple lifetimes of putting his life on the line to keep his loved ones safe.

To say otherwise means that the writers fundamentally misunderstood what made Five a great character and what fans loved most about the show. It feels like a betrayal, because it is one. It proves that the creators not only misunderstood the core character of the show but also never paid attention to the fandom and its preferences.

There’s a difference between catering to the audience and what they ended up doing, which is a character assassination at its worst. And it’s not just the character who was ruined but also the entire premise of the show, the reason why fans loved it in the first place. There’s no coming back from something like this.

[glitterfairy-21225]

I just finished binging, but here are writing decisions I genuinely liked in S4:

- Claire’s characterization. Mostly. I like that she’s an actual character.

-The whole Thunderbolt subplot was random af, the writers clearly didn’t know how to keep Klaus and Allison busy, but they are probably my favorite pairing in general, and Allison being the one to take care of Klaus ever since they were kids confirms all the headcanons I’ve had about them since s1.

-We finally got a flashback to The Umbrella Academy going a mission! I loved seeing kid Luther be dorky about getting ready, Allison and Klaus ofc, Viktor and Ben, and maybe I’m crazy, but I thought the younger actors for Ben and Jennifer had more chemistry than their adult actors. I actually like his death scene a lot, him finding Jennifer and Reggie killing them both was shocking. It’s just the other poor choices made for their storyline that soils it.

- Ngl, the Baby Shark scenes were funny.

- Luther is just a goofy stripper now (still should’ve mentioned Sloane more than once.)

- Gene and Jean dancing should NOT have replaced a family dance scene, but I did like it on its own.

- Viktor telling Allison they’re not friends.

- Luther and Klaus grabbing each other’s arms when they’re about to die. I just like moments like that.

May grow to hate some of these things or like some other things, but for now these are just my first impressions.

[yumeka-sxf]

Thoughts on Spy x Family CODE: White

My thoughts on CODE: White will likely be different from most people since I knew pretty much the entire plot beforehand. I'm a spoiler fiend when it comes to my hyperfixations like SxF, so I read the novelization of the movie back in January and kept up on all the promotional videos and images that were released. But when it was finally time to see the movie for myself, did that ruin my enjoyment? Not at all. For me, it actually made me enjoy it more because 1) I knew what to expect so I wasn't disappointed, and 2) I found myself looking forward to seeing all the scenes I only read about or saw short clips of.

With that said, yes, I enjoyed the movie so much! If you're a Spy x Family fan, or even just a casual enjoyer of the series, it's a ton of fun. It has all the elements we love about the series: clever humor, sweet family moments, and spy action/drama. And because it's a movie, we get to see all of this with a movie animation budget instead of a TV series budget, which is another plus!

One thing to keep in mind with these original, stand-alone anime films based on series is that they're meant for a more general crowd than just fans of the series. Since theaters attract a wider audience than late-night TV and online manga chapters, movies like this serve as a means to introduce the series to people who may only have a vague idea of what it's about. That's why these movies contain a storyline that can fit mostly anywhere in the series chronology and don't have anything canon-altering.

CODE: White is an interesting mix of plots that, for the most part, blend together well. There's the main plot that continues throughout, which is saving Operation Strix by having Anya learn how to make the meremere for the cooking contest, but then there's the Yor jealousy plot B which is resolved in the first half, but is then replaced by the next "plot B" in the latter half of the movie, which is saving Anya from the military.

A lot of people didn't like the "Yor gets jealous" subplot when it was first revealed before the movie even came out, since it seemed to be a rehash of her being jealous about Fiona. I personally didn't have a problem with this since I don't think it's unreasonable for her to get jealous a second time, especially when she thinks she sees Loid doing something extreme like kissing another woman (as opposed to just talking). But the way it was resolved could have been a bit better in my opinion. The ferris wheel scene in the movie very much mirrored the bar scene from the series, but the reason the latter is so effective is because we get to hear Loid's inner thoughts during it; we know he's going full Twilight-mode and isn't being sincere, and that's why Yor kicks him. But then at the park, he talks to her much more genuinely and they work things out. But in the ferris wheel scene, we don't get to hear his inner thoughts so we don't get any indication as to whether his repeating of the marriage vows, etc, is him being sincere or not. Then she smacks him, they insist they aren't fighting when Anya brings it up, and that's the end of it.

I do like the fact that Anya reads their minds and seems happy with what she "hears" in their heads, but I still think the subplot would have felt more complete if it ended after Yor realized her mistake rather than have Loid do the ambiguous Romeo act again. Or it could have been brought up one more time later in the movie, for example, Yor apologizes for hitting him, he talks to her more sincerely, etc. If you're gonna rehash the bar scene, at least rehash the scene that brought it closure, which is the park bench scene. Again, I'm totally fine with the jealously subplot overall, just thought it could have been wrapped up a bit better.

Other than that, there were just a few little issues I had, like how was Anya able to afford what was probably an expensive liquor? (was she really packing that much dough in her little bag? She went straight from the bedroom out the window so it's not like she "borrowed" any money from Loid). Also seemed weird that she didn't pick up on Yor's infidelity worries until last minute. A few things stretched the line of believability a bit far too, like Loid's ability to make perfect masks so quickly, and Anya just happening to hit her head on the button that conveniently opened all the windows on the bridge. Also something here and there that didn't align with the manga, like Yor not having any reaction to sharing a room with Loid, whereas she has a totally different reaction to this in chapter 94. Maybe a bit more resolution for the fates of the villains too. I guess Luca and Dmitri survived the crash, but what about Snidel? Did Loid actually kill him or just knock him out? And if it's the latter, Snidel seems like the type who would want to get revenge. A quick cameo of what happened to them in the end would have been nice.

Speaking of the villains, normally I wouldn't like the fact that they're pretty one-dimensional and not that interesting, but for a movie like this where most people just want to see the Forgers being themselves in fun and exciting scenarios, taking time away from that to make more developed villains who likely won't be seen again in the franchise, would have not been the best choice, lol.

But even though I had some criticisms of the movie, all of them are minor and not enough to overshadow everything else that was enjoyable about it. Besides all the humor, of which there was plenty, there were so many cute "awww" family moments that perhaps didn't lend anything to the plot, but were still important to establish the characters and their relationships, and thus make us care about what happens to them. Like the scene of Anya, Yor, and Bond playing at the hotel...it could have been skipped without anything seeming out of place, but it reveals so much about the characters without being blatant about it: how Yor wants to please Anya despite being a bit embarrassed at first to take part in her game, and then how Anya's eyes light up with happiness when Yor starts playing with her...for a series like SxF that's character-driven rather than plot-driven, scenes like this are so important and I'm glad the film creators realized this too!

There were also so many cute, subtle scenes as well, like when Loid and Yor smile at each other after chiding Anya, as if they're happy to share this moment of exhausting yet satisfying parenting; when Anya reads Loid's mind after he saves her but doesn't reveal what he's actually thinking yet we can imagine what it is based on her expression; Loid showing feelings of comradery with the restaurant owner because their pasts are so similar; Anya quietly and sadly hugging Bond in the bedroom; and in the ferris wheel after Yor feels so embarrassed about misunderstanding what happened with Loid and the woman but then can't help but smile with motherly love when she sees Anya waving at her...the movie is filled with moments like this that are like little love letters to fans who know the true heart of SxF isn't so much the action and spy drama as it is the family relationships.

And of course, as I mentioned before, the animation of the movie is fantastic! Not just the action scenes, which are great by the way, especially Yor's fight with Type F, but the character expressions as well. Anya's always had the most varied and hilarious faces of all the characters, but the movie goes even harder with her expressions, especially when she has to hold in her stool! Her faces were making me both cringe and laugh at the same time! The animators did such a good job making me feel sorry for her but also laugh at her.

I'm not a fan of potty humor, but I was confident SxF would make it funny, and I was right! The poop god sequence in particular was as equally cringe as it was hilarious!

To conclude, CODE: White is a must-see for anyone who likes or loves Spy x Family. I can't say it's a cinematic masterpiece or anything, but for what it's supposed to be - a fun and enjoyable film for those who like the series, it definitely delivers! Can't wait to see it at least two more times during its showing in the US...and more times in the future!

[shadowed-dancer]

Horikoshi recently revealed that Endeavor was supposed to die during the PLF war and that honestly validates something I've been feeling but couldn't quite articulate: "Horikoshi doesn't know who the central Todoroki is" (or he does, but he changed it halfway through to the worse option)

Endeavor dying would have been AMAZING if Shoto were the central character in the Todoroki subplot. The main reason this is so is that Endeavor would be out of the way. Shoto would have full reigns on how he wants to handle Touya (the "final villain" of the Todoroki subplot), and the rest of the family can play a role in this as a supporting cast.

However, Shoto is NOT the central character in the Todoroki subplot. Or, at least, he used to be, but he's not anymore. He's not allowed to have a final fight with Touya because Touya needs to still confront Endeavor. Regardless of how that fight ends, whether it's Shoto saving his brother or knocking him out, Shoto isn't allowed to end the conflict until Touya and Endeavor interact.

At the start of the series, it was really obvious that Shoto was the central figure (and was our pov character) for his family drama. During the sports festival, HE'S the one who shared the backstory. The flashbacks are framed around what HE saw. HE is the one taking a step forward to fix his family, and it starts with reconciling with his mom. At this point, Endeavor is what I'll call "the instigator". He is the cause for the family drama, and though we may not know Touya at this point, Endeavor has already released the future final boss of the subplot into the world.

In the Pro Hero arc, Endeavor becomes his own central figure as a pov character into the world of pros. He then overlaps with the Todoroki subplot by wanting to atone and remove himself from the role of the instigator. The thing is, he can't. What was done cannot be undone, and the most he can do at this point is try to make things better for his family moving forward. At this point, he and Shoto can coexist as central figures because the final boss has not yet been introduced.

The second Touya confirmed his identity, either Endeavor or Shoto had to stop being the central figure. Having Touya need to fight two heroes before being able to come to any end just feels sloppy, and since Shoto was given the first fight, it makes him seem like the less important figure. Even Touya doesn't care! He spends a good chunk of the fight talking about how he'd rather fight Endeavor. This makes Endeavor into the central figure as he is now the one to end the fight. HE'S the one the final boss has been waiting for, not Shoto.

The thing is, this started as Shoto's story, so it would have made sense for it to end as Shoto's story as well. Even if it meant killing Endeavor to force Shoto to be the ONLY central figure (probably to Touya's dismay) it would have allowed Shoto the space he needed to lead the ending he deserved, rather than be pushed to a side character.

TL;DR Endeavor surviving forced Shoto into the role of a supporting character in a plot line that started as SHOTO'S plot line.

[deppiet]

About Prodigy and J/C

So, first off, the new season of Star Trek Prodigy is one of the most phenomenal seasons of television I've ever watched, so please proceed and watch the hell out of it so that we can perhaps get a continuation.

With that said, proceed with caution, for there are minor spoilers ahead.

.

.

Regarding what we got (or rather, didn't get) in terms of j/c shipping, I have read several opinions by several people who, apparently, feel betrayed by the promises made by the showrunners, and I hear those complaints.

However, hear me out.

First of all with regards to the actual content of the ship present in the season, I have to say that it's rendered pretty clear that, no matter the type of the relationship, these two people are one another's most important human. This is evident not only in the way others perceive Janeway's emotional attachment as detrimental to her duty as Admiral, but also in the way the characters themselves talk about one another.

For example, Janeway refers to Chakotay as her "number one", and given that she never used that term with other first officers, the phrase seems to convey something different. The hologram Janeway is all that stands between Chakotay and a possible descent to madness during his isolation. In a flashback, he even hands her the rock with the spiral pattern drawn on it, refering to her in no uncertain terms as "home". The list goes on.

