#why are so many of the main cast written so....off??? | Explore Tumblr Posts and Blogs

miraculouslbcnreactions · 2 months

Text

Pick One: Magical Girl Show or Rom-com. You cannot be both.

Early in season four we get the episode Gang of Secrets. An episode that ends with Marinette outing her secret identity to Alya. A touching moment that sparked outrage across the fandom because it meant that Marinette had made the choice to reveal her identity to her best friend while keeping her hero partner in the dark.

This choice spat in the face of the exceptions that many fans had for the series. Thousands of pre-season-four fanfics feature moments where Ladybug and Chat Noir promise each other that they'll be the first to know each other's identities. After the Alya reveal, scores of fanfics were written to salt on Marinette's choice to tell the "wrong" person.

Most of these fics feature a betrayed Chat Noir quitting or otherwise punishing Ladybug for breaking their promise to be each other's first, thereby destroying his faith in their partnership. But that promise was never made on screen. It only existed in the realms of fanfic and, when Chat Noir finally found out in canon, his reaction was largely neutral. He never once blamed Ladybug for her choice or pushed for a reveal or even asked for the right to tell one of his friends.

So what happened here? Why did the fans have such wildly unrealistic expectations of canon? Were their expectations even unrealistic or did canon betray them? The answer to that is not as straight forward as you might think because it all comes back to one of Miraculous' many, many, many writing problems: Miraculous is trying to be both a Magical Girl Show and a romantic comedy, but those are not genres that mesh. You can only be one (or you can be a third thing that we'll get to at the end as it's the easiest way to fix this mess, but I want to mostly focus on where the anger is coming from and why the writing is to blame.)

To discuss this mismatch, we're going to do something that breaks my heart and talk about some of Origins flaws. While I love that episode and unironically refer to it as the best writing the show ever gave us, it's not perfect and its flaws are all focused around trying to set up both genres. Do note that I'm going to use a lot of gender binary language here as magical girl shows have a strong focus on gender segregation and rarely if ever acknowledge gender diversity.

Let's Talk Magical Girls

Magical girl shows are shows that center on young women and their friendships. While male love interests are often present in these shows, the boys tend to take a backseat and function primarily as arm candy while the girls save the day and carry the narrative.

A great example of this is the show Winx Club. This show features a large cast of teenage girls who save the magical universe from various threats with their magical powers. Each girl has a love interest, but the boys are usually off doing their own thing and only occasionally show up for a date or to give the girls a ride on their cool bikes or magical spaceship. I don't even think that we see the guys fight or, if we do, it's a rare thing. They are not there to save the day. They are there to be shipping fodder.

Like most magical girl shows, Winx Club starts with the main character making friends with one of the girls who will eventually become part of her magical girl squad. This brings us back to Miraculous.

Did you ever find it weird that Origins implies that Marinette has no friends? She doesn't even have a backbone until new girl Alya shows up to become Marinette's First Real Friend:

Marinette: I so wish I can handle Chloé the way you do. Alya: You mean the way Majestia does it. She says all that is necessary for the triumph of evil is that good people do nothing. (pointing at Chloé) Well, that girl over there is evil, and we are the good people. We can't let her get away with it.

This is a bizarre opening because Miraculous is not about Marinette making friends or learning to stand up for herself. If you skipped Origins and just watched the rest of the show, then you'd have no clue that Marinette wasn't close with her classmates before this year. You also wouldn't know that Alya was new in town and you definitely wouldn't know that Marinette had never stood up to Chloé before this year. So why is this here? Why waste screen time setting up elements that aren't actually important to canon?

Miraculous did it for the same reason that Winx Club did it: magical girl shows traditionally start with the main character making friends with at least one of her eventual female teammates because Magical Girl shows are all about the girls and their relationships. The boys are just arm candy.

But Miraculous isn't a magical girl show. The writers have explicitly stated that it's a rom-com and romantic comedies aren't about female friendship. They might have female friendships in them, but that's not where the focus is. The focus of a rom-com is on the romance and Origins is very clearly all about the romance.

Origins as a Rom-com

Origins has a lot on its plate. It has to establish the villain's motivation for the first time, show us how the heroes got their miraculous, show us how the heroes first met on both sides of the mask, show us how they met their respective best friends, and show us how the heroes dealt with their first akuma. It would be perfectly understandable if this 40 minute two-parter didn't do anything with the romance. They have a full show to give us that!

In spite of this, Origins has some incredibly touching moments for both Ladynoir and Adrienette because romance is the heart of Miraculous. It is the main focus of the show. The driving motivation for both of our leads and the majority of the show's episodes. To tell the story of how their journey started without at least one of them falling in love would feel wrong. That's why we see both of them fall in love!

First we get Chat Noir giving his heart to his bold and brilliant lady, then we get Marinette's heart being stolen by the shy sweet boy who never once thought to blame her for her snap judgement of his character. We even get a touching moment where Chat Noir inspires his lady to accept her role and be Ladybug, leading her to boldly face their enemy and call him out:

Roger: I have a new plan, unlike you! Move aside and let the pros do their thing. You've already failed once! Ladybug: …He's right, you know. If I'd captured Stoneheart's akuma the first time around, none of this would have happened! I knew I wasn't the right one for this job… Cat Noir: No. He's wrong, because without you, she'd no longer be here. (they look at Chloe) And because without us, they won't make it, and we'll prove that to 'em. Trust me on this. Okay? Ladybug: Okay.

I love this moment, but it does lose a little of its power when you remember that we had an Alya-driven variation of this exact same thing five minutes prior:

Alya: HELP!! (Marinette suddenly gets filled with courage. She gets the case out of Alya's bag and puts on the Miraculous. Then, Tikki appears, happy to see Marinette again.) Tikki:(raising her arms) Mmmm! Marinette: I think I need Ladybug! Tikki: I knew you'd come around! Marinette: Well, I'm still not sure I'm up for this, but Alya's in danger. I can't sit back and do nothing.

This scene initially confused me because - if Miraculous is a rom-com - then why would you make Alya the reason that Marinette became Ladybug? Why wouldn't you have Chat Noir be the one in danger so that Marinette chose to fight because of her love interest and then encourage that bond with the later scene of him encouraging her? Why split the focus like this? Why give Alya so much attention?

In case you haven't figured it out, it's because Origins is trying to establish two different genres of show. Two genres that will continue to fight for the rest of the series (or at least the first five seasons).

Magical Girls Vs Rom-com

Why is Alya the one to shake off the nightmare dust and inspire the others during the season five finale? Why is Alya the one that Marinette trusts with all of her plans while Chat Noir is kept in the dark? Why does Alya and Marinette's friendship get so much more focus than Adrien and Nino's? Why was Alya the only temp hero who got upgraded to full time hero?

It's because Alya is Marinette's second in command in a magical girl show and magical girl shows focus on female friendships while the boys are just there to be cute and support the girls.

Why do most of Marinette's talks with Alya focus on Adrien? Why is Chat Noir the only other full time holder of a Miraculous for the first three seasons and then again for the final season? Why do Marinette's friends become more and more obsessed with Adrienentte as the show goes on? Why is the love square's identity reveal given so much more narrative weight than any other identity reveal?

It's because Miraculous is a rom-com and the love square is our end game couple, so of course the story focuses on their relationship above all else!

Are you starting to see the problem?

Circling back to our original question: no, it was not unreasonable for the fans to expect that the Alya reveal would have massive negative consequences for Ladynoir. That is what should happen in a rom-com and Miraculous is mainly written like a rom-com. But the writers are also trying to write a magical girl show and, in a magical girl show, Alya and Marinette's friendship should be the most important relationship in the show, so it makes perfect sense that the show treats the Alya reveal as perfectly fine because the Alya reveal was written from the magical girl show perspective.

When it comes to Miraculous, if you ever feel like a writing choice makes no sense for genre A, re-frame it as a thing from genre B and it suddenly makes perfect sense which is fascinatingly terrible writing! It's no wonder there are people who hate the Alya reveal and people who will defend it with their life. It all depends on which genre elements you've picked up on and clung to. Neither side is right, they've both been set up to have perfectly valid expectations. Whether those expectations are valid for a given episode is entirely up to the mercurial whims of the writers!

How Do We Fix This Mess

At this point, I don't think that we can, the show is too far gone, but if someone gave me the power to change one element of Miraculous, that element would be this: scrap both the magical girl stuff and the rom-com stuff and turn Miraculous into a team show where the friendships transcend gender.

At this point, I've written over a quarter of a million words of fanfic focused on these characters (the brain rot is real) and one thing I've discovered is that it is damn near impossible to keep Adrien and Alya from becoming friends. They're both new to their school while Marinette and Nino have gone to the same school for at least a few years. Alya and Adrien are both obsessed with Ladybug plus Adrien is a natural hype man who loves to support his friends and Alya loves to talk about her blog. Alya is dating Adrien's best friend. On top of that, Alya, Adrien, Nino, and Marinette are all in the same class, meaning that they pretty much have to be spending time together five days a week unless French school don't give kids a chance to socialize or do group projects. If so, then judging them for the first issue, but super jealous of the latter.

Given all of that, why in the world is does it feel like Alya is Marinette's close friend while Adrien is just some guy who goes to Alya's school? Along similar lines, while canon Marinette barely talks to Nino, I've found that Marinette and Nino tend to get along smashingly, especially if you embrace the fact that they have to have known each other for at least a few years.

If you embrace this wider friendship dynamic and scrap the girl squad, replacing it with Alya, Adrien, Marinette, and Nino, then the fight for narrative importance quickly goes away. It's no longer a question of is this episode trying to be a magical girl show or a rom-com? Instead, the question is: which element of the friend group is getting focused on today? The romance or the friendship?

A lot of hero shows do this and do it well. I think that one of the most well known examples is Teen Titans. That show has five main characters and the focus is usually on their friendships, but there is a very clear running romantic tension between the characters Robin and Starfire with several episodes giving a good deal of focus to their romance. I'd say that this element really starts in the show's the 19th episode - Date with Destiny - and it all culminates in the movie that capstones the series: Trouble in Tokyo. The character Beast Boy also gets a romance arc and, while it's more short lived, it's further evidence that you can have strong romances and strong friendships in the same show and even the same episode. You just have to own the fact that boys and girls can be friends with each other, a very logical thing to embrace when your show has decided to have a diverse cast of heroes instead of imposing arbitrary gender limitations on its magical powers.

I couldn't figure out a way to work this into the main essay, but it's relevant so I wanted to quickly point it out and give you more to think about re Origins. Have you ever found it weird how Origins gives both Adrien AND Marinette the "I've never had friends before" backstory and yet wider canon acts like Marinette has this strong amazing friend group while Adrien doesn't seem to care about making friends and instead focuses all his energy on romance? Why give both the protagonist and the supposed deuteragonist this kind of origin if it's not going to be a major element of the show? It makes so much more sense to only give one of them this backstory and then focus that person's character arc on learning about friendship.

#ml writing critical #ml writing salt #adrien deserves better #marinette deserves better #alya deserves better #nino deserves better #My queendom for a team show #I was promised a team show!#Why even give the boys powers if you don't want the boys to have screentime?

883 notes · View notes

roboticchibitan · 6 months

Text

Okay, I've made enough "blease knit gauge swatches. Swatchless projects killedy family" posts. This post is an informational post a out gauge swatches. It will mainly be written in knitting terms because that is my main craft but it applies to crochet too. Even if you're an experienced crafter, you might learn something from this post. I talk about different reasons to make a swatch and some reasons a swatch might lie to you.

What is gauge?

Gauge is the size of your stitches, ie how wide and tall they are. It can be affected by the way you hold the yarn, your tension, and your needle/hook size. In knitting the style you knit can affect this, with the tendency being that English style is usually, but not always, tighter than continental. When I went from knitting English style to knitting Norwegian style, my gauge drastically changed to be much looser.

What is a gauge swatch?

A gauge swatch is a small piece of work that you use to measure your stitches per inch and rows per inch gauge. "Standard" gauge swatches are 4in/10cm squares, but often you'll see different sizes, especially for lace patterns that have you test knitting a certain chart or stitch

Why do we make gauge swatches?

We make gauge swatches to check if our gauge is the same as the pattern designer's gauge. Because you want your gauge to be the same as the pattern designer's so you know your size XL sweater will actually be size XL or your six foot in diameter shawl will actually be six feet across. Or that your airy and beautiful lace will actually be airy and beautiful and not too dense or too loose.

We also might swatch if we are substituting yarns. For example, a blocked lace swatch of wool will have different dimensions than a blocked lace swatch of pure silk because silk is less stretchy than wool. So if you are substituting fibers, you want to know that you'll like the finished item and might swatch a bit of the pattern before starting in earnest so you don't waste your time making something you'll be dissatisfied with.

There's also some differences between yarns of the same fiber and same weight. Some lace weight yarn is categorized as lace weight while being 600 yds per 100g, and some lace weight yarn is 800 yds or 1000 yds per 100g. So you should knit a swatch when substituting yarn even if they are the same fiber and weight if they are different yardage per gram ratios.

Do I always need to make a gauge swatch?

I talk a lot about the importance of gauge swatches but the honest answer is no, you do not always need to make a gauge swatch. If you are making something that doesn't require a certain size or airiness of pattern, like a bag or a simple scarf, you don't need to do a gauge swatch.