But it's not just that, and the fact remains that most fans of the j/c dynamic were looking for a more outspoken romantic tension, a kiss, or a confession. And I understand the frustration that it didn't happen, however keep in mind that the second season had been written in its entirety when news of the show's cancellation hit the press, and the writers were evidently planning ahead with no intention to wrap things up this early (there's also a point to be made about writers not having to abide by the dystopian laws of modern streaming, where there is always the fear of cancellation looming over your head and interfering with the organic development of the plot, but that's another can of worms.)

One final point to be made is about the Hagemans and the nature of the work they usually do. Anyone who has ever watched their work on Tales of Arcadia will tell you they love their romantic sub plots, touching on the love lives of teens and older adults alike. Tales of arcadia is perhaps unique in how much, how delightfully, and how unpredictably it ships main and secondary characters alike, and I cannot believe the people responsible for such a colorful selection of romantic subplots would shy away from dealing with the most notable semi-canon ship to come out of nineties Trek.

The bottom line is, the show is beautiful as is. And hope is not lost on the j/c front. Romantic or not, they are canonical soulmates. And the nature of the showrunners ' previous works makes me believe that there were plans to make the ship canon further down the road.

All the more reason for the rest of us to try and secure a continuation.

[eriexplosion]

The thing is that the finale isn't even good outside of lack of addressing Tech. It just is bad all around. It's a bad episode that doesn't follow any of the established set up for season 3.

We started the CX subplot in season 2, and then spent 3 long episodes with CX-2 in particular. This apparently was... just to set up a big boss fight in the finale and for nothing else? We spent four whole episodes across two seasons on this and had several other set up moments! For a big shootout and nothing else?

And yes, the CX-2 is Tech implications is a big part of this. Some of them even remained in the episode. How else are we supposed to take Hemlock's line "The last time we crossed paths, you had just lost a member of your squad. And it appears history may repeat itself. CT-9904 resisted my conditioning in the past, but I've made alterations to my methods. If you all survive, you will make fine operatives." other than that he used those 'alterations' to successfully CX Tech? Literally thought that was what it was setting up before *waves hand*

The Zillo beast was used to rip open a hole in the wall so that the Hunter, Wrecker, and Crosshair can get inside. It served no other purpose and walked away.

We spent two full episodes on the m-count plot between Bad Territory and The Harbinger. This accomplishes nothing in the entire rest of the season.

We spent all season dealing with Crosshair's hand tremors, establishing they are a psychological response to trauma. So should we... emotionally deal with that trauma? NOPE. WE'RE CUTTING IT OFF. DONE.

A small thread was set up that no one is beyond redemption/help, we see Rex reaching out to a CX, we see Omega remind Crosshair that Ventress deserves the chance to change, and in the finale... NO ONE is given a chance to change other than Emerie, who already did last episode. Every CX and commando is shot down without remorse even though they're also victims of Hemlock.

In general we just have action interspersed with the scraps of what was probably a united plot at one point. There isn't even a cavalry arrives moment in The Cavalry Has Arrived. What happened here?

The thing is I can see two subplots that would have united ALL of these that almost feel like they've been scraped out and replaced with generic shooting and a generic and undefined 'and then they had a happy ending'

First there's the force sensitivity plot. This was actually set up as early as season one episode one, when Omega takes the shot at Crosshair and manages to stop him from shooting, and then elaborated on throughout when she connects easily with animals, leading up to Bad Territory and The Harbinger - where we see Ventress tame a large, angry creature through the force. So much is made of the beast taming angle.

And obviously we have a beast. The Zillo beast. Omega does not at any point interact with this giant creature to calm it down or do anything at all she just lets it loose to rip some stuff up, have some action sequences, and then walk away into the night. But these two things united would have brought all the moments of force sensitivity hints home, as well as tied in her biggest strength - her empathy and caring. Taming the zillo beast would have been the end result of her character arc and made all that set up go somewhere instead of trailing off vaguely.

And second we have the CX plot. This could have tied in the remaining dropped threads of making the CX set up matter at all, the CX-2 is Tech hinting throughout the season, Crosshair's hand tremors, and the thread of redemption and no one being beyond saving. CX-2 is Tech, reach out to him, bring him back and through that Crosshair addresses his trauma by starting to fix one of the consequences of his biggest mistake - going back to the Empire in the first place. It wouldn't fix his tremors entirely but would help reduce them, be a huge step on the path to recovery and a great note to end his arc on.

With these two subplots, instead of endless excuses for more action and grunting, everything gets pulled together for a finale that has actual emotional significance, and the thing is that all the pieces are there so what the hell happened to make absolutely none of them come together and instead it just turns into an action shoot out?

[genericpuff]

Can you call Tina Belcher driving through a parking lot at an anxious snail's pace a driving "style"? So why do we try to use "style" as a defense for LO's pacing problems?

There's something about how Lore Olympus engrosses people within its weekly doses of H x P content and cliffhangers that makes people not realize just how long Lore Olympus takes to get to the point of, well, anything. Many plotlines are setup, and then go untouched for weeks, sometimes months at a time, before seeing any sort of progress, much less a resolution. In this, I'm going to actually give you time ranges on some of the more egregious payoffs and continuations of plotlines that were setup - some that are now resolved, others that have yet to see the light of day.

CONTENT WARNING: I will be discussing the SA plotline, and there will be spoilers for Episode 265. I will also be showing pictures of some rancid ass tattoos, I know that sounds random for what we're discussing, but trust me on this one, I have a point to make. Also there's a Junji Ito panel from The Enigma of Amigara Fault... yeah, that one.

LEUCE

Let's start with an easy one that's not exactly tied to the main plot. The Leuce plotline. She was first introduced in Episode 201 as a 'bargaining chip' from Zeus to Hades, in a misfired attempt to get Hades to call a truce over the embargo between the Underworld and Olympus.

At the time of this episode's release, by all accounts this seemed to be a cut and dry reference to Hades' first wife, Leuce, unfortunately reduced to a mail-order bride who Hades, of course, turns down, because he doesn't want the "I can't believe it's not butter" Persephone, he wants overpriced, tastes-the-same-but-costs-more-because-of-the-brand-name Persephone.

But then she came back, 36 episodes later - in real time, this was roughly 38 weeks for free-to-read users as the series went on a 2 week hiatus near the start of S3 - only to be used as a cliffhanger leading into a recycled Minthe plotline, in which she attempted to seduce Hades in Episode 238, only to be shot down for the second time.

If you're having a tough time wrapping your head around how long 36 weeks really is, that's nine months. If you got pregnant when Leuce was first revealed, you'd be entering the final window of pregnancy by the time she returned, assuming the baby didn't come pre-term.

Another 7 weeks later, enough time to actually get pregnant again following that first baby, we got the sudden continuation of that plot, with Persephone invading her home and filling it with barn animals, with a not-so-subtle threat to Leuce to stay away from her husband.

"But what about the text messages? Were they really from Hades?" Well, if you were someone reading this comic in real time, you wouldn't have this question answered for another SIX EPISODES - that's a month and a half in real time - and the answer would ultimately be "she made it up, she was 'manifesting', none of it's real, they should call her Deleuceional!" Six weeks for a nothingburger answer to wrap up a nothingburger sideplot, all in the pursuit to 'prove' for the 1275903729 time that Hades and Persephone are truly meant to be together.

EROS AND PSYCHE

This is a big one. The Eros x Psyche plotline was one of the most popular romance subplots, second only to Hades and Persephone, throughout the comic. And yet, despite people holding their breath to see what would become of the star-crossed lovers, a mortal and a god-

-readers in September 2021 would not find out how their recent skirmish with Apollo in Episode 171 would resolve itself until Episode 218, A YEAR AND TWO MONTHS - ROUGHLY 60 WEEKS AND A MIDSEASON HIATUS - LATER, and even then it would only show us Eros, who quickly summarizes what happened to him during the entire trial and Kronos arc that his anticipated romance storyline got sidelined for - he got married and now he has a child.

And it wouldn't be for ANOTHER six weeks that his wife and the mother of his child would actually show up, not alongside Eros, but Aphrodite and Hephaestus, in Episode 224.

What happened to her after finally having her 'true form' revealed to Eros? Well, that's not shown for another three weeks in Episode 227. During this a bunch of info about how Psyche got out of that sticky Apollo situation is dumped on us and we just have to go along with it as she becomes a goddess, not because she earned a place among the Olympians, but because Zeus needs her to spy on Apollo, which was actually shown one episode prior in 226.

So let's say you got knocked up again after that Leuce baby, when Eros and Psyche were shot out of the sky. Welp, in the time it took for Rachel to get around explaining what happened to the both of them, now you just had your second baby and for all we know, you could have gone for a third and already be well into or near the end of your first trimester, if you really wanted to get busy. You'd have a Dionysus, a Melinoe, and maybe even a Demophoon. Congratulations.

And speaking of Melinoe-

MELINOE

Turns out the interloper and the child in Tartarus were one and the same, or at least that's what I'm assuming, because otherwise that would mean there's some whole ass other baby to worry about that we haven't even been introduced to yet.

Melinoe, or "the child deity", was first established in Episode 218.

But as per LO tradition, the child would only mentioned in passing every now and then until finally being revealed as Melinoe in Episode 252, a whopping... THIRTY EIGHT FUCKING WEEKS LATER.

And that waiting is still ongoing as Melinoe is, of course, still trapped in Tartarus, with no end in sight. Since then, Hades and Persephone have gotten married, kidnapped a child, Persephone has terrorized a nymph and caused yet ANOTHER genocide, and they've resurrected a child that was suddenly revealed to be Demeter's. Thirty eight weeks and counting of dragging on a plotline that we're supposed to believe is dire while the characters do sweet fuck all.

What was the name of that other dream baby that Rachel referenced from some obscure non-legitimate source?

Riiiight, Brimos. Congrats, there's pregnancy number 4. But can we find a way to make a fifth happen?

KASSANDRA

We're first introduced to Kassandra, another implied victim of Apollo's, in Episode 226 when a photo of her is found on Apollo's pen drive which was conveniently left on the ground for Psyche to swipe.

In Episode 227, they theorize on how they could track down this mystery woman, using either Eros or Aphrodite's abilities to find her through the power of

✨love✨

How will that actually work though? Has anyone ever been in love with Kassandra, or has she ever been in love with anyone else?

Any bets on how long it would be until we'd get our answer?

Episode 251. The same episode where we're finally told about Leuce's delusions, we suddenly skip to the reveal of Kassandra being Apollo's personal oracle.

And it still doesn't end up answering our question as to how Kassandra was tracked down, by the way. Eros and Psyche sorta just conveniently find her at the same time Apollo happens to be there when he's getting her to deliver her big prophecy to him.

That's twenty four weeks, meaning you're now near the end of your second trimester with child #4. Whoever the child is remains to be seen but I'm sure Rachel will find a way to shoehorn another helpless baby into the plot for Hades and Persephone to rescue who we can use for this metaphor.

But none of these come close to the greatest unresolved plotline of them all, the one plotline that has outlasted even the main H x P plotline of Lore Olympus' story-

APOLLO

Or more specifically, the SA. Rachel has tried so hard to twist Apollo into a villain of Disney proportions, through his sudden involvement with Ouranos, while also using him as a mouthpiece for her own critics by having him literally dish out word-for-word the criticisms that have been made towards Rachel's writing of Persephone-

But the core foundation of his plotline goes all the way back to 2018, when he assaulted Persephone, a plotline that has yet to resolve itself or show any progression beyond Rachel's half-baked attempts at speedrunning Persephone's healing process, while Apollo is still at large and hasn't been brought to justice.

We've seen her in very poorly-written therapy where her assault was addressed once. We've seen her grapple with the potential consequences of the SA through a gynecologist scene that, as I've discussed before, does more harm than good in helping the discussion around women's sexual health. And of course, Rachel will pepper in vague references to the SA every now and then when she's bothered to remember that it's a plotline she wrote and still hasn't resolved:

And judging by how the story has been progressing, Rachel seems far more intent on simply using Apollo as a mouthpiece for criticism and a puppet for Ouranos rather than focusing on the bigger issues, all while Persephone has helped more people cope with the assault that happened to her rather than receiving help herself.

What's really telling is that despite half of the Olympians at this point knowing what Apollo did, not one of them even tries to convince Persephone to come forward, or say something themselves. Daphne has more than enough reason to come forward. Artemis, Hera, Eros, Hermes, and Hephaestus all know what he did, and yet none of them say a thing, even when those of them who haven't been conveniently shoehorned out of the plot are still in the same room as him-

The assault scene happened in August 2018. It's been five and a half years since it was established, and while there have been small efforts made to resolve it - from Hera and Hephaestus having the photos deleted to Persephone seeking therapy - there's less reason now than ever for it to not be addressed, especially with so much at stake. I could side with Persephone not wanting to say anything in the beginning, when he was blackmailing her with the photos and her TGOEM scholarship was on the line, but now that she's a Queen, rich, and married to Hades, living in the Underworld where he can't get to her, without any schooling or scholarship or job to worry about or the photos hanging over her head, it comes across as flat out irresponsible that not a single person thinks it's worth mentioning. Even the narrative itself seems to be trying to undo the SA entirely.

At this point, I'm not confident it will be mentioned at all, and that Apollo will be conveniently dealt with as a pawn of Ouranos rather than as a perpetrator of violence towards women.

A FINAL ANALYSIS OF LO'S PACING

There are certainly far more examples of this weekly edging happening throughout LO, but I hope the ones I provided get across the point I'm trying to make about its pacing.

Of course, none of these gaps in time are happening back-to-back-to-back. This is Lore Olympus' writing "style", if you can call it that - constantly bombard the reader with separate plot points so that they'll either not remember the ones that were left behind, or so that Rachel can buy herself time to get herself out of the corner she wrote herself into. It's the equivalent of clickbait, constantly grabbing your attention with shiny new things that will replace whatever you just saw in your brain, on a constantly repeating cycle. It's the writing process of inexperienced amateurs, like what you'd see in short stories written by fifth graders - "and then this happened, and then this happened, and then this happened", with no theme or overarching meaning tying them together; and if you were to ask them why a certain thing happens, especially if it logically doesn't make sense, the answer is just, "well, because it does." There's no rhyme or reason, they just thought it was cool.

And I say "style" because while fans of LO have definitely defended the story's pacing as just a writing style, the actual execution of what they're implying is painful to watch and not what any experienced writer would call a legitimate style. It's not uncommon at all in long-running series like this to jump from plotline to plotline, often times longform stories like these have to balance multiple side plots at once to keep things engaging and to bulk up the plot with more actual content.

But in most cases, the reader will expect the speed of a plot's resolution to be relative to its urgency. If a casual B plot with low stakes is introduced, it's not necessarily doing any harm if it just sits there for a bit before finally being resolved. After all, it's low stakes and no one is being hurt by it existing on the sidelines. It might feel a bit like pointless fluff, but there's nothing necessarily wrong with fluff and it can offer fun and relaxed reprieves from the overarching narrative, assuming you integrate them well so they're not drawing attention away from those more urgent plotlines at the worst possible times (looking at you, Stranger Things S2 Episode 7-)

But when even the high stakes plots are being hung out to dry and treated like distractions and fluff, it comes across less like a decisive writing "style" and more just directionless pantsing from an inexperienced writer who's gotten themselves in way too deep.

And that's what really separates Rachel's writing problems from "style". Style is decisive. Style is the act of referencing over a set period of time, crafting what you like and what you've learned into something new, with rounds and rounds of fine-tuning. Style is experience put into action.

And, while I don't typically like using my own work as a comparison, LORE | REKINDLED is meant to try and recapture the original magic of Lore Olympus' art style and writing foundations - and even then, you can still see the clear difference between Episodes 14 and 44, which use the same panel from the same scene, but look vastly different due to the improvement and refinement that's happened over time.

Same style, but different levels of experience and skill, which is to be expected after weeks and weeks of fine-tuning and deliberate practice.

If you're lacking in your fundamentals, whether in art or writing, you can't equate that lack of skill to "style" because you're not choosing to be inexperienced, you just are. And that's okay! But to try and pass it off as 'style' implies that you're choosing to be inexperienced - when in reality, if you tried to put out anything beyond your skill level, you simply wouldn't be able to, because you haven't gained those skills yet. Like fifth graders writing short stories with the "and then this happened" model, "it's just my style" is often used as an excuse by young artists and writers who don't understand that style is not exclusively an end result of inexperience.

I'm gonna go on a tangent here, but there's this controversial but trendy style in tattooing called 'ignorant', and it's best defined as "tattooing badly on purpose".

These tattoos are regularly praised for their simplistic ingenuity and visual aesthetic but equally criticized for being the opposite of what many artists have worked to overcome - being "bad at art". After all, who would willingly pay for a bad-looking tattoo? It's because it's the style that's in demand. I would argue that it takes a lot of confidence and mastery of the craft to be purposefully bad at it and make it look good, as contradictory as that sounds.

As much as the lines may be wobbly and the anatomy poor, ignorant style tattoos are done purposefully by experienced artists who still know how to properly tattoo. As much as they may look like they were drawn by a middle schooler, they will still heal properly, the lines will hold up, and the client will not (or at least, should not) experience any excessive scarring or unhygienic practices as one would experience from an actual inexperienced artist-

In a genuinely poorly-done tattoo, the evidence of the inexperience is literally written all over the body. The skin swells, the ink bleeds out, the lines are inconsistent in their depth, and there's clear signs of trauma to the skin that will undoubtedly result in a poorly-healed tattoo (and that's not even getting into the larger health risks such as contracting blood diseases due to a poorly kept space). It's not hard to see the difference between a bad tattoo and a tattoo that's intentionally bad.

It's the age old saying in a different medium - only once you learn the rules can you properly break them.

Rachel never learned these rules in her writing and it's evident to anyone who knows these rules and is viewing LO through a critical lens - or in my case, experiencing it on a week to week basis. It's a regularly occurring problem in the medium of webcomics as a whole - thinking that knowing how to draw is enough, and that writing comes dead last, if at all. When in reality, comics are a marriage of art and writing, you can't simply do one really well and allow the other to drag behind. That's not to say there aren't comics that succeed at having bad art and good writing, if anything a well-written comic can save bad art-

But if you have a comic with good art and bad writing, that's when a comic opens itself up to harsher criticism. As much as art may be the visual forefront of comics, if you want to keep your audience along for the long road that stretches ahead, you need to have a strong foundation in writing, or at least, enough of a plan to ensure you're not driving in the dark. The art can be as gorgeous as you want it to be, but if the plot is weak, then no one will have any reason to check back in week to week.

And such is Lore Olympus' biggest weakness. Much of what we praise LO for back in its first season was simply its foundation. It's very easy to praise a story's writing when it hasn't had to payoff what it's setup. Having ideas is easy, and early LO is rife with good ideas - but many of those ideas have since fallen flat, even the ones you wouldn't expect.

Ideas are a dime a dozen, but actually executing them in a way that can be engaging from start to finish and resolve itself in a way that's satisfying is a whole other challenge that many creators, including Rachel, find themselves unable to tackle; and nothing is a greater example of that than LO's third season, which is now fumbling its plotlines that have failed to resolve themselves properly after 5 years, while introducing new ones that serve as mere distractions, as if they were a laser pointer aimed at a cat.

I hear the argument, "LO is a better story if you binge read it" a lot, which - while I can certainly understand in today's culture of content that's churned out to be binged - I still fail to see how it actually makes LO a better story. Binge-reading LO doesn't remove the pointless plotlines. It doesn't fix its blatant timeline problems, its retcons, or its inability to stay focused on one topic for more than 5 panels. All it really fixes is the waiting, the ritualistic toiling over each and every cliffhanger that caps off the weekly episodes just for them to either be resolved in the next week or left behind with no in-between. And while having all that waiting removed certainly makes the reading experience a lot smoother, it doesn't make the story or its writing better.

The relationship between a story's writing and how the audience experiences it shouldn't be overlooked. Many stories depend on how the audience experiences it within the mind to succeed and leave an impression.

Junji Ito utilizes the dreaded page turn to scare his audience, an effect that can only be truly gained and appreciated if you read his books in traditional print.

Marvel spent years meticulously building up its Avengers franchise, culminating in a once-in-a-lifetime cinematic event through Avengers: Endgame, which is truly the epitome of "you had to be there", because if you watch Avengers: Endgame in 2024 in your living room, you're likely not going to experience the same level of hype as audiences experiencing it in the theater in 2019.

The same can be said for James' Cameron's Avatar, which entranced audiences with its innovative motion capture CGI and immersive 3D effects, an experience that could only be lived to the fullest if you saw it in 3D in IMAX theaters back in 2009. Without that experience, most people in 2024 find the movie to be pretty generic and uninteresting, a reverse Pocahontas with blue people in space, but when it first released in IMAX theaters in 2009, it was a cultural and technological phenomenon due to how advanced it was in its VFX. I can't even share with you clips of it, because obviously it would just be proving my point to try and show you how groundbreaking Avatar was in theaters through a bad shaky cam Youtube upload of its IMAX release on Youtube, but let's just say that it wasn't uncommon for people to brag about how many times they'd gone back to watch the same movie just to feel what they felt from the first showing all over again.

All that's to say that while Lore Olympus may offer a 'better' reading experience when binge-read - regardless of whether or not it actually helps the story's pacing problems - the reality is that LO is still being written exclusively with the weekly format in mind, and its been very much to its detriment, both in the short-term and in the long-term. Readers are often left in the dark on plotlines for weeks at a time, Rachel loses track of what she has and hasn't addressed, and the extended waiting times trick readers into believing that weeks have passed in the comic's story, when in reality it's only been a day or two, sometimes as little as hours depending on the sequence; meanwhile, if you binge episodes that had those problems in hindsight, you'll likely be a lot more quick to notice how many plot beats are either retconned or abandoned entirely, because you don't have the weekly waiting times artificially inflating the pacing of the story and causing you to forget what was established weeks before, because when binged, those weeks are reduced to hours and minutes.

And worst of all, with the assumption that you're reading on a weekly basis - as it wants you to do - Rachel tries to pull clever stunts by matching up LO's episodes with real life dates and holidays, which often just makes the story beats feel rushed or random in their execution - because to the vast majority of readers who haven't caught on to this or are reading the episodes through the physical books, they are rushed and random, and they can't exactly explain why.

Binging these episodes doesn't solve the problem, if anything it exemplifies them because, as a shining example, Hades and Persephone suddenly get married right in the middle of an ongoing issue, which isn't exactly the best time to wrap up the story's main plotline. Since then readers have become less and less interested in their story, and can you blame them? By all accounts their story is over. Everything now just feels tacked on to give them something to do in a story they no longer fit into.

There's an episode behind the FastPass lock right now, Episode 265. It unlocks for free on February 17th, three days after Valentine's Day. Guess what episode it is?

Ah yes, the episode where Hades' initiates sex without consent with his wife who's suffering from panic attacks, who also happens to be a rape victim. Happy Valentine's Day, everyone.