How do I make a gauge swatch?

Most patterns have a simple gauge listed, such as 22 stitches by 18 rows is 4in/10cm square in stockinette. However, some patterns have an "in pattern" gauge swatch or a separate pattern/chart for their swatch. So you cast on however many stitches (I often cast on a few more than the swatch calls for, but you don't have to), and knit that many rows in whatever pattern is specifed. If it's stockinette, knit stockinette. If it's "in pattern," locate the repeating part of the pattern and knit the designated amount of rows. If there is a separate pattern/chart for the swatch, knit as directed. Bind off. Don't measure on the needle, it will lie to you.

Then, you want to treat the swatch how you'll treat the finished object. If you're not going to block the finished object, measure it as is. But if you're going to block the finished object (and most things you should tbh blocking hides so many sins), you get the swatch wet, pin it out to shape, and then leave it to dry.

THEN! And nobody talks about this step for some reason and it's been the reason swatches lied to me in the past. Unpin it and let it rest. Different people give different time amounts for this resting. I'd let it rest at least three hours but some people recommend up to a week. The reason for this resting period is that many yarns, especially wool and other animal fibers, have elasticity to them. They'll rebound back a bit. Cotton and linen will have less rebound than things like wool. I'm not 100% sure where acrylic falls on that scale since I hate the texture of most acrylics.

OK I made and blocked the swatch and let it rest, what do I do now?

Now you measure! Does your stitches/rows ratio match up with the pattern designer's? Compare your gauge to the listed gauge. If it is different, you need to adjust needle/hook sizes. If your swatch is larger than the given measurements, your gauge is too loose and you need to go down one (or several) needle/hook sizes. If your swatch is smaller, your gauge is too tight and you need to go up one (or more) needle/hook sizes. At this point you can say "it's probably just one size up/down" and start your project, or you can repeat the entire swatch process. If unsure, repeat.

That's cool, can we see an example?

Sure! Here are two swatches I have pinned out.

I didn't follow my own advice about swatching and just started the Sapphira Lace Shawl on the recommended size 4 needles, but I got all the way through the first repeat of the body chart and then frogged the whole thing because my gauge was so loose you couldn't even see the pattern.

The Sapphira Lace Shawl has a separate pattern just for the gauge swatch and says "gauge is not important, swatch in lace pattern and use comfortable needle size to achieve airy lace that is not too holey." Too holey means that the stitches and yarn overs are so loose you cannot properly make out the pattern at all. That's what happened when I used size 4 needles.

The swatches you see here were knitted on size 2 (top) and 3 (bottom) needles. I knitted the bottom swatch first but was unsure if I liked the result so I went down another needle size and knitted a second swatch.

You'll notice the size 2 swatch is smaller and it's easier to make out the design. The stitches are smaller and denser, so the places where decreases and plain knit stitches are grouped together are easier to see. Versus the size 3 swatch where the stitches are looser and it's a bit harder to make out the design, though not impossible. On size four needled my stitches were so loose you couldn't really make out the design at all. With these swatches pinned out, I personally like the size 2 swatch better. However! That may change once I let the swatches rest for a while!

This yarn is an alpaca/silk mix. Alpaca is known for stretching out and not holding its shape. It's not ideal for lace. Silk is very good at holding its shape, but not very stretchy. I'm hoping together they make an okay yarn for lace because separately neither is my preference for lace. It was what I had on hand that was dyeable. Alpaca has some elasticity so it will spring back once I unpin it and let it rest. At that point, I may like the size 3 swatch better. I won't know until I get there.

I'll try to remember to post pictures of the rested swatches tomorrow to show if there's any difference. I might work up another swatch on size 4 needles to show what "too holey" looks like but that's more of a "how to knit lace" educational swatch than a "how to knit swatches" educational swatch so I might not bother.

That's it, that's the post. I'm sure my knitting mutuals will have comments and things to add so check the notes.

#v's fiber arts tag #gauge swatches #how to make a gauge swatch #knitting #crochet

1K notes · View notes

mochatsin · 21 days

Text

School Play

There’s another school play in which you act as the main lead because Simeon thought you’d be perfect for the role, there’s no need to cast anyone else (much to Asmo’s dismay). He’s seen your performances before, and you’re one of the easiest actors to work with compared to the brothers that constantly got their lines wrong during rehearsals. Simeon can get frustrated, and it seems that the brothers feel the same way, if not terrified of the angel’s sudden change in attitude as soon as he plays the director. You’re just relieved he’s not that way towards you.

Of course, who wouldn’t want to see a play written by Christopher Peugeot himself. The theme was a thrilling love story wherein the hero would have to go through a long journey to rescue the one they love, which was you. They would meet so many characters that would either support the hero or become an obstacle on his way to defeat the cruel lord that locked you up.

You’re the main love interest, and you sat on the side watching as everyone else in the room debated and fought each other on why they should have the main lead role, why they should be the hero who would rescue you. Seeing as how the atmosphere in the room is starting to have murderous intent, Simeon finally thought of a solution that would be fair to everyone. Draw lots.

That’s how you ended up with Solomon as your hero, and Barbatos acting as the main villain and the rest playing a support role. They either help Solomon with the journey or act as one of Barbatos’ minions to try to stop him from his advances. Everyone could only blame their luck, though to say that Solomon was happy about his part is an understatement. Meanwhile, Barbatos does adore the parts where he keeps you all to himself, however he does not enjoy the scene where he had to terrorize a town since Diavolo’s character, a commoner (which he loves to play), is one of the victims that the hero finds which eventually sets the tone of the play to move forward. It takes a lot for Barbatos not to run to his master’s side while he was acting out his death.

Solomon is always ready to rehearse his scenes with you, and when it’s about lines talking about you, Simeon is impressed at how quickly he can memorize them. But then again, if they’re all about how much he adores you then it’s not difficult to remember at all. Lucifer and the others hate playing supporting characters where they have to hear about how much Solomon loves you. It’s bad enough they had to play the role of helping him, but there are several minutes of dialogue with his character telling them how important you are to him and how he needs to find you quickly! It took several practice rehearsals for Mammon to say his lines without sounding so forced or annoyed at him when his role is to literally help Solomon through the journey.

Levi is quite happy with his role as the costume designer because there’s no way his envy wouldn’t flare up if he had to stand there and listen to that. That would’ve flooded the stage if he lost all control, so he decides to use headphones and blast music when it’s Solomon’s scene and only take it off once it’s you.

Satan would play the role of the narrator, and while he normally enjoys the part he got, it’s quite irritating that he has to tell the love story between you two, even if it’s merely a work of fiction. His claws threatened to tear holes into the script, but he kept himself calm and collected. They decided to put a leather cover binding to avoid that happening, and Satan actually likes how his own personal script looks like a book now.

Lucifer is questioning why Simeon would write such a piece, given how most lines are so sickening and romantic. The angel wanted to tell a tale of lovers that could overcome everything, though he omits the fact that he really did have you in mind when he was writing this. Maybe he projected a little too much of his feelings, but the play still had more elements regardless that a lot of the audience would be able to enjoy. The action, the drama, and the tension that could keep everyone at the edge of their seats.

What Simeon did not expect is for the brother’s self control to snap. Maybe he should’ve thought about that when he wrote down that kiss scene. It’s a page he kept between you and Solomon, as he knew that rehearsals would’ve been a disaster if they knew how the story would actually end. Of course he did ask for your permission, if this is something you’re comfortable with and he would rewrite the part if he needed. You don’t mind, and you understand why this was kept private.

So when the day of the play came, everything was going smoothly. At least according to Simeon’s high standards.

Solomon and Barbatos really do seem to play the perfect role. A good villain doesn't need to yell, it comes with the composure they bring in the story that sometimes people wonder if Barbatos is really acting. The fight scenes were also phenomenal whenever Solomon would use some sort of imagery magic to make it more realistic, sparkes and effects flying in the air as they fought until Barbatos eventually fled, claiming defeat but he will be back for you one day.

What the brothers thought was a successful play became something they dreaded when you and Solomon continued the scene. These were lines they’ve never heard before, and it doesn’t take a genius to guess where this was heading. Satan is furiously flipping through the script trying to see where this was coming from, but this part was hidden from the Avatars on purpose.

“Oh how I longed to hold you like this in my arms.” Solomon says as he pulls you in an embrace that lingered longer than the brothers would like while they watched from backstage.

“Did you truly miss me that much?” You say, meant to be a half tease to the hero as you returned the hug. It’s a romantic reunion that the audience has been waiting for.

“More than you could ever think.” Solomon sounds so convincing. He says his lines as if you two were truly apart for so long, that there’s disbelief in his voice like this was all a dream and he would wake up to find that his journey is not over, that you were still locked away. But he has you in his arms, and that’s all he needs to ground himself. “Each time I see the crescent moon, I’m reminded of the smile that graced your lips. It pains me whenever I turn to my side and realize that you’re weren’t with me.”

Solomon brushes the hair away from your face before cupping your cheek, looking at you so lovingly that you feel your heart skip a beat, almost forgetting that you’re acting out a scene. But to the sorcerer, he doesn’t need to act. “Tell me, will you grace me with those lips?” He asks, and that’s the cue for you to slowly lean forward to seal the deal.

“HOLD IT!”

Both if you freeze before turning back to see Mammon pointing the sword prop at Solomon. The sorcerer is confused, and perhaps a little irritated that his moment with you was ruined. It would’ve been a perfect way to end the play. “What are you doing?” Solomon asks with furrowed brows.

“That’s my line! Get ya grimy hands off em!” Mammon growled, taking a few steps forward.

“You’re not even supposed to be part of this narrative.” Solomon reminds the demon, warning him for ruining the scene.

“You claim that as so,” Satan says as he appears by his brother’s side in a puff of green flames, looking quite pissed. “How dare you rewrite the ending to your liking, and then use the Narrative as your shield. You should be ashamed of yourself, filthy thief.” the demon hissed as he threw the script he fashioned into a book across the stage. The brothers fully believed they were deceived with the script, and that Solomon had something to do with it.

The audience are now all captivated at the scene unfolding before their eyes as they watched the Narrator throw the book across. Perhaps the book told the whole scene, and that Solomon actually rewrote the ending according to his will since they assumed that script was an actual prop to keep the story going. “Was the hero actually manipulating the whole scene?” “What a crazy twist!” “Wait, so who's the real lover?” “Were they tricked to think that Solomon was the real love interest?!”. Whispers rang in the air as they were all made to believe this was still part of the play

That might be the only way for them to salvage what could’ve been a successful performance: to keep acting. Solomon reluctantly lets go of you before standing up to face the two demons. “I can’t believe you all would cause a scene, after all we’ve been through. After all they’ve been through.” Solomon says as he gestures to you, who is just as confused as the crowd.

“Ah, so you acknowledge our efforts and yet you get to keep them for yourself?” Belphie steps in on the other side of the stage, with Beel following behind him. “Kinda greedy isn’t it? Even greedier than him.” Belphie says while pointing at Mammon. That somehow got the audience to laugh.

“That’s pretty selfish too, and that’s coming from me!” Asmo finally chimes in, holding onto his tulle costume while he stomps into the stage. He wouldn’t let his brothers steal all the spotlight, and there was also no way he was going to let Solomon just kiss you like that on the stage. If it were him instead, you both would be the talk of the week! “Honestly dear, that’s quite a big low. Even for someone like you.”

Simeon is just thankful that Lucifer and Levi didn’t even chime in on this monstrous mess of a show, he has their pride and anxiety (respectively) to thank for. Despite the sudden improv show, it seems that it captured the audience’s attention… just not in the way that he hoped.

Solomon is now putting you behind him with a magic spell flaring by the palm of his hand. Nothing harmful, just something that’s more flashy than anything. The other demons are closing in on you both, trying to make up lines on why you should choose them. Of course, a fight breaks out and everyone in the audience cheered for whoever they were rooting for to win while you stayed behind and watched the chaos unfold.

It took one wrong spell after another for the boys to lay on the ground, groaning after Satan and Solomon’s stun lock spell collided into something bigger that it affected everyone in the stage except you since you stayed behind. You wondered what you could say or do to salvage this as the audience is watching intently on what happens next.

Thankfully, Lucifer finally steps on the stage, calm and collected as ever while he tries to avoid the groaning actors. He played as one of the Barbatos’ henchmen that Solomon defeated, so seeing his reappearance was definitely a shock to the crowd. You prayed that Lucifer has a plan on getting you out of this mess without ruining the play you all worked so hard for. Luckily, Simeon told him a few lines that could salvage the play and save you from the embarrassment.

He grabs your hand and kisses the back of it, a small smirk appearing on his face before he continues. “I’m here to collect you, under my master’s orders. It seems that he was right, that none of these heroes were ever deserving of your heart.” Lucifer says while he stares at his idiotic brothers with discontent, managing to stay in character just like you hoped. “Luckily, we don’t need to rely on cheap tricks and underhanded tactics.”

Solomon groans, rubbing his eyes profusely but his vision won’t focus yet due to the spell. “Don’t listen to them…” He says, desperately trying to reach out to you. Lucifer only lets out a low chuckle as he watches how pathetic the hero has become.