I actually made this particular discovery while writing this essay, so that was a very unwelcome surprise, but it explains the sudden random shift from Persephone being so stressed over the ongoing situation that she's passed out to Hades just deciding for the both of them that now's the time to have sex. As much as the fans will defend this as a husband and wife's last chance at intimacy before diving into a dangerous situation, they'll also still conveniently forget - just like the narrative and Rachel herself - that Persephone is a rape victim, and Hades initiating sex with her after nearly having a panic attack isn't exactly a good look.

This is why our theories as to when LO ends are so firmly cemented in one specific time range, because the story's pacing and distractions seem only intent in one thing - getting the story to last until spring, when the series will most likely conclude. It's basically been all but confirmed by Rachel, from her stating the series would be ending in early 2024, to Inklore - an imprint that seems designed specifically for Rachel and LO - launching officially in spring of this year, undoubtedly just in time for Rachel to wrap up LO for good.

(and boy, do I have some words about Inklore and its plans for "Rachel Smythe Presents", but that's another essay entirely.)

At the end of the day, LO's pacing is equivalent to paint drying on the wall, but it relentlessly convinces us to keep watching because the paint is blue and pink and maybe, maybe it'll turn into a piece of art. But as is evident in the comment sections of the newest episodes, even the fans are starting to realize that paint will not magically turn into the final piece of art they've been waiting to see if the hand that wields it doesn't know what it's doing.

Though style may be gained as an accidental side effect of one's influences and experiences, what Lore Olympus' intent is remains to be seen, and the longer the story goes on, the blurrier whatever intent it could have becomes. Unless it somehow manages to pull off a twist of Attack on Titan proportions that thoroughly explains and ties together the plotlines that have been left in the rearview mirror, the vehicle that is LO will continue to trudge along at a snail's pace, until it inevitably either crosses the finish line or crashes - but by that point, anyone waiting for it could very well be gone, their good faith left behind at the starting line when there was still plenty of time to change its trajectory or stop.

Such a time is long, long gone.

[jelestes]

My completely sane and hinged rant after rewatching the second season of The Bear 😍

• Carmy/Claire

OMG I want to like Claire so badly but her character is so fucking annoying and that’s putting my whole sydcarmy shipper personality aside, she adds nothing to the plot/show, nothing to Carmy’s growth as a character (not that she should be responsible for that, but as a part of his subplot she doesn’t do much), no new perspectives, nothing. She has nothing you can hold on to she’s just kinda there. Her personality is bland and she’s pushy but at least she’s nice i’ll give her that! All that being said, Molly Gordon (the actress) did a great job!

• Natalie

Natalie isn’t talked about enough and it makes me so angry because she’s such a fascinating character like what was ep6??? that girl needs a fucking hug. As a woman with mommy issues I get Nat on so many levels (like, my mom also has threatened to blown her brains out in front of me so many times lmao) we only got a glimpse to what her life was/is like and I was already bawling my eyes out can’t imagine what they have in store for the next seasons. Also kudos to Abby Elliot (the actress) for the amazing job, we got to see so many sides of Nat it was so refreshing. (Ps: LOVE her relationship with Syd, omg)

• Tina

I remember hating Tina the first two episodes but man how much do I love her now. Her character just warms my heart, love LOVE that they made her a sous.

• Richie

I love cousin so fucking much. That’s pretty much it. As a twenty something struggling to find my passion and my path in general his plot in the second season really hit me, also his growth as a character in general was so nice to see, the way he realized he had to change to love himself not tiff or anyone else, that was really really cool.

• Richie/Natalie

Now call me absolutely insane but why do I feel there’s a tension between them? the whole soda thing when she says she’s pregnant (there’s a parallel to when Tiff was pregnant in 3.06), when he apologizes (it doesn’t feel he’s just apologizing for something in the present), idk there’s been a tension there since season one and I think it might be addressed in season 3? idk I might be delusional but I can’t be the only one seeing it.

• Carmy/Syd

* sighs * BECAUSE IF I SEE SOMEONE CALL THAT SHIT PLATONIC ONE MORE TIME I-

Can someone rationally explain to me why is Sydney the only person who can calm Carmy down during a panic attack? How is this shit platonic be so fr right now!!!! Why was Sydney over explaining herself when she told Carmy she doesn’t feel jealous of Claire? Try to explain this to me. You can’t because saying this is platonic sound fucking stupid SPECIALLY after the table scene.

IMO, they both know it and they both refuse to acknowledge it but specially carmy. I feel like they gonna have a fall out on s3 so they can finally start building this in the right direction.

That’s pretty much it, thank you for coming to my ThebearTalk! I’ll be insufferable for the next few weeks <3

[maxwell-grant]

“What's impressive?! I've been a boy this whole time!”

(Spoilers for Puss in Boots 2: The Last Wish)

Big Jack Horner was delightfully wretched and felt a lot like he was a Shrek villain stuck in a Puss in Boots movie and it made for a really interesting contrast, with everyone else in the forest going through swashbuckling adventures of personal growth and companionship, while he’s cheating and steamrolling his way through everything with darkly comedic brutality, quite literally pulling Shrek gags out of a bag as he just kills and burns and stomps his way through the magical wonderland.

It’s like he was designed to be the Final Boss of Shrek, except there’s currently no Shrek movies for him to be in so, into the Puss in Boots sequel he goes, almost like this dark embodiment of the shadow cast over the Puss in Boots franchise that it must surpass (and somehow did). He just does not play by any of the same rules everyone else does and it’s great, it lets everyone look better by default. It lets the Puss vs Death story play out in all it’s poetic glory but still gives the movie a proper bastard for everyone to gang up on. I didn’t think of that at first, but I’ve read some comments and wonderful analysis commenting on Jack Horner as a extended pisstake on Disney, an update of Lord Farquaad for modern times, and it’s an analysis that makes a lot of sense.

In that regard: while this couldn’t possibly have been intentional given their release dates so close to each other, I do think it’s pretty funny that Jack winds up connected to Pinocchio, a character who had having a rather busy 2022 if you can tell. Not only is he followed around by a bootleg Jiminy Cricket, but we see that Jack, who was extremely well-off and spoiled throughout his entire life, bears an incandescent bitterness against all magical creatures (and Pinocchio specifically) for taking attention away from his roadside show, which consisted entirely of him reciting his nursery rhyme over and over (even his family was shown bored by it), and so that’s why he wants to own ALL the magic in the world: so that nobody else gets any.

He, who already owns a massive empire and business and land and literally endless collections of powerful magical artifacts he can use to achieve anything he wants a trillion times over, who doesn’t even know what most of what he has does or is worth, is driven by the fact that Pinocchio upstaged him once,

and so nobody else should get to do anything like that ever again.

(Again, not saying this was remotely intentional, just a funny coincidence)

Also wonderful how his ultimate undoing comes from said bootleg Jiminy Cricket, one of the countless employees he’d abused and crushed over the movie, finally having enough and sending him his incendiary “resignation letter”. 2022 saw the year end with a movie where Jiminy Cricket ends a titanic corporate manchild’s reign of terror and life by setting a magical contract map on fire and freeing everyone from it.

It doesn’t even register as one of the best things about the movie only because the movie has SO many best things going on, that it can just casually work in one of the funniest Shrek subplots of all time like it’s easy. Still shocked at how good this film was and how much life they injected into it, perfect movie to end or start the year with.

[millersamour]

different devils (series prologue) - joel miller x f!reader

“We’re all in the same game; just different levels. Dealing with the same hell; just different devils.”

Word Count: 3.2k

Pairing: joel miller x f!reader

Series Summary: You're one of Jackson's longest, and most reclusive inhabitants. You're Tommy's patrol partner. You raised an adopted son. Now spending every day doing what you can to keep the devil at bay. Until Joel Miller shows up, with a fourteen year old, and the same kind of demons.

(collage made on pinterest)

Series Warnings: set during outbreak, violence, descriptions of body mutilation, use of weapons, reader is 21 in prologue but 34 in main story, age gap (joel is 56), eventual smut (will tag accordingly), darkish! joel, reader is also a violent survivalist, reader has a similar joel/ellie dynamic with an oc!, raider/cult subplot, typical disturbing stuff in media about zombies/apocalypse situations

Prologue Summary: After nine years of surviving the apocalypse you meet some people who offer you the chance to start over.

A/N: straight up no joel in this :/ sorry lol, this is just character plot because i love angst and slow burn!!!! we support traumatized morally grey fmcs in this house <3

-

Prologue

March 2011 

You had been tracking a doe for about an hour when you heard the sounds. Deep gurgling and clicking echoing from somewhere you couldn’t see. 

Fuck. 

The deer seemed like a lost cause if there were any more than a single one of those unforgiving creatures lurking nearby. 

With one last glance to the deer, its light brown fur shining in the morning sun, you tucked the bow underneath the thick leather strap of the quiver at your back and made quick work of climbing a thick tree.

You watched the creature below from about twenty feet in the air. The deformed body weaving between the trees, dragging its feet through the wet vegetation. Growths emerging from its skull covered any trace of its former humanity. Bright fungi absorbing the very idea that this thing had ever bore resemblance to a person. The bow in your grasp followed its movements as it veered left, and thankfully, away from your campsite. 

Not wasting any arrows today.

With a sigh of relief, which sounded more like a huff of annoyance, you surveyed the area a final time before deciding to make your way back to Leon. You dismounted the tree, landing the last few feet with a thud and took off back into the thicket. 

Rope and sticks had been used to hold up what had once been a tarp, now just a small sheet of plastic, to create a makeshift tent. It was completely useless against the cold but it had kept you dry from the torrential downpour that had plagued your travel the last few days. The first signs of spring were always welcome after months of cold and snow, but you couldn’t deny the pang of guilt you felt after surviving another winter. 

Leon was awake now, nursing a small fire. He grinned as he watched your form emerge from the treeline. The early morning gave you a respite, where it could just be you and Leon. Not what you had become part of. 

“Anything good?” He asked, eyes trailing from your face to glance at your empty hands. 

“No” You shook your head. “Damn clicker came outta nowhere and spooked the deer I spent an hour tracking” You huffed, slumping beside him. 

Grimacing, he handed you a thermos and you sipped. Warm water flooded your mouth and sternum as it landed in your empty stomach. You hummed, savouring the temporary warmth and handed it back to him. He pulled a small bunch of cloth from his backpack and you grimaced at the only remnants of food you had left.

It had been almost six months since you and Leon had been on your own and almost a full two years since you’d left the QZ.

-

You had only been twelve on outbreak day. But you could recall those memories like it had been yesterday. Stepping off the school bus, doing homework, and eating dinner with your parents, before heading off to bed. You remembered the soft pink of your bedroom. The quilt at the foot of your bed. The toy rabbit you’d slept with since you were born. 

But the sounds of alarms and glass shattering and screams had woken you. 1:02 AM flashing bright green on your alarm clock. You had crept downstairs. The noises outside drowned out by the fear of what would be waiting for you. 

Standing at the bottom of the stairs, you saw the pool of blood first. Crimson leaking into the cracks of blue kitchen tiles, staining the grout. You had hesitated before entering, not knowing what you would see once you turned the corner and passed the door frame. 

Her hair was splayed on the floor like a halo. Strands matted with blood. Her body, stiff in death, looked like she had been knocked back, like someone had shoved her. Peeking around the corner, you saw a huddled form leaning against the fridge; its white exterior marked with streaks of red, fingerprints smeared across family photos and a drawing you had made for your father’s birthday.

Quietly you had called out.

 “Dad?”

The hunched form had looked up at the sound, neck craning in an unnatural way. Strained breathing, like someone was trying to speak with lungs full of water, and growling sounds punched passed his lips. Sounds you had only ever heard in nature documentaries, sounds of pained and hungry animals who relied on teeth and claws and blood to survive.