“Come with us, and we’ll be sure to prove them wrong.” His line is full of confidence with a slight mischief, and the crowd cheers as the lights go dark and the curtains drop, signaling the end of the play.

What should’ve ended in a happy love story became some sort of twist. People now assume the hero might’ve manipulated the scene which they find amusing if the good guy of the story was not who they pictured to be, and the villains may actually have a shot of winning your heart. It’s the talk of the school, and people are praising Simeon for writing such a crazy plot twist, which he finds a little frustrating since it’s the only part he didn’t actually plan. He’s not sure if he wants to thank the brother’s recklessness or not.

Even after Simeon explained the hidden parts that were reserved just for you and Solomon since he expected something like this could happen at the rehearsals, he never really anticipated that they would jump in the scene like that on the actual performance itself. Now he has to write another play in the future as many expressed their wish to see what happens between you and the dark lord Barbatos.

Needless to say, many of the brothers were strung upside down by their feet after the show.

#obey me #obey me shall we date #shall-we-date-obey-me #obey me lucifer #obey me mammon #obey me leviathan #obey me satan #obey me asmodeus #obey me beelzebub #obey me belphegor #obey me headcanons #obey me scenarios #obey me diavolo #obey me barbatos #obey me simeon #obey me solomon #i forgot to add luke omg

412 notes · View notes

cassiopeiasdaughter · 1 year

Text

gold rush

Theodore Nott x fem!reader

summary: loving Theo in secret was not something you had ever planned

word count: 5k

warnings: swearing, no use of y/n, no assigned House (reader isn’t a Slytherin tho :/ ), not proofread , alcohol consumption , sexual themes (but for like a sec)

ao3 & main masterlist

Stolen kisses in broom closets, hidden touches in-between classes, laying alone together in the astronomy tower or the room of requirement; that was your relationship with Theo.

A relationship his father, his peers, no one from the magical society he associated with would approve. Of course you knew that when everything started, and that is why you curse yourself now; minutes from the Ball all your friends are attending, dressed in a beautiful gown you picked, crying your eyes out for the love story you will never have with the person you want most.

But let’s take this from the start

You two have known each other since your first year, you met him on the train; a quiet boy, with curious eyes.

When you said goodbye to your parents and boarded the Hogwarts Express you were filled with excitement and fear. Overwhelmed by the many unknown faces you came across, you quickly ran to the first quiet room you could find and that is how stumbled across Theo. You were shy at first but introduced yourself.

“Theodore Nott”, he responded, with a tone too formal for a boy his age, that you think about it now and laugh.

He shared his sweets with you and you told him everything you knew about Hogwarts. Its founders, the architecture of the castle, the stories written about the Forest and the Lake. He showed interest, explained how the stories are fake and you shouldn't believe in everything you read but then, feeling sorry for spoiling your favorite stories and myths, he told you about the ghosts of the castle and their stories.

He said he wanted to be sorted in Slytherin, make his father proud; and secretly he wished you would be sorted there too so he would spend more time with you.

After arriving at Hogwarts, and entering the Great Hall you and Theo got separated, but you were too thrilled with everything around you to care. It was everything you had imagined and so so much more!

He was indeed sorted into Slytherin and for some reason you felt happy for him. He was quickly welcomed by the other Slytherins, the older seemed intimidating and the ones your age scared you just as much. But he didn’t mind them, he looked like he belonged there with them, laughing and introducing himself, making friends that would have his back.

You could not help but feel a sting of hurt inside you, not knowing why then. All that faded into nothing after you got sorted into your House. Laughs and cheers welcomed you as you sat at your table, shaking hands and hugging your classmates, you felt at home. Then the feast began and life took off quicker than you could have imagined.

As the years passed you and Theo barely talked. He was friends with people you never liked, or understood. You hated the way they thought themselves better than others, or how they would put your friends down, because of their House or blood status.

They never messed with you,maybe it was because you were quiet; insignificant to them, never talked back, not much of a threat. That is what you considered yourself.

Well, until things got bad.

One night after a study session with Hermione, in the library, both exhausted but content with yourselves, you stumbled across Theo and his friends, in the halls.

The usual came up, the word mudblood now something ordinary for you to hear. Everything went on as it always did, voices raised, stupid jinxes threat to be hexed, until Pansy decided she wanted to have more fun and cast an Incarcerous at Hermione.

“Get used to it mudblood, soon we will have you and your kind just like this”, she shouted.

The look on Hermione's face told you that for the first time in her life she was scared, felt defeated. The boys had stopped laughing and the expression on Theo’s face was unreadable to you; shocked and embarrassed?

You felt an anger you had not felt in a long time, not since the first time you heard about blood purity, Voldemort and his beliefs; face flushed and hands nearly shaking from anger you cast and Expelliarmus at Pansy and then sent a Bombarda her way that had her flying across the hallway.

After casting a Finite Incantatem and freeing Hermione you went up to Pansy, now being dragged up by Draco Malfoy and Blaise Zabini and shouted:

“How miserable and pathetic are you really that you have to act this way? Did your parents sell you off to a rich, pureblood wizard, Dumbledores age that you have to take it out on us?”

Pansys face changed many colours, before opening her mouth to shout, “How dare y-”

“Enough.” Theo cut her off, speaking for the first time that night. His voice serious and louder than you had ever heard it be.

“Come on, let’s go, curfew will begin soon”, Draco mumbled and they all left, Theo being the last one to walk away, his gaze fixed on yours, eyes speaking many things- none of them clear to you.

You paid more attention to him now, noticed the way he looked and acted. How he never raised his hand in class, but always knew the answer. He paid attention to many things simultaneously. He was a skilled wizard, that much you could admit; there was no spell in class that he could not perform, his potions always came out perfect and the way he flew was impressive.

He was also handsome, tall figure, brown messy hair, he would occasionally run his hair through, and green eyes you could get lost in forever. These things didn’t mean anything to you, of course not, you were just being honest and fair, he was smart and beautiful, but also a Slytherin and member of the Sacred 28.

Beginning of 6th year, some teachers agreed to take certain measures to deal with House rivalry. One of them being, mixed seating charts. As if Slytherins and Gryffindors sitting together for one hour per day will be enough to end the Wizarding Wars that have lasted so many years.

Your ‘partners’ were students you were on good terms with, some of them your friends and others classmates you were mere acquaintances with. There was one class though, Potions with Slughorn to be exact, where you were seated with Theodore Nott.

At first you hated the idea, dreading the awkward hours you would have to spend with him, judging you for cutting up ingredients with the wrong technique or not stirring your potion thoroughly; all these thoughts made you feel inadequate and self-conscious.

But you decided to get over yourself, ignore Theo and his remarks as best as you could and study hard to prove yourself to him. And that would be 6th year for you. Oh how wrong you were.

You had decided, Tuesday was the worst day of the week. Too many classes, too much homework, far too many extra curricular activities you foolishly had decided to take up and worst of all the dining hall served your least favorite foods, all together that day.

Immediately after waking up, you looked forward to getting into bed, after a nice hot shower and relaxing until falling into a deep peaceful sleep; but unfortunately that would have to wait. First class of the day was History of Magic, and todays subject would be “the 14th Century Wizarding Economic Bubble” -as if anyone cares about this, you thought to yourself.

After many failed tries at focusing in class and pay attention at professor Binns, you gave up and let your mind wander to many distant places, how you would spend your weekend, when your next Hogsmeade trip would be and what items you couldn’t wait to buy from the shops there; suddenly you felt the person sitting next to you smacking your arm in attempt to wake you up from your daydreaming. You gave her a confused look and then heard Binns call out your name, you slowly turned your head to him with a guilty expression on your face.

“So she can hear, great news, doesn't everyone agree?”

A few Slytherins laughed at that, but he quickly continued and said: “Enough now, would you be so kind and answer my question?”

“I am sorry sir”, you stammered, “Could you repeat the question?”

“Very well, remind us please what event lead to the Economic Bubble of the 14th century.”

Fuck me, thought, you had no idea what the answer was, and couldn’t really improvise. You looked around the classroom, embarrassed and not wanting to look anyone in the eyes, and let out a curse of “ummmm”s and “give me a minute”s.

Then, your eyes landed on Theo, who was looking at you so closely that you wanted to Incendio yourself and escape this mess; he was judging how stupid you were, and at that thought you felt your cheeks heating, after a few seconds you realized he was mouthing something at you, the words “1378” and “Soap Blizzard” being repeated slowly and silently.

The Soap Blizzard of 1378 you realized, but couldn't bring yourself to say it. You didn’t like the feeling of being pitied by Theodore Nott that he helped you in class, and you also didn’t want him to think you needed his help or anyones for that matter.

You turned your head and looked at Professor Binns, calm now and serious.

“I don’t know sir.”, you exclaimed, eyes blank and looking forward.

“I’m sorry to hear that, that will be 5 points from your house, mister Longbottom, care to answer the question?”

Class continued, but Theos eyes never leaving your figure, looking puzzled and disappointed.

Your last class of the day had finally come; Potions. Professor Slughorn had explained to you the method to create todays potion and it was your turn now to brew it.

You were chopping up dragon scales when Theo, interrupted you;

“You should cut them up a little smaller, like this.”

“Nott, I don't remember asking for your input. Brew your potion and let me brew mine.” you answer annoyed, picking up from where you had left form, ignoring Theodores advice (even if it was correct).

He scoffed and said “I just wanted to help, but you are so bloody stubborn that-”

“That what? I don't need help from you, I don’t want to owe you anything and I don't even trust you.”

“Impossible, that is what you are.”, he said with a sigh

“Excuse me, have you given me any reason to not be cautious around you? Do you remember who your friends are and what pretentious bullshit you believe in? Superficial, that is what you are.”

“And you are not superficial? You don't know me, yet you judge me for my friends and my family.”

“Better than judging you for your blood status.”

“I never-”

“Mr. Nott, if I may disrupt this interesting conversation with your classmate, your potion is fuming and the noise you are making is distracting the rest of your classmates, please now, stop chatting and continue.”, Slughorn said, not in the mood to put up with loud teenagers.

You rolled your eyes at his “Yes, of course sir. We apologize” and then resumed your work.

Your interactions with Theo shifted from utter silence to snark remarks, him calling you “a stubborn and pompous witch” and you responding with the occasional scoff, eye roll, threat to jinx him or all three.

Unfortunately came the day when Professor Slughron assigned you to brew “Dreamless Sleep Potion”, a difficult task that you had to complete with Theo. This meant you would have to spend most of your free time, two or three days a week with him, but at least your chances at perfecting this potion were extremely high.

The first few weeks you didn’t really talk to eachother, just did what you had to do, kept notes and then bid each other goodnight. Then you realized he could be civil if he wanted to, so you talked about basic stuff; bonded over the boring classes you hated, complained about Transfiguration homework and discussed Quidditch games. After a few more weeks, he began walking you back to your dorm, not wanting to disrupt the conversation you were having and you let him.

One night, both of you sat at a classrooms floor facing eachother, exhausted from the worked you had done, you asked him a question.

“You are nothing like your friends, w-why are you even friends with them?”

He looked at you and smiled, then looked back down at his fingers and toyed with the signature Slytherin ring her always wore.

“We are more similar than you think”, he says playfully.

“You are a bigger asshole than you seem or are they kinder than they look?”, you answer, not backing down, challenging him with sparkling eyes.

“So I am kind?”, he smirks avoiding the question.

“Shut up.”, you roll your eyes smiling.

“They are my family, they- they mean more to me than my real family does. I can't leave them, don't really want to.”

You turn your eyes to look at him closely, disappointed by his answer, but you have to admit that you understand him. Your friends are like family to you too. You don't know what you would do without them.

You then feel guilty, you have heard of Theos situation; his mother having passed early on, giving birth to him, his father being a bitter man, who blamed his son for his wife's death. Escaping that situation and finding people who love him and have his back, no matter what, at last you don't find it that odd- him being friends with them.

“Makes sense”, you say, sincerely.

You walk back together that night, silence settling on you two, but not the awkward one; the peaceful one, where you are content and relaxed with the other person, just by being around them, not needing noise to fill out the void between you two.

You think about him as you doze off in bed and the thoughts put a smile on your face.

Ravenclaws knew how to throw a party. Maybe it was because of their ridiculously expensive and rare alcohol, or their choice in music. Maybe it is because their Common Room looks absolutely insane lit up and full of teenagers getting drunk and dancing like crazy; either way Racenclaw parties are a must. That is what your friends tell you. For one night students put away their differences and get absolutely smashed together.

And that is how you ended up on a Saturday night, with a glass of firewhiskey in hand bobbing your head to the Weird Sisters and other rock bands.

“I am going to get a refill.”, your friends shout at you

Not bothering to open your eyes you shout “Alright”, and keep dancing. Moving your boy to the beat and feeling the music has always been something that you sought out. The freeing yourself aspect of it is what you love most; for once not caring what you look like or what others think of you.

After a few minutes of waiting for your friends and not finding them, you go to look for them. The room is dark and they are pretty drunk so you don’t blame them for disappearing. Instead you bump into a certain Slytherin you wished to see.

“Hello!” You shout out to Theo, smiling up at him, alcohol fueling you with courage, “decided to leave your lair for once?”

He laughs at that and replies “I was forced to come, this isn’t exactly my scene.”