Suddenly everything was happening to someone else. Like you were watching your life unravel from someone else’s eyes. 

It wasn’t you when your dad slowly rose to his full height, his hands and mouth covered in your mother’s blood. It wasn’t you when he lunged forward, hands reaching for your small form. It wasn’t you who ran away, taking the stairs two at a time while he slipped in what was left of your mother; still warm. It wasn’t you who had thrown open your parent’s bedroom door, slamming it behind you. Who had searched in the dark, for salvation, for safety, for something that could keep the monster at bay. 

The banging on the door was only getting louder, and you had hoped this was all some kind of nightmare. The kind where you woke up crying and your mother would be there to stroke your hair and sing until you drifted back into a peaceful slumber. 

But it was real and you had found the bat that your dad had kept stuffed in the closet.

Your small fingers clenched around the handle and you struggled to keep yourself upright. The image of your mother, her soft skin and dimpled smile flashed against the images of her broken body, of her abdomen peeled open. You could still hear the strangled breathing of the creature outside the door. 

No longer your father, only wearing his face. 

You pushed your back against the wall, feeling the reverberations through the wall as he slammed his body against wood. It was cracking and wouldn’t hold for long. 

It wasn’t you who had watched the door splinter. Who watched him shove his mangled form through. Left shoulder broken. Arm dangling loosely at his side. It wasn’t you who struggled to slow your breathing as his unseeing eyes stared into the darkness, streetlights peeking through the blinds to illuminate his grisly appearance. But it had been you. It had been you who had clenched her jaw, teeth grinding against teeth. Tightening your grip and stepping behind him as he wandered into the center of the room. It was you who heard the floorboard creak and had raised the bat before he even turned around. It was you who had swung and swung and swung. Until what had been your father no longer was. 

Just a bloodied heap on the ground. 

You had been found a few days later, hiding in your closet. Bat sticky with dried blood, still clenched in your hands. They had taken you, kicking and screaming, to what would become the Phoenix QZ, and your home for the next eight years. 

-

Movement startled you from the memories you pondered often, trying to conjure images of birthday parties and the photographs that lined your childhood home. But, all you were left with was the weight of two corpses and the shame of survival.

 Andy came through the tree line. His blonde hair stuck to his forehead and his smile bordered on feral. You had to stand to see what he was holding in his hand. 

Rabbits. 

“Little early for your ass to be up, isn’t it?” You chuckled, walking over to examine his prize.

“Early bird gets the worm” He grinned, holding the rabbits higher up. “Just taking a page from your book” 

He wasn’t wrong. In the last six months, you had been almost solely providing food for the four of you. Feeding Leon had been no problem, it was something you’d been doing for the last five years. But, Andy and his brother, Warren, hadn’t been pulling their weight. And you often had to remind them that they begged for your help and you had offered it to them, if they helped keep Leon alive. 

The commotion must have alerted Warren, because the older brother emerged from his own makeshift shelter. 

It had been a while since you’d caught anything substantial. Relying mostly on birds, fish, and other small wildlife to feed yourselves. But with spring slowly making its appearance, you knew there would be animals everywhere in the coming weeks. 

But rabbits, especially three of them, were enough to excite the four of you. Grinning at each other for the first time in weeks. 

Andy and Warren were whopping, hollering expletives in excitement. You moved to grab Andy’s arm, needing to shut them both up. But movement to your left had you throwing yourself out of the way.

The clicker. 

Fuck. 

You should’ve killed that stupid fucking thing when you had the chance. It was on Andy before you even had the opportunity to scream. It grabbed at his chest, seeking grip wherever it could find, and sank its teeth into the skin of his throat. They fell forwards together, limbs tangling together, wrestling for purchase. 

Warren came from behind, the branch in his hands colliding with the side of the monster’s head, sending it flying off of Andy. He slammed the wood into its skull, watching as it twitched and went limp against the wet ground. 

Andy lay on the ground, clutching his chest and reaching towards his neck. His eyes locked with yours. Panic stricken, wild. You knew that he was dead. They all were. As soon as one of those things got a decent grip, it was over. But that didn’t mean it was okay. It had been almost nine years, and everyone still fought like hell against the inevitable. 

Warren was crouched beside his brother, trying to stop the bleeding. He pulled off his own shirt and you winced, seeing the scars that littered his back. The same ones on both Leon and yourself.

With a hand on your bow, you pulled an arrow from your back and gently nudged Warren’s foot with your own before taking a step back.

“Warren” You warned, your voice low.

He jolted, eyes leaving his brother to meet yours, glancing between your face and the weapon in your hands. His hands pushing wet, bloody fabric into his brother’s wounds.

“I..I can’t… what?” 

“We have to do it and leave” You glanced over your shoulder at Leon, who had stepped further back, watching with a frantic gaze. “We can’t stay here. Warren, none of this is fucking easy, but Andy’s gone.” 

The older man, only twenty-three himself, looked back towards his brother. Andy’s breathing was shallow, ragged. He had already lost so much blood.

It never took long. 

Warren’s body shook as he sobbed, as he understood what you meant. You had to put Andy down, and you had to do it quickly. But his shoulders slumped and he shook his head. 

“Warren..” You warned again. “You need to step away from him..”

He huffed, breathy and wet, and crawled away from the fading remnant of his younger brother. You didn’t have to look to know that Leon was gone, probably behind a tree, hands over his ears. It was the plan. When shit hits the fan, get low and stay low. Until you call it clear.

You sighed, stringing the bow. You aimed, closed your eyes, released a quiet breath and let go. 

Andy lay limp on the ground and you hoped that wherever he ended up, it was better than this. 

Shaking your head, you whistled your signal to Leon and set your bow against a stump. The teenager came peeking out and your heart clenched at the tear tracks carving through the dirt on his face. 

“Look out!” He screamed suddenly, eyes flicking behind you. 

Before you could even register, the side of your body made contact with the ground. Looking up you saw Warren, huffing, eyes red rimmed. He held the branch again. You threw up your arms, ready to deflect the fatal blow, but it never came. 

The deep cut of a shotgun rang out through the air. And you caught the way Warren’s eyes widened and then rolled to the back of his head before he slumped to the ground beside you. Scrambling, you sprang to your feet and launched yourself towards Leon.

“Easy there little lady” an unknown voice spoke up, shotgun in hand. “I’m not gonna hurt’cha, I just need you to put your hands up”

The sound stopped you in your tracks. You could see Leon with his arms already in the air. 

Another rule: do everything you can to not get shot. Smart kid. 

You twirled back towards the man with a smirk. 

“You just killed my buddy there, not sure if I should trust you” 

The man with the gun tilted his head slightly, confused, but kept his gun trained on your form. He was older, probably mid fifties, with dark skin and dark hair that was peppered with greys.

“He was going to kill you” It came out unsure. He was right, but why?

“Occupational hazard?” You quipped back. 

He sighed and looked over his shoulder. Fuck. You were hoping you could distract him long enough to either get the gun, or at least to get Leon out of here. But if anyone else showed up, you were screwed.

“Maria!” He called out. “Over here!”

A woman came from behind him, presumably Maria. Her eyes widened at the sight. The clicker, Andy and Warren, Leon and yourself. You were almost twenty-one, but the hunger made you look closer to Leon’s age, only fourteen himself. 

Maria tapped the man on the shoulder and jerked her head, needing to speak to him. He nodded and refocused his gaze on you. 

“Don’t. Fucking. Move.” He grunted. 

You nodded, looking back at Leon and offering a small smile. They didn’t seem like raiders, or slavers. They looked clean and well fed. They didn’t look FEDRA either, but you weren’t about to test the limits of their mercy. Either way, they would either kill you or they wouldn’t. For Leon’s sake, you hoped whatever happened, if it came to it, it would be quick. 

They spoke a few feet away, glancing back towards the two of you every couple seconds. The man struggled to force his gaze away, turning back to the woman and grimacing at the words coming out of her mouth.

“Maria-” He went to grab her arm but she slinked away and came to stand before you. 

She offered her hand. You hesitantly accepted, coating her fingers in dirt and blood. She barely spared it a glance before rubbing it into the denim of her thigh. 

She smiled gently. “I’m Maria, that’s Elton” She said, motioning to the larger man behind her. She seemed tough. You felt more comfortable under her gaze, more than anyone who had looked at you in the last two years. 

You offered your name and turned towards the younger boy. “That’s Leon” You motioned for him to come over.

He took a few hesitant steps before lacing his fingers through yours and reaching his other hand towards Maria. She took his hand, shaking it. Anyone else could have missed it, but a flicker of something, maybe longing, passed over her face when she locked eyes with Leon. 

“Are you related?” Came from Elton. 

Leon’s hair was lighter than yours and his features were still coated in a thin layer of baby fat. So, most people believed that he was your brother, half at least, and you never corrected them. But, something in Maria’s eyes and the way she watched you, made you want to be honest. You shook your head.

“Known him since he was eight, been taking care of him ever since” You didn’t often talk about Leon’s biological family. They were FEDRA officials, but when rations started dwindling a few years after the outbreak, they didn’t hesitate to drop the youngest of their children off on the steps of the QZ’s orphanage. Where you had been for the last three years. 

“How old are you?” Maria asked, glancing between the two of you. 

“I’m fourteen” Leon blurted, looking up at you with wide eyes. You squeezed his hand twice. A signal you had first used in the orphanage, after you’d been beaten for stealing or for lying. Leon would sit beside you and read, occasionally squeezing your hand. You’d squeeze back twice if you wanted him to keep reading, three times if something was wrong.

“I’m twenty-one” You speak, not meeting Maria’s eyes. 

“What are you doing out here?” Elton’s voice came over Maria’s shoulders again, kinder. You realized that the two of them had to be related. Father and daughter maybe?

“It’s a really long story” You try, unsure of how to explain the last decade of your lives.

“Give us the short version” Maria tries, placing her hand on your shoulder.

“We..um..we escaped raiders before the winter…” You fumble. Yes you had been with raiders, not exactly prisoners, but these two didn’t need to know that. Not yet. Maria’s eyes softened and she looked back at Elton, who’s face betrayed him at that moment. You could tell he was confused. Not many people survived the winter the way you had done. 

“You’ve been living out here?” He asked, glancing between the makeshift shelters and your bow, the only real weapon you had. 

You nodded. “Here and there, I tried not to stay in one place too long…” 

They both nodded, movement was essential. Unless you had the means to defend yourself and your camp, it was better to stay out of the way. You’d learned that when the Phoenix QZ tore itself down. 

“Where are you from?” The question came from Leon. You know that he noticed their clothing, their guns, the way they seemed sated and well-fed. Leon always noticed details, things that a lot of other kids deemed unnecessary. 

“We come from a community”

“A QZ?”

Elton laughed at that. “Jackson’s not like a QZ. Sure we got walls and jobs, but ain’t nothin like one of those prisons” 

“Jackson?” It was your turn to ask a question.

Maria nodded. “We’re a community that helps each other out and keeps each other alive. As long as you earn your keep and stay out of trouble. You could come back with us.”

“And we should trust you? Why?” You had reason to be defensive, to be unsure of what these strangers were promising. 

“You’ll just have to find out.” Maria smiled, looking back towards Elton.

For the first time in a while, you felt something like hope. That you had survived the last year for a reason. That Leon could finally have a real home.

“Take us there” 

You felt Leon’s grip tighten. You squeezed back twice.

-

Thanks for reading!! Please like/reblog if you enjoyed <3

[crimxonwrites]

Blood-painted kisses | Aemond Targaryen x female!OC | Chapter 5 ❝Happy name day❞

☽➛ Summary: Nothing satietes Maehrys Velaryon's hunger as well as revenge. Growing up at the Red Keep as the bastard of Rhaenyra Targaryen did not come trouble-free. Her childhood consisted of bitter words and repulsive looks from nearly everybody in the castle. As she grew older, Maehrys grew meaner. Once the Velaryons return to King's Landing to defend Luke's claim as Lord of Driftmark, Maehrys decides that it is time for the people who hurt her in the past to pay.

☽➛ Warnings: swearing, bullying, mentions of blood, overall 18+!!!!

☽➛ Pairings: Aemond Targaryen x female!OC ( enemies to lovers to enemies to lovers again?? romance is a subplot)

TW: vomit, mentions of suicide, AEMOND !!DISCLAIMER: English is not my first language! feel free to correct me at any time!

A/N: Two dragonless sisters, sitting on a ship

Masterlist

Chapter 6

I run as fast as I can. I picked up my book and made a run to my chambers, the wine’s effect wearing off. Alisha was there waiting for me, but I dismissed her quickly. I need to be alone.

My heart was still beating as fast as it did when I intertwined my lips with my uncle’s, and I sit in front of my vanity mirror. My hair is loose and scruffy, a few curls stuck to my temple. My eyes have heavy bags under them, and my palms are bruised. My gaze lingers on my lips; they are swollen and bloody.  Why did he kiss me? The question echoes in my mind, a haunting refrain. The intimacy of the moment feels wrong on so many levels, the boundaries of family and pride shattered in an instant. Why didn’t I stop him? My passivity feels like complicity, my inaction a betrayal of myself. Why did I like it? This question is the hardest to face, the one that fills me with the deepest sense of self-revulsion. The pleasure I felt, however fleeting, twists like a knife in my gut.

Why did I like it?

My stomach turns in pain and disgust, and I get up as fast as I can and walk over to my chamber pot. With one hand, I hold my hair and with the other, I hold my stomach as I spew all the wine and grapes that I had today. One moment, Aemond was telling me to make haste and find a husband before Alicent sends word for Rhaenyra to wed us, and in the next moment, he was kissing my lips with hunger. I throw up once more, the force of it making my knees buckle. Tears fall unchecked down my cheeks, hot and relentless. Each retch feels like a purging of the confusion and guilt that weigh so heavily on me. The room spins, my vision blurring with tears and the remnants of nausea. I wipe my mouth with the back of my hand, the taste of bile lingering.

When I am sure the contents of my stomach are all gone, I maniacally undress and get into the bath that Alisha prepared for me. I grab the sponge with a trembling hand, my grip tight and desperate. I plunge it into the water, soaking it thoroughly, and then I press it against my skin. I rub with a ferocity that borders on madness, scrubbing at my flesh as if I can erase the memory of what happened. But I cannot. We kissed. And I liked it. The sponge moves in harsh circles, my skin turning red under the relentless friction. I scrub until it hurts, but the physical pain is a welcome distraction from the turmoil inside me.

My breath hitches as I continue, tears mingling with the bathwater. The harder I scrub, the more I feel the sting of my actions, but I can't stop. The need to be clean, to be free of the lingering ghost of Aemond's touch, consumes me. The water turns murky with each pass of the sponge, but no amount of scrubbing can reach the stain that I feel inside.

Still nauseous, I manage to scrub myself clean. When I am done bathing, I decide that the vomit aftertaste is too much, so I chug a lot of water. My throat is burning, and my mind is still foggy. I cannot allow myself to think about that moment any longer, and I cannot allow myself to let it happen again.

When my mind finally quiets down, I fall asleep, body aching and spirit wounded.

-

“Happy name day, Maehrys!” Rhaena’s voice startles me.

We left King’s Landing a few hours ago, and it will not be long before we reach Dragonstone. Corlys insisted he send the biggest ship he has, even though Daemon and Jace took off on dragon back. My head aches like never before as I watch the ship cut through the dark blue sea.

“Why did I think the salty air would help with my aching head?” I ask Rhaena, and she frowns.

“Someone had too much to drink last night.” She teases, a smile forming on her face. “You had a merry night, I assume?” She asks.

“Yes.” I lie. “Though I cannot wait to return to Dragonstone.” I say, leaning over the hard wood of the ship. Above us, I hear Syrax’s and Vermax’s screeches.

“How are the eggs?” She asks, and I turn my gaze towards her.

When Aemond was ten and two, he stole Rhaena’s rightful dragon, leaving her dragonless to this day.  The act was a bold and unforgivable affront, a theft that cast a long shadow over her, robbing her not just of a dragon but of a birthright. Vhagar was Laena’s dragon before she died, and since Baela claimed Moondancer, it was only fair that Rhaena claims Vhagar. From time to time, she would ask me about my unhatched dragon eggs, her voice a mixture of curiosity and something deeper, something more poignant. Each time, I am not sure if she wants to comfort me, or if she needs comfort herself.

“Still unhatched.” I answer, with a sigh. I can sense her inner turmoil, the way she clings to the hope that my dragon eggs might hatch, as if their success could somehow mend the wound left by Aemond’s betrayal.

“When we arrive to Dragonstone, I will try to claim Seasmoke.” Rhaena states.

Seasmoke has been riderless ever since Laenor, my father, died. Some nights, when the world is quiet and the darkness settles over the castle like a shroud, I hear Seasmoke’s growl echoing through the night air. It is a low, mournful sound, filled with a sorrow that mirrors my own. In his voice, I sense his solitude, a powerful creature left bereft and alone.

“I wish you luck, sister.”  I give her a reassuring smile, and she places her head on my shoulder.

We watch the horizon as the ship drifts towards Dragonstone, the world around us growing still and silent. Two dragonless Targaryens, bound by blood and loss—what a tragedy.

I spend the next few days trying to keep myself busy, to stave off the heavy thoughts plaguing my mind. I dive into studying High Valyrian, spending hours learning the language and its complicated rules. The focus it requires helps distract me from my worries. Moreover, I need to perfect my High Valyrian. I am doing this for myself, yes, but I am also doing it for the little girl I used to be, who dreamed of claiming the biggest dragon in the world.

I also train with my brothers, pushing myself hard in our practice sessions. Maybe pushing Jace a bit harder. I convince Daemon to train with us, and he surprisingly agreed. I study his technique and note how it is much more violent that Ser Criston’s. Daemon acts on impulse, on feeling, and he spares no strength when it comes to defeating us in combat. At the end of the day, I cannot go to sleep without a hot bath to soothe my aching muscles. The physical activity gives me a break from my thoughts and helps me feel stronger, as if I can control something in my life.

I make time to be with my pregnant mother, offering her support and company. We sometimes talk about my grandmother, Aemma, and how she died in childbirth, and I grow tired of seeing pain in my mother’s eyes. Our time together is soothing, and her presence reminds me of what’s important amidst all the confusion.

Despite all this, my mind often drifts back to Aemond and the kiss we shared. I think about his words and the urgency to find a husband quickly to avoid being married to him. This pressure weighs heavily on me.

I also comfort Rhaena, who failed to claim Seasmoke by changing the bandages on her shoulder. The dragon did a number, not only on her body, but on her soul as well.

In search of advice, I talk to Baela about what it’s like to be betrothed to a half-brother. I hope she can share her personal feelings and experiences. However, she mainly discusses the political aspects of such a marriage, focusing on alliances and strategic benefits. Her talk about politics only makes me feel more alone, leaving me with more questions and uncertainties about my own situation.

“Maehrys?” On a Sunday afternoon, I hear my mother’s voice echo in the library, cutting through the silence like a knife through butter. The smell of old parchment and ink fills the room, a familiar comfort.

“Yes, mother?” I close the High Valyrian book and dismiss the tutor who was helping me. His bow is deep, respectful, before he quietly exits the room, leaving us alone.

“I cannot help but notice how distracted you have been lately.” She sits at the table in front of me, her eyes searching mine. “Is something troubling you?” she asks, her voice softening as she holds my hand in hers.

I absolutely cannot tell her that what has been troubling me is Aemond, and the fact that we shared a kiss. A kiss that haunts me to this day, consuming my thoughts and dreams. “No…” I say, half-heartedly, my voice betraying me. She gives me the same comforting look she has given me all my childhood, a look filled with love and concern.

“Maehrys, my sweet child, I know you too well. There is a shadow upon your heart. Speak truthfully to me.” Her grip on my hand tightens slightly, urging me to open up.

“Yes,” I confess, my voice barely a whisper. “Will you marry me off to some lord soon?” My question catches her off guard, and she seems taken aback by my curiosity.

“Perhaps,” she answers after a pause, and my heart drops to my stomach. “But do not worry, there is no rush for betrothal now.” Rhaenyra continues, her thumb gently rubbing the scar on my left wrist, a scar from my sinister childhood that binds us even closer. A youth where I did not want to live any longer. “Why so curious about marriage all of a sudden?”

I cannot tell her that Alicent is planning to suggest I marry Aemond. The very thought makes my heart race with a mix of fear and longing. I point at her big belly; “I do not wish to bear children,” I tell her, the words coming out steadier than I feel. It is not considered lying if I do not tell the whole truth. “But if it is ever needed, I want you to know that I will not be against it.” I continue, my voice steady. “I promise.”

She sighs, a deep, weary sound. “The burden of women in our world is a heavy one, Maehrys. But know that you are not alone. Whatever the future holds, we will face it together.”

I nod, the weight of unspoken words pressing down on me. As she rises to leave, I feel a mix of relief and dread. The path ahead is uncertain, and the shadows of the past cling to me like a cloak.

“Rest now,” she says gently. “And remember, my dear, that you are loved beyond measure.”

As she exits the library, I am left with my thoughts, the flickering candlelight casting long shadows on the walls. The memory of Aemond’s kiss lingers, a forbidden secret that binds me to a future I cannot yet see.

The very next day, I am awakened by the sound of alarmed voices between servants, handmaidens, and guards echoing through the stone corridors. The usually serene morning air is thick with tension and unease. I dress swiftly, with Alisha’s expert hands guiding me into my gown, her fingers trembling slightly as she fastens the intricate clasps.

“What is happening?” I ask, but Alisha only shakes her head, worry etched across her face.

I make my way to the council room, my heart pounding. The castle halls, usually bustling with activity, seem darker and more foreboding today. As I pass through the grand corridors, I catch sight of Meleys, Rhaenys’ dragon, flying in frantic circles above the palace, her growls echoing with a desperate urgency. The sight sends a shiver down my spine.

I reach the massive doors of the council room and push them open, stepping inside to hear Rhaenys’ voice ringing out. “-and the Queen Regent insists your father changed his mind on his deathbed.”

“What is happening?” I whisper to Jace, who stands nearby, his face pale and anxious.

“They crowned Aegon this morning,” my brother answers quickly, his voice trembling. The weight of his words sinks into me like a stone.

Luke joins us shortly, followed by Rhaena and Baela, their expressions mirroring the same shock and disbelief that I feel. My heart starts quickening its pace as I listen to Rhaenys’ words. How could they? My mother is the rightful heir to the crown. Aegon is just a drunk usurper.

Rhaenys continues, her voice steady but laced with anger. “The Queen Regent claims that King Viserys, in his final moments, wished for Aegon to take the throne. It is a blatant lie, a fabrication to seize power.”

My mother stands at the head of the table, her face a mask of controlled fury. “This cannot stand. We have the support of many houses. They will not accept Aegon as king,” she declares, her voice resolute.

“But what can we do?” Luke asks, his voice small and frightened. “They have already crowned him. The people... they might believe their lies.” He grabs my hand, squeezing it tightly.

Rhaenyra’s eyes flash with determination. “We must rally our allies, make our position known. We will not be silent. We will not let them steal what is rightfully ours.”