“Oooh don’t tell me the Theodore Nott is too cool for a party like this” you say playfully, voice teasing him “are you more of a Ministry Ball type of man?”

He makes a face at that and says “Hate those even more actually”, “I just like something a bit more quiet”

And maybe it was the alcohol, or the fact that you were both alone and you can forget your differences for just this moment, but you extend your hand to him and say, “Come on let’s go outside”, and maybe for the same reasons as you, he accepted.

He let you lead him outside, at a quiet space looking at the night sky.

You both remain quiet for a while, savoring the silence and serenity of the night.

"You were the first person I met.", you say softly before turning to look him in the eyes, "In Hogwarts, out first day, we spent the train ride together."

"You remember that?", he asks surprised

"Of course I do.", you answer "I was terrified when I stepped on that train. I-I was so scared that this image I had created in my mind about Hogwarts would turn out to be nothing like I had thought."

He looks at you, waiting for you to continue, to open up to him.

"I thought everyone would judge me and hate me- no one would ever truly accept me. Not even here.", you continue, staring at his eyes, voice filled with complain.

"But I stumbled across you and you were kind and you listened to me babble about Godric knows what. But you-you didn't make fun of me and you stayed with me. And all those years I've wondered if-if you did that out of politeness and perfect manners or-or because you liked me- my company.", you laugh at the end, embarrassed. Your cheeks have grown red and hot and you can't look him in the eyes anymore.

"I am babbling still, nothing has changed after all these years."

You curse yourself for revealing all that to him, lowering your walls- letting him in. You don't know why you trust him, or if you should. Preparing yourself for the awkward response he will give you even better if he says nothing and just leaves, you think.

"I did like you", he says and snaps you out of your thoughts. You feel his hand on your shoulder, turning you to him.

You face each other now and his hand comes up to your jaw, thumb lightly stroking your skin.

"I do like you" he says, barely a whisper. And it stirs something in you, to slowly tip your face to his and he does the same.

You kiss each other, gently, as if both unsure and afraid to step into this new territory with eachother. But as time goes by you relax into the kiss, eyes closed, his hands in your face your at his shoulders; keeping close to one another. You let out a sound as you feel him open up your mouth, tasting you as he deepens the kiss.

You let go after a while, both out of breath

"I should get inside, I need to find my friends.", you say apologetically

"Alright, yeah, and I think I'm calling it a night.", he says, lips red and swollen, and hair a bit messed up from earlier.

You reach up and give him a quick kiss, sweet and filled with things you can yet put into words, "Goodnight." you whisper and he responds smiling "Goodnight.".

The next time you talk to him is at your Potion-brewing-dates in an empty classroom. It is a few hours after classes have ended. It is dark outside and you can hear the rain pouring outside.

You couldn't stop thinking about him after the kiss. Going to bed, with your hands inside your underwear pretending they are his, and the image of his face after you kissed him, glassy eyes and maroon lips.

You rush to the class you are supposed to meet him, a few minutes late- not something you typically do.

You open the door hastily, and say "I am sorry I am late."

He is waiting for you, arms crossed at his chest defensively, legs straight in front of him, back leaning on the wall, "It's alright.", he responds. "Shall we?", he points to the ingredients at the table.

You nod and get to work. Falling into silence both busy with what you are doing.

After an hour, while waiting for the potion to brew you are found sitting down, your legs crossed and arms leaning on top of your knees; his back being supported by the wall across from you while his legs are sprawled out in front of him.

You look at eachother, both silently daring the other person yo make the first move- say something about the kiss- or anything at all.

You are the one to break the silence, "Do you regret kissing me?", you ask scared.

"No.", he responds and then asks, "Did you hate it?" now him being the one to sound scared, self-conscious, not typical of him.

"No", you respond by shaking your head, and then having found the courage you ask what you most want to know, "Do you still like me?"

"Yes." he exclaims, with a sigh, not comfortable with sharing his emotions, being this vulnerable with someone.

You smile and then move to straddle him. "I like you too.", you say.

His body is now between your legs and your hands find purchase on his shoulders as you kiss him deeply. He sighs and closes his eyes as he kisses you back; his hands roaming down your back, tugging and holding you close.

You stay like that, kissing and eliciting sounds out of one another, until the noise the potion makes after being brew scares you and you have to pull back. You laugh at eachother, Slughorns assignment completely forgotten.

You both get terrible grades in Potions, but couldn't care less.

After that, you can't get enough of eachother, always craving each others touch. He drags you into empty broom closets and kisses you in between classes. You sneak out and meet him at the astronomy tower, holding back noises every night- not wanting to get caught. after Quidditch matches he pulls you into the showers with him; one hand on your mouth and his other inside of you.

He knows you now. Knows exactly what to do in order to drive you insane, get you to lose control. Savors the sounds you make as he whispers praises in your ear every time he moves inside of you aor when he kisses the spot underneath your ear. You love how he orders you to open your eyes and look at him everytime you come undone, because of him.

But you also know how to turn him into clay, what buttons to push to make him lose himself to you. You know now, that it turns him absolutely crazy when you turn your eyes to look into his when you take him in your mouth and you love to feel his reactions when you say his name as you move with him inside of you.

You are his and he is yours, but only in secret.

You lay on top of him now, face nestled on the spot under his jaw, breathing him in, your hand drawing patterns on his chest and his hand running up and down your spine.

"We should get going." he says, with his eyes closed and with a smile that still hasn't left his face.

You always hate it when this moment comes, how you have to go back to acting like strangers, not saying anything when he sits next to you in class, or when his friends are around.

You hate the anger you feel when you see him talking to other girls, knowing you have no right to these feelings, because you have chosen this. This, being something you don't even know how to call.

"Why do you even care? We are just fucking", you had shouted one night, angry at him for showing he cared when he found you crying in an empty classroom over something ridiculously insignificant. You knew it wasn't true later that night; your back hitting the bookshelves as he took you over and over again, with his voice in your ear whispering "you are mine" over and over again until you came.

You remember that now, as you are dressing up and getting ready to leave him and it hurts how you are only his here, closed off from the world and the people that clearly mean more to him than you do.

"The Ball is next week.", you say, hopeful he will skip it or jokingly ask you to go with him.

"Yeah, you have a date yet?", he asks as he puts on his tie.

"No, you?", you respond, curious and hoping- wishing for him to say no.

"I think I'll go with Daphne", he replies and continues after pausing to look at your reaction to his words. "It's like a tradition".

"Oh.", is the only think that comes out of your mouth. You hate yourself for feeling like this, second best, not even a choice you realize. You are just something for him to play with in his free time.

Eventually he will grow bored of you and move on with a girl his father approves for him. Someone like Daphne, rich, pureblood, a Slytherin, with great manners and parents who raised her to be proper and civil.

The worst thing is that Daphne is actually nice. She has never said anything bad about other Houses, made comments on blood purity, she is smart and beautiful and kind. She is someone who would make Theo happy and that makes you sick.

As you walk over to the door, ready to leave him and run straight to your dorm room and cry your eyes out he asks, "What is wrong?"

“I don’t want to do this anymore.”, you exclaim loudly, trying to convince yourself as well as him.

“Don’t do this, not over something so stupid like the Ball.”, he says, startled after what you just confessed.

“It isn't about the Ball, I can't feel like your whore Theo, I want something more. You don’t get to have your fun with me and then hide me away, like there is something wrong with me.”, you say crying now, hating yourself for letting your emotions show.

“Like you would be proud to be with me around your friends? The ones who call me and my family Death Eaters?”, he replies annoyed and shaking his head.

“Are they wrong? Have you seen the way you and your friends treat them? Treat anyone who isn't a pure blooded Slytherin? Have you thought that maybe, everything you have been told in your life needs to be thought, checked? That you need to rethink your values? You can't stand and do nothing when people have died because of your beliefs!”, you shout at him, knowing that not everything you are saying is true. You know you are being unfair and hurtful; but you want him to also feel the ache in your chest.

“You knew who I was before we started this, why did you start this with me? Did you think you would change me? Fix me? Did you think I would drop everything to be with you? Well, I will not.”, he says. His voice is stern and cold, as if you two are strangers once again.

“Fine”, you say, “Goodbye.” you shout walking away, not bothering to look him in the eyes.

The next few weeks are unbearable.

Every time you see Theo you feel your insides turning, your heart leaping out of your chest, tearing into pieces. You see him laugh with his friends, with other girls, acting as if nothing has changed in his life. As if what you had was minuscule, meaningless. As if you were just another girl, disposable.

You feel betrayed, mostly by yourself, for allowing you to let him in, trust him, trust that what you had was as important to him as it was to you.

And what did you have?

Stolen kisses in broom closets, hidden touches in-between classes, laying alone together in the astronomy tower or the room of requirement; that was your relationship with Theo. A relationship his father, his peers, no one from the magical society he associated with would approve.

Of course you knew that when everything started, and that is why you curse yourself now; minutes from the Ball all your friends are attending, dressed in a beautiful gown you picked, crying your eyes out for the love story you will never have with the person you want most.

Your friends forced you to dress up, snap out of whatever was happening that you didn’t want to tell them. They helped you fix your hair, put on makeup and jewelry, get a beautiful gown from Hogsmeade; all ready. Dance, drink and forget; that is what they told you.

Dance, drink and forget, then; that is what you will do.

As you enter the Great Hall, Theo is nowhere to be found. Good, you think, for all you care he could sulk on his own, down at his pathetic common room, with his depressing friends.

While heading to the dance floor you spot Daphne Greengrass swaying with Blaise Zabini, odd you think but decide to ignore any more thoughts that could lead to Theo.

You hug your friends after you find them and let them lead you to the dance floor.

You laugh and sway to the music, carefree, until you see him enter. His hair is messed up and his tie is tied up as if he did it in a hurry.

When he sees you he comes running, bumping into classmates on the way to you, shouting apologies left and right.

He stands before you now, breathing heavily, pupils blown out, skin flushed, hands moving nervously. You realize he isn't wearing his ring and that confuses you even more than him, standing here, in front of you and the whole school.

“I was wrong”, he says, looking at you sincerely, his green eyes sweet and kind once again.

“About what?”, you ask thunderstruck, afraid to move or speak, scared that everything will disappear.

“I would drop everything for you, I-I will do it. Ask me anything and it is yours. I am yours.”, he confesses.

And you want to tell him to stop, take it all back, he can still pretend nothing is going on between you, he doesn't have to ruin his life for you. Because no matter what you think of his friends and family, he loves them and they make him happy. That is all you want for him, to be happy.

“No Theo, you don't have to do this. I don't care about it anymore, I am sorry we fought. I am sorry, you were right; I was jealous and insecure, but it doesn't matter now. I just want you to be happy, and I don't care anymore if they make you happy and not me. I can live with that.”, you say to him. Hoping he understands how you feel about him, that you love him, truly.

“You. You make me happy. And I want to be happy with you, I don't care who sees, I don't care what they say. I want everyone to know I love you. I want them to know”. he says, smiling and holding your face in his hand, gentle and steady.

You can only smile and say “I love you too.”

And you don't see Pansy smacking Draco in the arm and then pointing at you; or your friends coughing up and spitting out their drinks. You don't see Daphne Greengrass whispering I told you to Blaises ear.

No, you don't see all that, because you and Theo kiss eachother for the first time after all those weeks, and it is as if you two are the only people in this world.

fin

SORRY FOR MISTAKES, I WAS TOO BORED TO READ THIS AGAIN AND ENGLISH ISN’T MY FIRST LANGUAGE.

feedback and criticism are appreciated and needed!

divider by: @saradika

#theodore nott #theo nott #theo nott x reader #Theo nott imagine #harry potter fanfiction #Theodore nott imagine #theodore nott x reader #hogwarts #yule ball #kind of

2K notes · View notes

pikahlua · 6 months

Note

"A deuteragonist has a very different role in the MHA and that is a whole other post ."Can you please write this article? I am tired of Bakugo being constantly downplayed. There are very few people who understand his character and role in the story as well as you do.

Haha I mean hehe it's just hoho I never said fufu that Katsuki is the deuteragonist guffaw shucks haha I mean come on snort why are you putting words in my-

Katsuki Bakugou is the deuteragonist.

Katsuki Bakugou is the deuteragonist

"Of course you would say that. You're a Katsuki Bakugou stan! You are invested in inflating his importance in the story because you love him." - some people, probably

No. If that were true, I would be arguing Katsuki Bakugou is the protagonist. But I'm not.

Because Katsuki Bakugou is the deuteragonist.

It's not that I love him and therefore assert that he's the deuteragonist. I love him because he's the deuteragonist (plus many other reasons). He is an archetypal familiar shounen hero made interesting in part by the fact that he is NOT the protagonist and deliberately written in the deuteragonist role/function, and I will go into visceral detail about this momentarily.

I promise you I don't go around in other fandoms arguing my favorite non-main character is the deuteragonist. I fully embrace whatever role it is they play in the story. YOU WILL SEE THE EVIDENCE OF THIS VERY SOON, FOR EVERY CHARACTER IN MHA.

What is a deuteragonist?

A deuteragonist is a story archetype. They are the second-most important character in a story (which is a vague as hell definition). They are often known as the "secondary main character."

That's it. Everything else one might say about a deuteragonist is just a sub-archetype.

A deuteragonist can be a sidekick, a love interest, a rival, an antagonist, or even a neutral party. They are often, not always, written as foil characters to the protagonist. They often, not always, provide a different and yet similar outlook to the protagonist's. Their utility in a story can be quite varied. Sometimes they support the protagonist, and sometimes they oppose the protagonist. Often, they are used to help the protagonist complete their character arc.

Sometimes, there can be more than one deuteragonist.

What the hell is a deuteragonist?

The problem is, the function of a deuteragonist can change just depending on the type of story we're talking about. A deuteragonist in an ancient Greek tragedy (theatre), where the term originally came from, won't necessarily function the same way as a deuteragonist in a 2-hour contemporary movie. Things get even more complicated when we're talking about a TV series, a book series, or a comic book series in which the cast becomes so large we're likely to see MULTIPLE deuteragonists.

My Hero Academia, like many long-running shounen manga, has an ensemble cast. Would you be surprised if I told you My Hero Academia not only has multiple deuteragonists, not only has multiple antagonists, but also has multiple protagonists? Because it does!

Sometimes people wanna divide MHA into three or four acts and make the claim that the deuteragonist changes from act to act. I say they aren't going far enough. MHA is divided into arcs, and each arc has its own protagonist and antagonist and sometimes even deuteragonist. This is a STAPLE of ensemble cast shounen manga, where often there will be so many characters they get grouped off into trios (or more) and one among them will be the group's designated protagonist.

Sure, in most MHA arcs, Izuku is the protagonist. But he's not always. Who is the protagonist of the Pro Hero (Endeavor vs Hood) arc? Who is the deuteragonist? It's not Izuku and Katsuki; it's Endeavor and Hawks! What about the protagonist in the My Villain Academia arc? Tomura. The Hero License Supplementary Course arc? Katsuki and Shouto (who can't seem to decide if they're co-protagonists or protagonist and deuteragonist and who is which). The Overhaul arc? Izuku is the protagonist and Mirio is the deuteragonist. Some arcs really play with these roles or make it unclear who is playing which role or if the role even exists.

What is a deuteragonist in My Hero Academia?

So if we have a bunch of protagonists, does that mean the most important one is the series' overarching protagonist and the one second in importance is the deuteragonist? It COULD be, but it's not necessarily true.

There aren't that many arcs where Izuku is not the protagonist. If we look at the number of arcs where someone else is the protagonist, following the above logic, we could end up with All Might or Endeavor as the deuteragonist. Maybe some people would earnestly make the argument Endeavor is the deuteragonist--I don't know, I haven't met those people I guess. The problem with this approach in my eyes is that it entirely discounts the deuteragonists of each arc. Would it not follow that the overarching deuteragonist is the character who has played the deuteragonist in the largest number of arcs? What if that character is different from the character who has played protagonist the second-most number of times? And this is to say nothing about if the protagonist or deuteragonist are the same as the antagonist in a given arc! It's difficult to weight any one character in this fashion particularly when you have an ensemble cast.

This is getting into the question of focus and screentime. How much should we weight this metric? Admittedly this one can also be complicated, especially when it comes to long stories with ensemble casts. The question is how much does screentime actually convey how much a character is the focus of a story, and does that necessarily translate to protagonist and deuteragonist? Because for many the question is: could the deuteragonist be an antagonist in MHA?

It just gets a little harder to argue someone besides Katuski Bakugou is the main deuteragonist the more Katsuki's screentime allocation looks something like this:

Okay, perhaps that exact size of gap is hyperbole. But there is a clear, measurable gap between Katsuki Bakugou and everyone else and I don't think anyone has ever disputed that. Please check out this post by @dekusheroacademia that has compiled some of these statistics (they also make some excellent points about evaluating the elements of a deuteragonist and how various characters fit or don't fit those characteristics).

Still, this is merely supporting evidence, not conclusive. I am well aware of the concept of a false protagonist, where someone appears to be the protagonist until later someone else is revealed to be the story's true protagonist. And while I've never seen a false deuteragonist where someone SEEMS to be the deuteragonist and is later revealed in a twist not to be (as opposed to the deuteragonist just merely changing NOT as a deliberate twist where expectations were set to be otherwise), that doesn't mean it can't happen.

Tangentially related, we could also potentially look at marketing as another piece of supporting evidence. It's not conclusive that just because Katsuki Bakugou is one of the most merchandised characters in the franchise that he is more important to the story than those who aren't, but it's still notable supporting evidence. After all, based on Horikoshi's marketing of his own story i.e. who he draws in which orientations on chapter and tankoban covers, or how he lists characters on character intro pages, we could easily come to the conclusion as casual readers that Izuku is the protagonist. There are many cases where one could conclude Katsuki is the deuteragonist based on such presentations alone. But again, I concede this is not conclusive.

So, if we set aside individual story arc roles, screentime, and marketing, what does that leave us with?

What is THE deuteragonist in My Hero Academia?

Even if we can determine Izuku Midoriya is THE protagonist of MHA based on things like the number of times he's protagonist in story arcs, his screentime, and marketing, I'll set those aside for the deuteragonist and see if there's something else that can help us here.

What element are we missing? The overall story.

Sure, we can break down the story into arcs and assign deuteragonists that way, but that's not getting us to THE deuteragonist. So let's start with the protagonist. How do we know Izuku Midoriya is the protagonist of MHA without considering the previous metrics? The way the story focuses on him. It is easy enough for anyone to recognize the characteristics of a protagonist in him from a functional perspective. He is a POV character. We hear his thoughts. He narrates the story. We see the story over the timeline of his character growth. His character arc coincides with the overall story themes.

I've talked many times about how My Hero Academia at its core is a story that explores the question: what is a hero? MANY characters explore this question, but the character who compiles these answers together and rounds them all out and grows and has his perspective change and exemplifies the moral is: Izuku Midoriya.

So let's go back to the functional elements of a deuteragonist. Remember those sub-archetypes? Well, in a shorter story with no ensemble cast, what do a sidekick, a love interest, a rival, an antagonist, and even a neutral party all have in common? They are defined by their relationship to the protagonist.

You see, in a story where all the characters interact with each other and converge on the major theme of the story, ALL characters are defined by their relationship to the protagonist. But in particular, the function of a deuteragonist is to supplement the story with what the protagonist needs FUNCTIONALLY. When is a sidekick the deuteragonist of a story? When the story focuses on the adventures of the protagonist and their sidekick. When is a love interest the deuteragonist of the story? When the story focuses on the developing relationship between the protagonist and the love interest (i.e. the romance genre). CAN a story with a love interest deuteragonist focus on their adventures and individual character development too? Yes, but sometimes the result is that the love interest is ALSO the sidekick...or the rival. When is the rival the deuteragonist? When the story focuses on the clash and growth between the rivals. When is the antagonist the deuteragonist? When the story focuses on the battle between them. NOTE that when I write this, I don't mean it focuses on the protagonist's adventure that culminates in them meeting the antagonist at the end for a battle. I am talking about when the BATTLE ITSELF is the main focus of the story. See stories like Silence of the Lambs or Death Note for a clearer example of what I mean, where the focus of each is on the psychological games the protagonist and antagonist play with each other. The point is, the story on a structural level, on a meta level, has to focus on these sorts of interactions to determine its deuteragonist.

Obviously this gets more complicated with a large story and an ensemble cast because you could have bits of the story where the structure changes and seems to focus on new things. That's why I pointed out that the more immediate protagonist and deuteragonist and antagonist often change in MHA depending on the story arc.

When I try to determine who is THE deuteragonist of the entire story, I have to look at the entire story. I have to ask myself what the story is about. So what is the story about? What is MHA about?

If you said MHA is about Izuku falling in love with Ochako, I'm sorry but you're wrong.

If you said MHA is about Izuku taking on All Might's mantle, I'm sorry but you're wrong.

If you said MHA is about Izuku defeating/saving Tomura, I'm sorry but you're wrong.

If you said MHA is about Izuku rekindling his friendship with Katsuki, I'm sorry but you're wrong.

MHA is about Izuku Midoriya (and most everyone else) learning what it means to be a hero.

It's in the fucking title. MY HERO ACADEMIA. The story is about Izuku's education (as it takes many forms) to learn what it means to be a hero.

So who is the deuteragonist in the story about Izuku Midoriya learning what it means to be a hero? The character who is second-most important in how Izuku Midoriya learns what it means to be a hero.

A lot of characters do teach Izuku Midoriya what it means to be a hero or at least some piece. But who is MOST IMPORTANT?

See, My Hero Academia is LONG. If we just focus on the parts of the story in which Izuku tries to learn from All Might or take on his mantle, we lose ARCS of the story. The same is true if we focus on his love life, or his rivalry with Katsuki, OR EVEN HIS BATTLE WITH TOMURA AND ALL FOR ONE. In the case of the latter, we're basically excluding HALF the story: the school arcs!

MHA is structured such that it alternates between what we colloquially refer to as "school arcs" and "villain arcs." And while exploring the question of "what is a villain?" is an important subset of the main theme, it is not the entire story. You can't just label all the school arcs as "filler" (because they're not) and chuck them out. Each story arc contributes to the lessons Izuku learns and the theme of the main story.

I can think of something every character teaches Izuku with respect to this theme. I can think of a lesson Izuku has taken away from every encounter and every story arc. But who ELSE is present in nearly every story arc? Who represents the foil to Izuku who allows us, the audience, to learn alongside them what it means to be a hero? Who learns the bits Izuku does not need to learn because he already exemplifies those answers in spades? Who represents the other half of the hero equation that Izuku is missing? Who has his own blanks filled in by Izuku himself? Who has played all the sub-archetypes of a deuteragonist for Izuku Midoriya, including antagonist, rival, sidekick, and even arguably love interest (replace with platonic interest for the rekindling friendship angle if you want so we don't have to go into that whole thing here please, I'm talking about the generic structural elements within a story more than anything)?

Izuku Midoriya cannot possibly have learned the fundamental lessons of what it means to be a hero without Katsuki Bakugou's character arc to supplement him. Katsuki Bakugou is an irremovable, integral player in demonstrating the theme of collectivism that informs the main story, not just for Izuku to learn it but for THE AUDIENCE to see it too. He is one half of "win to save, save to win." He is the standard shounen manga archetype who has to learn the value of teamwork/collectivism so that he can teach it to Izuku Midoriya and save him from himself. The story is structured in such a way that it resembles LESSONS for the characters to learn, and Katsuki's "education" in this respect is VITAL to the story, second in importance only to Izuku Midoriya's.

P.S. Is it actually taking away from Katsuki to call someone else THE deuteragonist?

Yes. I know some people don't want to have to say it that way, but it is. Based on a number of metrics, Katsuki Bakugou is most widely recognized as the deuteragonist. If there's a default answer to the question of who is the deuteragonist but you think the deuteragonist is someone else, then in order to be persuasive you must not only argue why you think your chosen character is the deuteragonist but why Katsuki Bakugou is NOT the deuteragonist. If you want to argue someone else is the deuteragonist, you are taking on that onus, that burden of proof. You have to disprove Katsuki Bakugou is the deuteragonist.

Are there other characters who fit the deuteragonist function at times? Yes! There are multiple deuteragonists! But if in spite of the multiple protagonists we're still able to call Izuku Midoriya THE protagonist of My Hero Academia, then we are absolutely able to call Katsuki Bakugou THE deuteragonist as well.

tl;dr MHA is about learning what it means to be a hero and Katsuki Bakugou's story is second-most important to that theme, which makes him the deuteragonist

#anon ask #ask pika #my hero academia manga spoilers #final showdown spoilers #katsuki bakugou #meta #deuteragonist #now just because i care does that mean i actually CARE?#no not really #think what you want you aren't doing anything to ME

150 notes · View notes

izzyhandslightofmylife · 9 months

Text

Official statement on why Izzy's death affected me so much

Our Flag Means Death, is, at it’s core, is a show that focuses on queer joy- a form of therapy for those that have been raised on queerbaiting, shipping minor side characters, or watching, when nothing else is available, queer tragedies. You know how it goes- the two main characters, both male, have chemistry. They say things to each other that seem weirdly like declarations of love. They look at each other with love in their eyes. You see these things and the main man gets married off to a badly written, unfinished female character and is left feeling empty. The best friend dies for the main character to live. When everyone talks about how cute the main couple are, you want to scream all of a sudden, because nobody can see this love story play out except you. It’s queer, it’s tragic, and nobody else can understand it.

Not Our Flag Means Death. From the moment it aired, it was praised as a show with unabashed queer joy, which means more than I can possibly say. The two main male characters meet, they have chemistry, and they fall in love. It’s not implied, or hinted at, but blatantly obvious. Their romances and the queer romances around them attracted so many queer fans who felt that after so many years, this type of show was a vindication for what they had been through with other media.

In this show, piracy itself was that of a found family. Though Stede Bonnet and the crew of the Revenge start off with many differences, the core of the show centers around a theme that many queer audiences are attracted to: found family. The Revenge was depicted as a safe space, where everyone could express themselves freely, a refuge from a world of judgment. Queerness was not only accepted but normalized on The Revenge. No homophobia, no coming out, no typical complications of queer romance. Just love and safety. Warmth, which was Ed Teach wished for in purgatory. Which was what he found on the Revenge. The ship was a safe space that so many queer audiences had dreamed of.