As the council debates, plans forming and falling apart in rapid succession, I feel a surge of resolve. This is not just about a throne. It is about our family, our honour, and the future of the realm. Aegon may have a crown, but he will never have the loyalty of the true Targaryen blood. He does not have my mother’s expertise

Suddenly, I hear my mother groan in pain, and I know exactly what is happening; the labours of pregnancy. But it cannot be—it is too early. Fear grips my heart as I realize the potential danger she and the unborn child are in.

As Rhaenyra is carried away by her handmaidens, her face contorted in agony, I desperately want to follow, to be by her side, to offer comfort. But my mother dismisses me swiftly with a firm wave of her hand, her eyes filled with a mix of pain and determination. “Stay here,” she commands through gritted teeth, and I know better than to argue.

Defeated and filled with worry, I sit next to Rhaenys, who watches the scene with a solemn expression. Her presence is both a comfort and a reminder of the gravity of our situation.

“How did you manage to escape?” I ask, needing a distraction from the anguish I feel.

“I have a dragon,” Rhaenys says quickly, and her words cut like a dagger. The simplicity and power of her statement highlight the stark difference between us. Her eyes soften when she notices my hurt expression. “A war is about to begin,” she continues, and I nod, feeling the weight of the impending conflict settle over me.

“What stopped you from raining dragon fire upon them?” I ask, thinking about what I would do if I had a dragon at my command. The thought of vengeance, of justice delivered through fire and blood, is a tantalizing one.

Rhaenys sighs, her gaze distant as if seeing a past filled with similar choices. “I do not wish to start the war, Princess,” she answers. “Fire and blood bring destruction, not only to our enemies but to our own as well. There is a time for dragons, and there is a time for restraint.”

Her words linger in the air, a sobering reminder of the responsibilities that come with power. As I sit there, the sounds of my mother’s labours and Syrax’s growls echoing faintly through the walls, I realize that our path is fraught with difficult choices. The dragons we command are both our greatest strength and our greatest burden.

“I wish my eggs hatched.” I sigh, desperation lingering in my voice.

Rhaenys’ gaze meets mine, and I see a flicker of understanding. “You will have your time, Maehrys. But for now, we must be patient, even as the storm gathers around us.”

In that moment, I feel utterly powerless. The chaos around me, the fear in my mother’s eyes, and the weight of impending war all crash down upon me like a relentless storm. I do not know what to do, and I do not know how I can be of aid to my mother. I cannot comfort her through the agonizing labours of early childbirth, I cannot fly to King’s Landing and kill Aegon, I cannot do anything that would make a difference. My helplessness claws at me, a cruel reminder of my limitations.

Suddenly, I am eight years of age again, scared and anxious, lost in a world of uncertainty. I remember the nights I would wake from nightmares, seeking my mother’s embrace, her soothing words the only balm to my fears. Now, the roles are reversed, and I am the one who should be offering comfort and strength, but I feel just as frightened as I did then.

Tears sting my eyes, but I blink them back, unwilling to show weakness in front of Rhaenys or anyone else. The hall feels colder, the shadows longer and more oppressive. Each second that ticks by feels like an eternity, and the sound of my mother’s pained cries echoes hauntingly in my ears.

Rhaenys must sense my turmoil, for she places a reassuring hand on my shoulder. “You are stronger than you know, Maehrys. Your presence alone is a comfort to your mother, even if it doesn’t feel like it.”

I nod mechanically, but her words do little to alleviate the knot of anxiety tightening in my chest. I watch as the handmaidens hurry back and forth, their faces masks of grim determination. Every fiber of my being screams to do something, anything, but I remain rooted to the spot, paralyzed by my own inadequacy.

The memory of Aemond’s kiss flashes in my mind, a stark contrast to the present reality. The confusion of my feelings for him mingles with my anger and fear, creating a turbulent storm within me. How can I navigate these emotions when the world around me is falling apart? My breathing becomes manic, and I choke on the thick air.

“Breathe, Maehrys,” Rhaenys whispers, her voice cutting through the fog of my thoughts. “We will get through this. Your mother is strong, and so are you. The Targaryen blood runs hot and true in your veins.”

I take a deep breath, trying to steady myself, but it feels as if there is not enough air in the world. My chest tightens, and each breath becomes a struggle, as though an invisible force is squeezing the life out of me. My vision blurs, the edges of my sight darkening and narrowing as if I am peering through a tunnel. The sounds around me become distorted, and my mother’s cries are muffled by a high-pitched ringing that fills my ears, drowning out everything else.

Also read on: AO3

Taglist: @watermel0nsugarhigh @ondereleutheromania@literishdegree99

[animebw]

So, I've been getting almost all my hibike euphonium knowledge from osmosis from what you say. So I wanted to know how integral to the plot is that guy some people ship kumiko with (never learned his name), not only in this season, but in the previous ones too.

Because I don't think you mentioned him at all while talking about this season, other then kumiko being tired when people think they are dating, but I have seem some people say that they did end up together bc something something hair clip in the epilogue?

Also wanted to know if they dropped or dealt with the Reina crush on the teacher thing

You do seem to cherish this show a lot, so I do wanted to check it out myself, but these two things are the only things holding me back at this moment

So here's what actually happens: in the original novels, Kumiko and Shu get together at the end. Unambiguously. She confesses, he gives her the hairclip back, it's a whole big scene.

In the show, Shuichi has maybe twenty lines of dialogue across the entire final season, not a single of which has romantic implications or framing, he has a single line of dialogue in the entire final episode, and then we see Kumiko has the hairpin in the epilogue but it's not commented upon and Shuichi is never seen again.

Last week when episode 12 aired, the original author Ayano Takeda posted on Twitter that she was happy with the changes KyoAni made, and she encouraged fans to appreciate her novels and KyoAni's adaptation as equally valid interpretations of the same story. There was, however, a follow-up tweet where she further clarified that she had the final say on any changes the show made, and if Hanada or Ishihara or whoever proposed a change she wasn't fond of, it was ultimately her call whether to let it happen or not. So what this feels like to me? Is a compromise. A compromise between Takeda's original vision and KyoAni just very obviously not giving a single shit about Kumiko and Shuichi as a couple.

Now, KyoAni's been changing things in Eupho ever since the first season, and in fact, most of their shows diverge pretty heavily from the source material. And since I haven't read the original novels, I only have secondhand knowledge on what KyoAni added or took away. But what I have heard is that while all of Kumiko and Reina's subtext is still there in the novels, Shuichi has a far more visible role in Kumiko's life, with many more scenes dedicated to them as a romantic subplot. In fact, I've heard there were a few scenes in season one between Kumiko and Reina that were originally between Kumiko and Shuichi in the novels. I can't confirm if that's true or not, but frankly, it would not surprise me one bit.

Obviously, I don't know the reasoning behind the decisions KyoAni made. But looking at Hibike as a whole, it feels like they looked at this story with a pretty standard het relationship subplot and realized there was actually a far more compelling love story lurking just underneath the surface, one that Takeda herself didn't seem to realize was as special as it was. So when they turned it into an anime, they made the conscious choice to downplay Shuichi's role as much as possible and cash all their chips on centering her relationship with Reina as the real heart and soul of the story. And over the course of nine years, they supported that story as much as they could, finding every way possible to prioritize them in the narrative and frame them with the cinematic language they've deployed for so many straight couples in the past, while simultaneously refusing to give Kumiko even a single moment where she appears romantically interested in Shuichi.

And I want to stress that last point in particular: outside of that one scene in the Year 2 movie where Shuichi almost kisses her, every single interaction Kumiko's had with the idea of being in a relationship with Shuichi has been "Oh HELL no." She's constantly avoiding him in their first year, she can barely work up the effort to be civil to him while they're actually dating, and it's only after they break up that they're able to be on good terms with each other as friends. Even in this final season, there hasn't been a single moment where it's felt like either of them were considering getting back together. Shuichi's just been happy to support her, and Kumiko feels comfortable around him for the first time ever, and that's the extent of it. It's only the comments from the first years that suggest anything about a romantic subplot still ongoing between them, but none of that is reflected in any of their onscreen moments.

Like, even putting Kumirei aside, there is just no romantic tension between them anymore. Not even in a "Wow, where did that romantic moment come from? That was so forced out of nowhere!" sort of situation- the love story between them is completely nonexistent at this point. The only evidence in this entire fucking season that they start dating again is Kumiko having the hairpin in the epilogue (which, side note, hasn't been brought up all season either), which, frankly, is so open to interpretation that Bandai's shareholders are salivating in jealousy. Sure, maybe it does mean Shuichi asked her again and she accepted, but it could just as easily mean he gave it to her free of charge and accepted she didn't think of him that way. Or it could even mean he gave it to her and said something like "Once Reina finally gets turned down by Taki-sensei, make sure you give this to her, I think it'll be put to far better use that way." And frankly, that last interpretation is way more supported by the show I just watched than simply them getting back together.

The point is, KyoAni does not care about Kumiko and Shuichi getting together. It has never cared about Kumiko and Shuichi getting together. Honestly, my crack theory is the reason they sped through Kumiko's second year in a movie is to get through her Dating Shuichi arc as fast as humanly possibly. But Takeda clearly does care about them getting together, considering that's what happened in the novels. And I suspect that's one thing she decided not to budge on when they were in conversations discussing the changes KyoAni wanted to make. So to compromise, KyoAni put in the barest minimum effort to suggest things technically played out like they did in the novels- "Look, she's got his hairpin! That means they got back together!"- while refusing to spend a single solitary second on it beyond that and removing any explicit confirmation so everyone who doesn't care about them as a couple- KyoAni included- can interpret it otherwise and be fully justified in doing so.

Because from start to finish, through the entirety of this season, the love story that stood at the center of everything was Kumirei. Every last plot beat, every last thematic throughline, every last bit of swelling music and romantic framing and effort spent making you root for two people to stay together, it was always them and no one else. Even the big change they made in episode 12 where Kumiko loses the soli only further cements their story as the story of this show, with Reina's utter devastation at losing her only confirming just how special Kumiko was to her in a way not even Taki-sensei truly measures up to. I've said it in the past, but even moreso now than ever, it is impossible to look at the arc of Hibike Euphonium and not see a love story between these two girls, a story about just how fucking much they mean to each other and all the reasons their connection was something unlike anything else on this earth.

And if you choose to see it as a story of Kumiko and Shuichi getting together instead? Then you are actively fighting against what the show is communicating to you every second of every episode. You are, in fact, the delusional shipper inventing a romantic subplot where none exists. You are everything that yuri shippers are accused of being when they choose to actively engage with the text as it exists and not as you imagine it to be. Because as open-ended as the ending is, as straight as it pretends to be, it is far easier to imagine a future where Kumiko and Reina reunite as lovers than a future where she somehow falls for the guy she's never shown any interest in before. Frankly, if I was a Shuichi truther I'd feel pretty insulted by this ending! "What do you mean their entire subplot is cut out and it's only half-assedly implied in the epilogue that it totally happened offscreen? What is this bullshit?!"

This is why I chafe so strongly against the queerbaiting label. I watched three seasons of BBC Sherlock, I know full well what queerbaiting looks like. But a love story like this does not happen out of malice. It only happens because every single person involved, from animators to voice actors to directors and everyone in between, believes in it so strongly that they're willing to push as hard as they can to make it as real as physically possible within the limitations at their disposal. Kumirei is Hibike. Their story is Hibike. And if KyoAni can't convince Takeda to let them embrace it fully, well, they can at least wrestle her to a stalemate that allows that interpretation to still be possible- and, even, more plausible than the direction she initially took it down.