Well, a safe space except for one person: Izzy Hands, Blackbeard’s First Mate, who was a man painfully stuck in the wrong genre. This is the general consensus by both fans and the cast: Izzy, Edward and their crew had been in a gritty action movie, whereas Stede and his crew were in a muppet movie of sorts. While the majority of Blackbeard’s crew quickly acclimates to and celebrates the change, Izzy doesn’t.

And right away, many fans felt a deep attraction to Izzy. The reason that Izzy couldn’t get Edward to love him was because, in the end, the only way that Izzy knew how to love was through blood. To give and receive pain in an action movie is one of the greatest forms of love, but Izzy fails to realize that Ed is not in an action movie anymore. He is happy with this stability, and the reason that so many people felt Izzy’s presence so was strongly was that he wasn’t.

So many queer people are, in a way, addicted to tragedy. Tragedy is all that is represented in queer media for the most part, or was until very recently. Take Achilles and Patroclus, one of the most celebrated and recognized queer love stories of both ancient and modern times. Why that one? There are other greek love stories, many of them queer. The tragedy of it- Patroclus’ death and Achilles’ rage- made it all the more appealing. Many in the audience of Our Flag Means Death were not comedy fans, they were horror or drama fans, attracted to a comedy because of the love story. But Izzy, to them, was a physical representation of who they were, carrying an awareness of homophobia, of blood and pain that so many queer relationships had previously been illustrated by (i.e. Hannibal). Though Ed may not have understand this type of affection, the audience did- Izzy’s Otherness from the crew despite it’s safety, his expressions of love and his unrequited love story were all things that the audience were familiar with feeling.

If Ed and Stede were good queer representation, Ed and Izzy, for example, were a foil of that. They were evil, messed up, and fed into the worst parts of each other because it brought them closer. This is a theme present in a lot of queer media, and by extension, queer lives: “if you love me, Henry, you don’t love me in a way I understand”, is an excerpt classic queer poem about unrequited love that fits the situation. The very reason Izzy stuck in people’s heads because he was of a different genre. His grittiness and bitterness made sense to the audience. They saw Izzy and saw what was familiar. He was exquisitely written, simultaneously making even casual audiences both hate him, and against all odds, find him oddly endearing. The idea of this man sacrificing every inch of himself for an unrequited love was a concept of tragedy, leaking into a comedic show.

So fans projected onto Izzy. He was a catalyst for the heartache, for the audience’s sheer inability to have a happy show. For one reason or another, some of the audience simply couldn’t live with a show that was all fantastical, which I theorize is because they couldn’t see themselves in it. So Izzy became the epitome of queer suffering: pining longingly after another man that couldn’t understand him. This projection of suffering, however, led to a new wish: happiness for Izzy. If Izzy in Season 1 was a tragedy, assimilating him into the found family in Season 2 would have elevated the safe sense of the ship all the more. It would have proved to so many of these Izzy Fans that yes, even though you view yourself as unloveable, even though you see yourself as Israel Hands, Villain, even he can be loved too. Why can’t you be?

And Season 2, for the most part, delivered beyond our wildest dreams. Izzy had people who cared about him. And though the genre shifted into the darker, Izzy himself shifted slightly to the comedic side as well. His life, which had been centered for so long around a man that didn’t reciprocate his feelings, was gone. He started a new life, and this life, again, focused on queer joy. The queer joy from Season 1 was suddenly for everyone, even those like Izzy that couldn’t have understood it. He sang, he whittled, he talked about feelings, he dressed in drag. Many elder queer fans also saw Izzy as another metaphor, too: that queer joy can be attained overtime. You don’t have to have had it the whole time, but you can accept yourself even when you are older. The message of Izzy was one of resilience and stubbornness, one that the queer community needed to hear: that you don’t have to be like this, you don’t have to create pain for yourself. You don’t need to watch tragedies all the time. You, too, can heal from the past.

And then, the season finale happened. By this point, many argued that Izzy had stolen the show. Con O’Neil’s acting mixed with his general arc of self acceptance had made him a fan favorite. In the last episode, it is Izzy himself who sums it up perfectly, accepting that he belongs somewhere despite his pain and flaws. Despite the darkness within him, he was still accepted and loved. He says it right to the face of Prince Ricky, who thinks himself above it all. That piracy, a metaphor for otherness, wasn’t actually about being alone; it was about finding others that understood you when nobody else could.

Listen, this show is known for it’s nonsensicality. In the finale of Season 1, Lucius is thrown overboard by Ed and survives by simply swimming to another ship. Stede reunites with his crew by sailing a rowboat. Buttons turns into a seagull. Stede stabs Ed for a comedic bit. Earlier in the season, Izzy himself gets shot and survives. This queer joy show was celebrated for being, well, joyful. Even when things like getting thrown overboard did happen, they were, ultimately, a blip in the character’s journey towards acceptance, healing, etc, which was what made the show unique. Our Flag Means Death, whose audience had been living for years off of the “Bury your gays” trope, was adored because it illustrated a world where things didn’t have to be that way. A place where the impossible, such as Izzy Hands being loved, could happen. This show was one of survival.

But not for the one person that was seen to struggle with this concept the most. Not for the one person that was a metaphor for belonging in this place, who became, over the course of a season, the embodiment of the message itself. Not for the Unicorn, the very symbol of this magical, nonsensical ship. Not for the most stubborn, most indestructible, most enduring (queer) person in the show. Not for Izzy Hands.

This trope, honestly, was one that many have seen before, both in mainstream and queer media. A character, previously shown to be a villain or else to have gone through a lot of pain, is shown to heal, to get better, and then to die in order to “complete their arc”. This trope is common: Loki, Cas. even Ted Lasso, who doesn’t die but goes back to the very place that broke him in the first place. But the reason that Izzy’s death, while it might have been expected in another show, felt like a betrayal in this one is because it was known for subverting those tropes. From the “Bury Your Gays” to the “Up For Interpretation”, it was known to look those tropes in the eyes and say “fuck you, these people deserve to be happy”. And this did happen! Except for the one character who’s healing journey was one of the most relatable, at least to queer audiences.

What also made it so jarring was that all the other characters got to be happy, except for the one that had struggled with the idea of happiness the most. In the scene immediately after Izzy is buried, Lucius and Pete get married. In the scene after, a montage of queer joy and found family is shown amongst the whole crew. In the final scene, Ed and Stede, our main queer couple, are shown healing themselves and starting a new life together. The last shot, however, showed Izzy’s grave, visited by Buttons the seagull while Ed and Stede had dinner. A tragedy in it’s finest. It wouldn’t have been difficult for Izzy to live. Because, in the end, his death meant nothing. His healing meant nothing. He died and was moved on from in a matter of seconds. He was, as I mentioned, the catalyst for tragedy, more specifically, queer tragedy. But because of this, of his genre, Izzy didn’t get to live. He had to die in order for the rest of the characters to keep living in this fantasy world. This death was, in a way, a preservation of these other love stories.

I maintain, however, that it would have meant more if Izzy had lived. If he had been able to show to us that yes, despite what you have been through, despite what you may have inflicted upon yourself, you can switch genres. It’s possible. Izzy’s survival up until that point had been a profound testament to many that it is possible to heal, that queerness does not have to mean sadness. It would have continued to be a testament to that if only Izzy had lived. And so, this pirate that we latched onto, not in spite of his darkness but because of it, was buried on land on the side of the road.

As a side note, many previous incidences in the story point to the idea even though Ed and Stede will definitely stay together, it’s uncertain if the inn would have worked out. It’s likely that, being a whim, those two might have chosen to move, or go back to the sea, or sail to China. If this is true, they would have left Izzy’s grave by itself, like a family pet buried in the yard. If this is true, Izzy Hands, a metaphor for belonging, would rot alone.

Long live the tragedy addicts. Long live the Richard Siken poems. Long live Izzy Hands.

*When I talk about the "fandom" I am referring to the canyon.

#izzy hands #izzy hands apologist #izzy canyon #our flag means death #ofmd finale #ofmd #izzy hands death #izzy deserved better #ofmd fanfic #i guess #ofmd canyon #con o'neill #tragedy #oh uh happy new year #ofmd meta

287 notes · View notes

genericpuff · 1 year

Text

yeah so let's talk about the scenes between hades and thanatos that went from being goofy "haha a boss being hard on an employee" 'jokes' to child abuse as soon as it was revealed that hades was thanatos' adoptive father

and yes i'm putting a content warning jump for ❗❗❗ child abuse and neglect ❗❗❗

so first off, before we even get into the Thanatos / Hades father son relationship thing, I wanna mention a sequence in Episode 39 and why I think Rachel included the scene of Hades reaming Thanatos for being bad at his job.

And it's simply because of what happens the episode before.

Persephone's ableism aside (seriously, I have legs, that doesn't mean I want to walk everywhere, I also own a car, that doesn't mean I have to drive everywhere, maybe flying is tiring? Maybe he's injured and shouldn't be flying? Maybe he has a disability that results in him having wings that can't fly? Check yourself Persephone 😒) this is one of the earliest signs of LO's "Revenge for Persephone" problem which is CONSTANT throughout the narrative - that anytime Persephone is slighted or inconvenienced in the slightest, then the narrative needs to ensure there's some kind of revenge, either directly for her sake or indirectly for the audience's, and it's often always facilitated through or by Hades.

And that leads us to Episode 39, which is when we get exactly that.

Moving onto the scene itself, this is what we call in the work environment a "dressing down". This is not how legitimate employee reviews are given. Hades is not planning on giving him any sort of formal review or constructive criticism. He's planning on tearing him a new asshole just for the fun of doing so. You can even see it written on his face. He's doing this just for the joy of tearing him down. As someone who's been subject to this kind of behavior in previous work environments, I can assure you that this is not normal behavior that's indicative of a functioning workplace, this is abuse.

Taking that train scene into account, it's a way to indirectly "avenge" Persephone. She was slighted by Thanatos, so now Hades is going to make his life hell. But here's the thing - this not revenge for Persephone's sake. Hades doesn't even know Persephone's in the building, and Persephone doesn't know that Thanatos is being berated by Hades. But the scene is here anyways because of course the audience needs to feel "better" about Persephone getting pushed by a stranger at the train stop.

Now, scenes like this have been done in other stories, often times to explain the behavior of bullies/aggressors/etc. because in many cases, textbook bullies, whether children or adults, are abusing others because they're being abused by a higher authority so they take it out on those "weaker" than them.

But this doesn't work in LO, for several reasons.

First off, it pretty much plays it off like a joke, especially when the scene continues after Persephone has walked into Tower 4.

But beyond that, the higher authority abusing Thanatos is someone we're expected to root for. He's the main love interest. While this could be written as a legitimate character flaw, we all know now, in the year 2023, that Rachel sees Hades' behavior as a feature, not a bug. While most scenes written like this would cast a new perspective on a bully and allow some room for understanding and empathy from the audience, in LO's case, we're still not expected to empathize with Thanatos here, they want us insulting him right alongside Hades.

And of course, that brings us to the big blue elephant in the room - the knowledge of Hades and Thanatos' relationship completely re-contextualizes these scenes in a way that's far too depressing and horrifying for a writer like Rachel to be able to wrap up confidently.

Of course, she tried, but her efforts... can't even really be called efforts. For starters, because a lot of it is played off as a joke, as if Rachel can't handle even a single moment of legitimate emotion, she has to "write off the awkward" by making things "funny".

But when she does try to seriously write these scenes of introspection, reflection, and communication, it just winds up turning into the main protagonists going "woe is me, I was the real victim!" and never actually suffering consequences for their actions as a result as they Gaslight, Gatekeep, Girlboss their victims into apologizing to them. It still isn't asking us to empathize with or side with Thanatos, it wants us to end up right back at square one supporting Hades' side of the story.

Literally "well you weren't that bad, at least you were there!" bare minimum accountability, followed by "well I didn't make your life easy so I get it" from someone who was literally a child who was abandoned and left to live with an abusive asshole. It wasn't his fault that he was in the situation he was in, it wasn't his fault that he was a "handful" for Hades because he was a CHILD and Hades was the ADULT, but the comic paints it as Thanatos being at fault anyways for being "ungrateful".

But there are even more subtle signs that point to Thanatos' childhood with Hades that, while not specifically mentioning it, do paint a pretty nasty picture of how Thanatos views Hades and the people around him as a result of his childhood, in a very fridge horror "stop and think about it" kind of way.

First of all, the fact that Thanatos hasn't even been allowed to touch Hades' car. Obviously he's referring to specifically driving it but it makes me wonder what kind of bare minimum accommodations Hades made for his own adopted son. Again, played off for a joke.

And of course we have this one piece of concept art-

Now to be fair, this is concept art from before it was retconned that Thanatos was Hades' son, but it still casts an icky implication in hindsight both because of Hades' treatment towards Thanatos as well as the implication that Thanatos was getting "too close" to Persephone for Hades' liking. This sort of weird dynamic can be found in the actual comic when Hades admits he knows Thanatos was sleeping with Minthe.

And then there was this one scene, which prompted me to write this post in the first place, shared in the ULO Discord.

Thanatos has just met Daphne, so it's not necessarily weird for him to be suspicious of her asking for his phone, but the actual dialogue... doesn't line up with what you'd assume he would be suspicious of.

He doesn't say "you're not going to peek through it, are you?"

He specifically says "You're not going to smash it, are you?"

Now, if this line were intended to be anything more than some throwaway "haha funny" line (which, again, where's the punchline here) then maybe it could point more to something that happened between him and Minthe. But there's nothing that implies she was ever violent towards him, and the one time she IS violent towards anyone, it's implied that's the first and only time she's ever escalated things to that point and that even she's shocked and disgusted at her own behavior.

There is plenty to imply that Thanatos was abused by Hades, though.

So reading this line in hindsight... really just feels like further proof on a growing pile of evidence that Thanatos was constantly being berated, controlled, and abused by Hades, a guy who he never asked for as a father figure, but was still expected to apologize to anyways.

But there is one last thing I wanna mention before I wrap up. One thing that was mentioned by yet another user in the ULO community that really stood out to me because it just goes to show how horrible Hades has been towards Thanatos, both in the past pre-retcon and in the present well after it was established that they were father and (adopted) son.

And that's Hades' two dream sequences that involve him having children with Persephone.

One of these scenes is from before the retcon. The other is from after.

Neither one features Thanatos as a part of Hades' visions for the future.

Hades has been Thanatos' entire life. But Hades doesn't see Thanatos as even a part of his.

#lore olympus critical #lo critical #antiloreolympus #anti lore olympus #essay post #long post #content warning #cw #child abuse #child neglect #tw child abuse #tw child neglect

403 notes · View notes

molinaesque · 1 year

Text

Okay I mentioned that I had a bunch of Raphael thoughts and basically made a whole essay (in literally no actual format, this is just me vomiting out parsing thoughts and using it when lore dumping onto my friends). This is written based off of stuff you find in the game, some Wiki diving and my own thoughts.

Feel free to hit me up with some topics that we can talk about. And remember, these involve are my own thoughts and headcanons at the end of the day, so please act normally and don't come at me with pitchforks just because I have something that doesn't align with your specific HC.

A Prince's Tale: The Story of Raphael

In the universe of Faerûn, there exists a heaven and hell, or in this case the Heavens and the Hells. There are the Nine Hells of Baator, all ruled and lorded over by various archdevils. Raphael is the son of the ruler of the eighth circle of Hell, the archdevil, Mephistopheles. Raphael is a cambion which consists of a fiend and a mortal. Cambions then are considered "results of unnatural and unholy communion". In Raphael's case it's a bit more complicated because the fiend in this equation isn't just some lower being like an incubus or some other demon but a true Devil, making Raphael leagues above, both in power and rank, other typical Cambions, just purely due to his association and blood of being Mephistopheles' offspring.

The system in the Hells is extremely rigid and hierarchical (it's a system that has been upheld for eons. Many of the systems that make up the universe of D&D are as deeply rigid and rooted). Many of the themes of the characters of Baldur's Gate 3 consist of them either repeating the cycle or breaking its hold, which in the D&D verse is an extremely hard thing to do because of how long standing these systems are. In regards to the Hells, it works like a pyramid. The top of the food chain and order are the archdevils. There are many archdevils that reside and rule over each circle of the Hells, one however rules all and lives in the Ninth circle, Nessus; Asmodeus.

So what does Raphael want? The integral key item and centerpiece of the main plotline of BG3 dubbed only as 'The Crown', created by Karsus. Karsus was a very powerful, most would say perhaps THE most powerful wizard who ever lived. An archwizard/demi-god responsible for creating and casting a spell that would steal the power of a deity and transfer it to the archwizard who casted it. Eventually, this was a mistake, for one of the responsibilities of the deity of magic was to regulate the flow of magic to and from all beings, spells, and magic items in the world. He did not have the ability to do so properly, causing magic to surge and fluctuate, threatening that balance. This caused the flying cities of Netheril to plummet to the earth. The last thing Karsus sees is his entire civilization being destroyed because of his actions. This will be known as 'Karsus' Folly'.

Raphael tells you about this story and how he was there to witness it happen all those years ago. He wanted the Crown to himself but it was stolen and put into hiding. He later finds out that Mephistopheles, his father was the one responsible for stealing it. Now, here's a way to explain the fucked up power levels and why it plays so much of a factor especially in the Nine Hells. I mentioned how Raphael is not a typical Cambion, BUT even though he is technically a prince by birthright and a half true devil, it doesn't make a difference under the likes of archdevils like his father (who doesn't help at all with Raphael's behaviour because Mephistopheles is a MEGA asshole. I mean, there's a reason why Raphael never utilised his name to invoke influence and power, doesn't even call him father, that's how much he hates him. You only find out about it through Haarlep. He even had another child, a daughter, who he cared more about by making her a trusted double-agent against one of his rivals. Meanwhile, he treats Raphael like nothing and acts as if he doesn't exist for the most part). Basically, unless you are an archdevil in the Hells, you are never TRULY free. As power, literally = freedom in the Hells. Raphael realises this and so began his lifelong ambition to get that power. That came with the events of Karsus' Folly. Realising that this is the opportunity and power Raphael needed, he attempts to steal it only for it to be taken by none other than his own father. Now, you think "ah Mephistopheles wants that power for himself, right?" No. Here is how far apart the levels of power are between beings like Mephistopheles (beings such as archdevils/archwizards/demi-gods/gods/etc) and beings like Raphael, who is already a pretty substantial and powerful Devil by his own right.

Raphael has been coveting the Crown and its power for 10 centuries, a thousand years, essentially. It's his one source that can possibly give him the chance of taking even more control of the Hells and ultimately make him TRULY a free devil. It's his life's mission that has been going on until he's practically in his middle age in devil years (his human appearance showcases this, and we also see a younger Raphael in his devil form with Haarlep). Half of his (immortal) life. It is very crucial and important to him.

And yet… to Mephistopheles, it's just a souvenir. A trinket. Or as Raphael puts it, "a museum piece".

This, undoubtedly angered Raphael so much and made his hatred towards his father even more so (Raphael mentioned how he raged for a decade, understandably). The fact that not only does his father treat him as if he doesn't exist, but to add insult to injury, did this while mocking him by not taking him seriously. One of the things he did was to send an incubus, Haarlep, made and glamoured to be an exact copy of Raphael, to distract him. It could also be seen as a message of "here is my gift to you and it is one of the only few things that will ever be 'truly' yours; a copy of yourself". Raphael would have been the first image that Haarlep acquired, thus why the constant form that you see him with is of Raphael (Haarlep tells you this if you kill him and speak to his corpse). Haarlep's corpse also tells you that "Raphael only loves himself." I wonder why. Haarlep also has a contract that requires him to obtain 1000 souls (the runes on his harness have been translated to the number '1000') in order to be free. This is why the archivist in House of Hope tells you that special guests can reside in the boudoir, as this is a primary way for Haarlep to collect more souls. If you sleep with him, and allow him to have your heart and soul, you die. If you promise your body only, you live but he now has a full copy of you entirely. Additionally, we know Gortash was sold to be in Raphael's services when he was a boy. We know that Gortash and the other Chosen eventually stole the Crown from Mephistopheles' vault. What's interesting is if you explore the House of Hope, you can find a portal to the eighth circle of Hell, Cania, where Mephistopheles resides. I believe that Gortash utilized this to obtain the Crown. Imagine the sheer rage and embarrassment Raphael had to endure because of this. Not only did the Crown get snatched from under him once but TWICE. Once by his father, and then later by a boy who was under his charge. I can completely imagine Mephistopheles utilising that as additional ammo and lording that over Raphael's head.

In pertaining to Raphael's character and behavior, all of this explains additionally as to why Raphael is the way he is. It's selfish, insecure behavior that also explains the portraits he surrounds himself with. Notice how all the paintings are of his true form. He also has many lines of dialogue depending on what you pick during your various meetings where he truly gets angry. One of these lines is him shouting "I AM NO MORTAL" when you simply ask why he would succeed where Karsus had failed (which is ironic because, my guy, you are part mortal, so was Karsus but he was very powerful for many other reasons other than pure association and blood. Raphael even tells you how foolish of a notion it would be if you suggest that you could take the Crown for yourself, telling you that archdevils, wizards, and gods have worn the Crown, "it would tear you apart" he warns you). The portraits of his Devil form in House of Hope surrounding him is a way of constant reminder to himself of what he wants to be associated with. He HATES that he is part mortal (he has showcased his disdain for the mortal realm very clearly during your encounter in House of Hope) and wants to see himself as only a Devil. To say that dude's got major issues and complexes is a huge understatement. He's a deeply insecure being who's controlling and manipulative (most of it stemming from his father and his predicament of essentially living a half-life), but he's also a pragmatic, self-aware character. He's very much the epitome of Lawful Evil. If the players choose to only see him as a one note character who's just "self-centered and evil", you can. That's the beauty of Baldur's Gate. These things are true,but you can also add on top of that when you choose to find out and explore for more lore and characterization.

Interestingly, the way he treats someone who opposes him compared to those who don't are very stark in contrast. You see it with the prime examples of Hope (naming the house after her due to her being the one soul who he cannot convert and have on his team completely) and of her sister Korilla, who has mentioned that she loves being in service of Raphael completely as he has treated her with respect and given her more freedom than her previous master ever did, who in her own words, "constantly would beat me and feed me scraps". "Better to be free in the Hells than go begging in the Heavens", she tells you. She's also not blindly following Raphael or under any thrall. In fact she makes light of him and his antics to you completely of her own volition. She made a bet with Raphael whether you would survive and get to Baldur's Gate (which Raphael bet FOR you to succeed btw). You can find the Five Soul Coins they bet for in the safe hidden behind the portrait in HoH. And she doesn't sing his praises completely, saying that she's more skeptical of you than Raphael is and is fearful of how wrong he would be banking everything on you, saying "Raphael can be so very wrong". She basically tells you that Raphael won't shut up about you. She also tells you that Raphael is, in her own words, "by no means altruistic" and argues that Raphael truly wants to not have the world destroyed because it would simply mean, as she puts it "the boss did the balance sheets. No world, no souls". In fact, she BEGS you to reconsider if you didn't take the deal in the first place.

One could argue that Raphael residing in Avernus and having him in proximity of mortals more in comparison to the deeper levels of the Hells, gave him more perspective. He even tells you he doesn't want Baldur's Gate to be destroyed. He tells you, fondly, he couldn't possibly want that to happen because the city is "an object lesson of moral excess". Why would he want a huge primary source of deals and contracts for him gone. If you explore the House of Hope, many of his deals range from complex, twisted deals to simple, straightforward ones with no caveats (for example there is a debtor who tells you that he sold his soul for enough money to keep his family well fed. Done. No trickery. That was the end of it. Even the architect of Moonrise Towers attested to Raphael keeping his word and defeating Ketheric's forces way back then). In Raphael's own words, "I'm a man of my word" and he wasn't lying. There's a reason why he has practically a 99.9% conversion rate (his one big failure being Hope and why he's so obsessed with converting her is because he truly cannot understand how one can be so pure of a soul. She's a puzzle, and Raphael HATES it when he can't figure something out). If you're wondering why can't Raphael (or any other devil) force or lie about the contracts they have made, well that's literally by design. Asmodeus created a law that bars devils from doing so, and devils will get punished severely would they ever take advantage of that. That's also why devils have to be extra sneaky when being contractors because if they die, it doesn't matter. The contracts they made while still alive still stays intact until they are completed. Meanwhile, the contract just gets given to another devil. When Raphael tells you in HoH if you asked him for no more bloodshed, he tells you "you've given me no choice". He means this, as it would mean both you AND he would be punished regardless if he were to let it be.

Mol is another example of a straightforward transaction. He wasn't lying when he said he'll keep Mol safe from harm in exchange for becoming her patron. It's not for something nebulous like "she has to become the leader of the guild in the next 20 years" or something extreme, it was just "I'll be your patron in return for your safety and security". He sees her as a long standing investment. Raphael mentioned that he hates children, but there is ONE thing he values above all else and admires when he recognizes it. "Ambition." He tells you he sees that in Mol during the meeting at Last Light Inn. It's also believable that he sees himself in Mol (especially his younger self) and thought "I respect it and I get another easy contract. Win-win". The dude loves underdog stories since his own is practically one as well. In fact, Mol doesn't like it when you treat her condescendingly. If you remember the chess scene in Last Light Inn, there are ways she can lose but also various ways she can win (and no, you don't have to only pick helping her cheat for this to work). If you help her cheat, she wins. If you help her by giving her an offensive strategy, she wins (in fact Raphael knows that she cheated, and if she won legitimately, even comments about the move and stating that it's a legit maneuver in chess and praises Mol for it saying that it's "exactly what I would've done"). Either way, Raphael praises your suggestions when Mol leaves. If however, you don't offer advice, or tell Mol to be defensive, she looses, prompting Raphael to comment on how being non committal or weak will not help Mol in the long run. If you stole her contract, she doesn't mind it too much BUT if you killed Raphael and told her about it, she will HATE you. Hating how you killed her patron, "Big Raph" as she calls him, that would ensure her safety and security as long as she's under contract. It's another additional interesting subplot that doesn't really have anything to do with the grand scheme of the game, but adds even more layers to already fascinating characters.