Adaptation is an art of making changes. It requires a text to stand on its own, fully apart from whatever source it sprang from. And KyoAni in particular has always embraced the philosophy of treating adaptation not as a one-to-one copy machine like so many of its contemporaries, but an opportunity to build something entirely new. All of its shows are, first and foremost, shows before they're translations of their source material, works of art designed to be taken as wholly complete experiences however much they resemble their inspirations or not. In Hibike! Euphonium the novel series, Kumiko and Shuichi are canon. In Hibike! Euphonium the TV show? It's flat out impossible to come to that same conclusion unless you're dead-set on believing what you want to believe, evidence be damned. And if you're so obsessed with this mid het ship that you choose to ignore the single greatest love story of all time to pretend it's more plausible, then you're simply an idiot who's opinions aren't worth engaging with.

[todomitoukei]

Honestly it’s a depressing ending for the villains. We get hardly any follow up for the remaining ones, Toga was the last one I expected to die and I was hoping it was a ruse at first. But since it’s official it’s heartbreaking. It’s lacklustre just throwing in a character to portray Tomura and what would happen if a civilian did reach a hand out, and throwing in another character for Deku to interact with. Honestly even the heroes were pointless, nothing has really changed in the system. Hawks never got a consequence for his actions, hell it could have been explored of a hero murdering a villain questioning the like of what makes a villain or hero. But he rises in ranks and has done nothing. I just feel it’s such a rushed ending, and I would have been ok with the same ending if it didn’t feel so messy and compiled together. There are so many loose ends and follow ups from characters, Shoto especially. It’s unfortunate, but honestly I’m glad it’s over. I lost passion after a while, but I appreciate the joy it’s gave me when I first started following the manga and getting into the anime, and experiencing the highs and lows of manga leaks. Dabi was my main one, and it’s one positive I gain from this ending for how open it is to his fate. It’s just sad that it ended this way.

Hori's biggest strength is for sure coming up with interesting ideas - like you said, exploring certain parts could've made for an incredibly interesting story. However, his biggest weakness is not following through with what he's starting, doing a 180 right at the end every time.

The cast has always been too big, yet he chooses to show us minor villains like Gentle and La Brava - who receive a happy ending - while the main antagonists endings aren't even being shown.

As much as the villains dying sucks (subjectively but also objectively since the story spent so much time telling us it's about reaching out and helping everyone no matter what), if they had been at least given a proper conclusion it could've been acceptable, yet after 400+ chapters, the author couldn't even bother to show all the main antagonists and their endings.

Where exactly is Spinner? We know he wrote and published a book, but is he in jail and if so, how did they allow him to publish this book?

Is Compress in jail forever? Is he still in a cell with Geten? He read Spinner's book, but how did he get hold of it? Was the prison kind enough to give him a copy?

What about Touya? Assuming he's dead, how much longer did he have? Did his family care when he died? How is the family coping? Are they getting along? Why did Horikoshi not show us Natsuo and Touya talk after spending so much time saying they used to be so close? Natsuo not saying anything and having mixed emotions after all of this was actually an interesting idea, but not when you don't do anything more with it - now people just think Natsuo is an asshole when in reality, he has every right to feel conflicted, but it sucks as a conclusion when we've all been looking forward to seeing him and Touya finally get to reunite and be happy.

What was the point of Shigaraki appearing as a ghost to Deku? Why wouldn't he at least appear in front of his friends? Why wouldn't we see him show up in front of Spinner, approving his book or something?

And yes, Shouto, too. Why is the main info we get in regards to his father? What about his hero costume, which we aren't even being shown? Did he ever change his hero name or is it going to be Shouto forever?

I wouldn't even say it's rushed as much as it's an unbalanced focus. The last few chapters could've been focusing on these subplots, but instead Hori tried to mimick the tone of the first season by showing the kids returning to school and whatnot, something that could've been shown in less time to also make space for elaborating on a bigger variety of characters and plot points.

I'm also glad it's over, I just wish these characters could've been in a better story.

[mlmaegon]

lore olympus is over

tl;dr it was bad.

it was a long episode, i counted 110 panels, give or take a few. lore olympus has had increasingly long episodes, to the point of feeling arduous and overwrought with unnecessary details and subplots. i could feel my eyes glaze over as i was reading each episode; for years, it's felt like none of the episodes advanced the plot in any way, and mostly existed as pointless filler, delving into a plethora of subplots that never get resolved—at the very least, they never seem to be resolved in a meaningful and fulfilling way.

but enough preamble! you're wondering what happened in the episode itself, and i'm here to tell you. for context, within the last three to five episodes, apollo revealed that he was secretly a puppet of ouranos the whole time, ouranos revealed himself and tried to steal persephone's fertility goddess powers or something equally asinine, and persephone unlocked her full fertility goddess powers in order to unlock the full fertility goddess powers of all the other fertility goddesses, and together they brought back gaea from her vague undefined slumber/exile/whatever.

we start with the reveal of gaea, who defeats ouranos within five panels. a bit anticlimactic, but ouranos was revealed within the last five episodes of a 280-episode series, so i don't know what i was expecting.

it feels great to know there were no real stakes to this conflict.

gaea turns back to hades and persephone, and stares at them. the next full panel signals a timeskip. it's some undefined number of months later, and hades is on his own. the audience hasn't been shown the details of hades and persephone's confrontation with gaea, so we're led to believe something happened to persephone; all we know is that she and hades have been separated, and hades is sad.

hades goes through his morning routine, then enters the mortal realm, and the story flashes back to gaea's conversation with hades and persephone:

cool.

here, we run into an issue of bad comics formatting. i don't plan on getting too into the nitty gritty of page layout, it's more interesting to me than it is to most other people, and webcomics function fundamentally differently from normal comics, so i'm not as well versed in how to analyze them. that being said, this is what that snippet looks like when it's zoomed out:

this is the most important line in the episode, perhaps even the entire series, and neither the character speaking nor the characters reacting are in the same panel as the text. it's just this floating, meaningless bubble of dialogue, and most readers are on their phones, so it can't be seen at the same time as gaea, hades, or persephone; it has to be scrolled through. to me, the isolation seems to derive this line of anything that could make it compelling. it's also just a bad line. i am by no means the first (and hopefully not the last) person to point this out, but structuring your feminist hades and persephone retelling around persephone finding true love with a man is absolute nonsense. there is nothing genuinely feminist or subversive about lore olympus.

gaea goes on to monologue a bit, and ends up with this conclusion:

the hades/persephone myth retelling is finally complete: persephone is made to spend six months in the mortal realm and six months in the underworld, only in the lore olympus retelling, it's not demeter and hades who make this deal, it's an official decree from gaea. agency is stripped from demeter and hades and given to gaea, who had no role in this story originally, and shouldn't have this role now. ultimately, lore olympus is barely an echo of the original mythos, it keeps some aesthetics, and some names, but i am certain the nuances and complexities of hades and persephone as mythological and cultural figures have been lost on rachel smythe.

we also find out that hades and persephone are allowed to visit each other at any point, so the tragedy of their separation is completely undercut. they get a happy ending, and so does everyone else, except for the irredeemably evil apollo, and the redeemably evil zeus.

dionysus looks like this now after hardly showing up in the story:

i don't even know what to say to this:

happy pride month i guess

hades and persephone are happy and in love and everything is perfect and magical forever. the end.

but wait! there's more! you thought it was over, but there are at least 20 more panels! we skip ahead to "many, many years later," where melinoe—hades and persephone's dream daughter from the future—is now hades and persephone's actual real living daughter, no longer trapped in tartarus with kronos (long story, don't worry about it). she wakes up, and makes her way to hades and persephone's room, where persephone has just given birth:

this panel certainly is something. it wasn't until my second read through that i realized there was, in fact, a baby in hades' arms. the last panel is of hades, persephone, and their two daughters, finally a complete and happy family. where did dionysus go? i don't know, don't worry about it.

good lord rachel smythe cannot draw children. normally i wouldn't be mean about this—i can't draw children either—but rachel smythe is a bestselling author with the most popular webtoon on the site and multiple eisner awards, so i don't really feel like i'm punching down here. her art is incredibly inconsistent, and it tends to be at its worst when hades and persephone are standing next to each other, or when any child is shown. the art did not improve in the final episode, if anything, it was worse than usual.

what did it all mean? it's hard to say. i've been reading this series for years at this point, and trying to piece together the semblance of a coherent plot is arduous at best, and impossible at worst. the writing was never good per se, but the early episodes seemed to have a spark, a passion, that's completely lacking later on. the final arc was especially disappointing, smythe spent years building up apollo as an antagonist, only for him to be revealed as a puppet the entire time, and in the end, his defeat didn't feel like a victory for persephone.

i'm having a hard time coming up with a good conclusion. what is there to say about lore olympus that hasn't already been said? it's lazy, it's incoherent, it's liberal pseudofeminist nonsense. i spent three years obsessively reading it and now i don't know what to do with my life. thanks for nothing, rachel smythe.

[hotdaemondtargaryen]

TECH RADAR REVIEW OF 'HOUSE OF THE DRAGON' S2. HIS OPINION BASED ON THE FIRST 4 EPISODES THAT HE WATCHED OF S2.

SPOILERS! FOR S2:

ABOUT TOM GLYNN-CARNEY'S PERFORMANCE AS KING AEGON II TARGARYEN:

"Aegon II, Westeros' new royal, is the biggest beneficiary of more extensive screen time, with Glynn-Carney bringing some much needed levity – plus youthful impatience, reckless naivety – to bear in episode 1 and in later entries, deep humanization to a character, who we're supposed to despise, in the only way that a GoT series can."

"HOUSE OF THE DRAGON'S SUPPORTING CAST, SPECIALLY IT'S YOUNGER MEMBERS, GETS MORE TO DO THIS SEASON."

ABOUT PHIA SABAN AS QUEEN HELAENA TARGARYEN IN SEASON TWO:

"Helaena's (Phia Saban) roles are also pleasingly expanded; the eccentric and cryptic Helaena becomes central to key storylines leading up to this season's jaw-dropping fourth episode."

"SEASON 2 ZOOMS OUT TO EXPLORE THE INTENSIFYING INTERFAMILIAL CONFLICT'S IMPACT ON THE WHOLE OF WESTEROS."

"Opening with a nostalgia-fuelled return trip to Winterfell a fleeting visit that reminds us of the ever-looming threat beyond The Wall in its very first scene, season 2 slowly lays bare the wider effects of the increasingly bitter Targaryen-Hightower feud on Thrones."

"Indeed, it inadvertently acts as the catalyst for smaller scale battles to erupt between long-warring families, such as Houses Blackwood and Bracken."

"After all, season 2 marks the official start of the devastating, years-long civil war known as The Dance of the Dragons, so I certainly hoped for more action. Nonetheless, observing the blood-curdling, silent horror-imbued aftermath of the Blackwood-Bracken battle made my imagination run wild about how this barbaric struggle played out."

"THE WALL WON'T BE THE ONLY LOCATION IN S2 THAT GOT FANS WILL RECOGNIZE. HARRENHAL WILL ALSO PLAY A PROMINENT ROLE THIS SEASON."

RYAN CONDAL ABOUT HARRENHAL IN S2:

"Harrenhal definitely is its own character in the show. It had its own character in the original books [and] in the original series when Arya was playing cup bearer for Tywin there."

"Other than the Red Keep, it's probably the most talked-about, storied castle in Westeros, and we really wanted to pay service to it. Whether it's real or rumored, it does have this supernatural aura around it that does put people off. We were excited to play that out as storytellers."

ABOUT GAYLE RANKIN AS ALYS RIVERS IN S2:

(whose mysterious arrival was teased in s2's final trailer)

"The enigmatic Alys Rivers was particularly fascinating to me, not least due to her involvement in Daemon's Harrenhal-situated season 2 arc; a personal subplot with the unsettling, almost Macbethian atmosphere and twisty-turny narrative of a psychological horror movie."