This dichotomy is what makes Raphael a very complex and interesting character. He's a devil who wants Ultimate Power, make no mistake, but he also is pragmatic enough to realise that he does not want another "Karsus' Folly". In fact, he could have easily just done an Emperor to gain your trust wholeheartedly and then turn on you the moment you have the Crown. It would have been easier for him. But he chose to bank on you being a long term investment maybe even beyond the Crown, meeting you head on and reveal his true nature to you from the first meeting. If you listen to everything he tells you, he never actually lies, he omits things here and there, but he never lies to you (in fact if you become even more on his team, there is a line where he straight up tells you that he "likes you"). It's a similar relationship with Korilla, in that she has complete free will but is for his team. He mentions that he does not like it when people beg or kiss his ass (there are many examples of this, his conversation with Voss for one and also whenever you choose dialogue options that make you seem like a spineless whimp). He even tells you at points that he likes the way you do things (even if they're a bit unorthodox), and if you took his contract but chose to break it (or just stole the hammer, it's the same regardless), it makes it even more personal because he genuinely was shocked to find that you were the one breaking into his house. This is one of the few times we see Raphael truly angry. No fancy words, no charm, no smarmyness. Just anger and even sheer disappointment that you chose to, in his own words, "become like Karsus, disregarding everything and burning your world to ash" (remember, Raphael truly believes that his method with the hammer and Orpheus is the ONLY way to defeat the brain, that's the unfortunate part of obsessing and planning for this goal for so long that he truly believes there are no other alternatives. He mentions in one of his diaries that he has planned a dozen ways to obtain the Crown, but he concludes that there is only one way for it to actually work and it involves Orpheus, hence the creation and naming of "The Orphic Hammer". There's even a book about its creation in HoH). Hell, even one of the dialogue options where you say "there's no need for more bloodshed", you would think he'd just be like "HAHAHA evil dialogue, i planned this all along, you're nothing, blah blah" but instead he actually says in his own words, "I have no choice" because we know that breaking contracts means death, and death means he has to collect your soul. Even if you didn't sign the contract and break in, he still genuinely did not think you would go so far as to do such a thing especially with the offer he made to you. He basically blames you for being too proud to do such a thing.

Even when you don't take his contract at all, when you meet up with the Emperor again in the Astral Prism during the battle against the Netherbrain, choosing to betray the Emperor will cause Raphael to appear for a final time. Does he just offer you the contract again? Yes. But not before scolding you for being an idiot and genuinely being pissed off at you for not taking his deal to free Orpheus. He even tells you in his own words, "we could have been allies, partners… FRIENDS!" If you try to beg him for help, he shouts at you, saying how you are in no position to make demands anymore because of your reckless actions. You made your bed, you have to recognise it. If you still refuse his offer, he doesn't try to force you, or twist your arm in any way… he just tells you, quote, "Goodbye. It's been unforgettable" (which is his way of saying "i won't forget you… but i also won't forget how much of a fucking blind idiot you were) and then leaves you forever. If you take the deal, he tells you it's no longer as equals anymore, you are now considered a lowly servant to him. He genuinely wanted you to be partners, but doing all of this basically leads him to conclude that you aren't worth it anymore. The way the writers chose to have the Emperor and Raphael parallel each other but in different ways is genius. They are two sides of the same coin. Both want true freedom, both try to manipulate Tav, the main characters for their own cause, both are extremely pragmatic and set in their own ways and goals. The irony is that instead of portraying Raphael as this pure scheming, one note character - is flipped on it's head by making him honestly, one of the most truthful characters in the game. It's just that he's a Devil. As Korilla states when you ask her back at the brothel, "why can't Raphael just be clear with me if we are on the same team?" she tells you as if explaining that the sky is blue…

"He's a Devil. It's in his nature. He has to make his dues."

This speaks of how ancient and deeply rooted these laws and systems work in their universe. Typically, characters says stuff like this to be hyperbolic/dramatic. But in the case of Raphael as a Devil, she means this literally, as souls keep the Hells functionable, and as we know by now, souls = power, and more power = more freedom.

Now, to address the epilogue and what happens if you do make the pact with him and delivered upon your promise. He comes to you and tells you that he and his forces are already taking over Avernus and overthrew Zariel. He tells you that he has various archdevils already coming to him to make concessions, his father included. He also tells you that he'll be knocking on your door soon. This is open to interpretation, but remember he has sworn to you during your deal that he would never use the Crown on a mortal (trust me, with his obsession with the Hells and how he envisioned on ruling it, in his own words "more order, efficiency, and control", he is definitely more interested in dominating the Hells only, it's too much work anyhow to be interested in anything else. Also he swore to you as part of the contract, he literally cannot break this, if he does, it's immediate punishment for him, so he's not lying). So, more than likely, he finds you to be a very important potential ally to further work with in the future. Also, depending on how early you signed the contract, his tone/line can be interpreted VERY differently.

Now here's the most interesting part… if you aren't familliar with D&D lore, that epilogue would lead you to believe "oh damn he's going to be ruler of the Nine Hells just like he wanted, good for him", but that's easier said than done. Because not only the deeper the Hells go, the more powerful these archdevils will be. I have no trepidation about him defeating them or them conceding to him, that's already happening. The one obstacle he truly needs to worry about… is the keeper of the Ninth Hell, the ruler of all the Nine Hells of Baator, Asmodeus. The creator and overlord himself. Just to give you a concept of how the power levels work in D&D… level 12 and above, are almost levels of godhood. Think the likes of Hercules. At the level Asmodeus is at, however, a former deity (speculative) and creator of the laws and system that permits the balance of life and the universe itself, Raphael even with the Crown will have… a VERY slim chance of overruling him. At the very least he could take over the other realms or instill his way of order and control, and appeal to Asmodeus, because funny enough, Asmodeus' personality and behaviour and goals is VERY similar and akin to Raphael's (Asmodeus is the primal embodiment of Lawful Evil and a supreme strategist of unparalleled skill. He's good at warfare but even better at words, planning, and subterfuge). Another thing is Raphael might even change his own mind, because Asmodeus isn't just the ruler of the Hells, his primary existence is to keep the balance of life and death and the existing universe in check. I personally don't see Raphael being interested in such a huge responsibility but that's another topic for another day.

Another fun fact, many of the characters in D&D are existing characters in various cultural stories/mythologies. Many of the archdevils included with the likes of Mephistopheles, Baalzebub, Mammon, and yes even Asmodeus. The writers most likely looked to biblical texts for inspiration of Raphael, but the irony is they took the one famous character in Christian biblical text, Raphael, who is not a devil, but an archangel and then flipped that character on its head. One of archangel Raphael's most famous stories is literally called, 'the Battle Against Asmodeus', where Raphael fights against Asmodeus, a fallen cherub and dubbed, "personal adversary" of Raphael. What's even cooler? The battle was not one of might, but of intelligence, wisdom and influence. Exactly like how D&D's own Raphael and Asmodeus operate. Raphael certainly takes more after Asmodeus than he does his own father.

Speaking of which, what about his father? Raphael mentions that he was there amongst the midst of other archdevils coming to Raphael to make concessions. Raphael is smart enough to know, though, that his father is not there solely out of "you did it, my boy" or anything like that, or perceiving him as a true threat still. Besides knowing how Raphael is seen by Mephistopheles, back at the diabolisk shop, there is an orb charmed to keep an eye on Raphael at all times. If you had defeated him in House of Hope, you will witness Mephistopheles holding the broken body of Raphael over his mouth and eating him. It's a nod to 'Saturn/Kronos eating his son(s)'. Basically, if you chose this ending for Raphael, you close the circle and end this story of Jacobean tragedy of an underdog prince who has been seeking validation and freedom from the sheer inescapable nature of the Hells and it's systems. In a way Raphael also has the same themes of your other companions who are also trying to navigate their fates. Whether to repeat that cycle in perpetuity or break free of it, it all hinges upon your choices throughout this journey of Baldur's Gate 3. Basically, Mephistopheles is just waiting patiently to witness his own son's downfall should he become overzealous and overtly ambitious, before swooping in to consume his son and all that additional power for himself, power that he doesn't even need, mind you. He's just there for the vibes, and to add even more pressure on his son. Parents, amirite?

If you're on team Raphael (like me) and gave him the ending he wants, the only thing I can really say is "Good luck, little prince. I'm actually rooting for you. You're going to need it."

Will our little princeling be able to break out of his own cycle and come out on top? Will Raphael be able to even get to the ninth circle let alone confront Asmodeus? Will Raphael finally get one over his dear ol' dad? Will Raphael ever get to finally make due on his promise ("I'm a man of my word"), and have that wine with Tav?

Hard to say, for his journey is just beginning.

#Raphael #baldur's gate 3 #raphael bg3 #raphael baldur's gate 3 #bg3 raphael #baldur's gate 3 raphael #Text #bg3 hc #Again PLEASE do not come to my inbox with some contentious stuff... I KNOW how some of you think esp in a bigger fandom #I'm too old for that shit so don't even try #I'm just here to vibe and make gifs and do fanart #bg3 thoughts

301 notes · View notes

potions-of-dark-devotion · 12 days

Text

Gotta Get This off my Chest

Severus Snape & HBO Series

Alright first off, I know you are generally expecting well thought out essays from me but here I’m going to Ramble Freeform. You’ve been warned.

I don’t know how I feel at all about another actor attempting to play Severus Snape. JK Rowling is the main producer and honestly this worries me a lot considering the amount of hatred she has for LGBTQ people and the amount of hatred Severus has gotten in the last years. This space is bad sometimes but generally we have a fantastic community of people in this snapedom who love the character as he is written positives and negatives. I for one liked Snape from the first book I read and the first movie I watched.

I’ll be the first to admit that my image of him is very much wrapped up in Alan Rickman, and tho I greatly respect other peoples images of snape and I love the fan art they make, the thing that made Alan such an amazing character actor for the part was the unabashed love he had for the character. Look at any interview of him about Severus and you will see that he went to bat for him at every turn. What if we we are given someone who sees Snape through the eyes of the marauders fandom? What if they erase all of Snapes goodness or heaven forbid write extra scenes of cruelty to Lily that didn’t exist, or have him creep over her, or physically attack her, or characterize him as the aggressor with James when we all know it was the other way around? These kinds of fears keep me from being excited about the new series and instead leave me anxious.

For one thing, I wish they had focused more on a different period of wizard history, or a different part of the 1st wizarding war or even marauders/young Severus era, because there is so much to explore. I would have liked to explore story lines that really could use more fleshing out, and if JK Rowling is going to be a part of this she could have easily written new passages or short stories to suit this new narrative. I also worry about the fact that yet again because she is a producer there will certainly be no LGBTQ characters in the narrative and that’s a waste to me. We already have a fantastic interpretation of the books, and if they are doing a redo why not cast people of color or trans or any LGBT characters in the mix? It will be the same story just perhaps fleshed out more? I’m not sure what this series will bring to the table that the movies did not unless they radically change some things.

Yet, with this interpretation we may see many thing in the series that we don’t see in the books. Severus has two big scenes at the end of POA and GOF that were totally left out of the movies, and if this was left in and the “prank” was explored more in depth we could get to see an even more complex narrative than Alan was allowed to portray in the movies (largely due to directorial choices).

Severus as we all know is a complex character that can be different or difficult to understand without a trauma informed lense and the last thing I want is for them to shove him into a gross stereotype, or give him attributes that don’t exist in the books in order to cater to certain fandoms. I’m genuinely worried about the prospect of this. I also don’t want our fandom safe spaces that we’ve spent years curating to be over run with Snape hate again just because of the series. I could be being pessimistic. It’s just been on my mind lately.

No hard feelings it’s just…Severus Snape is my comfort character and I don’t want the idea of it ruined by people who don’t really understand him or who wouldn’t bat for him the way Alan did. Please understand me. Does anyone else have mixed feelings this way?

#severus snape #pro snape #hbo max #hbo harry potter #harry potter movies #alan rickman #alan rickman snape #snape love #harry potter #severus snape defense

56 notes · View notes

veganism · 7 months

Text

The genocide is also experimentation on living beings

Israel is currently testing new weapons in Gaza, some of which will soon be sold globally as "battle-tested," according to Antony Loewenstein, an author who has written a widely acclaimed book on the issue.

For years, the Israeli defense sector has used Palestine as a laboratory for new weapons and surveillance tech, he told Anadolu, adding that this is also the case in the current ongoing war on Gaza.

One of the main reasons why "many nations, democracies and dictatorships support Israeli occupation" of Palestine is because it allows them to buy these "battle-tested" weapons, asserted Loewenstein, author of The Palestine Laboratory: How Israel Exports the Technology of Occupation Around the World.

Another aspect of Israel's war on Gaza has been the use of artificial intelligence technology, he said.

According to Loewenstein, AI has been one of the key targeting tools used by the Israeli military in its deadly campaign of airstrikes, leading to mass killings of Palestinians-now over 28,500-and damage on an unprecedented scale.

The current war on Gaza is "inarguably one of the most consequential and bloody," he said.

He described Israel's use of AI against Palestinians as "automated murder," stressing that this model "will be studied and copied by other nation-states" and Tel Aviv will sell them these technologies as tried and tested weapons.

In the last 50 years, Israel has exported hi-tech surveillance tools to at least 130 countries around the world.

To maintain its illegal occupation of the West Bank and East Jerusalem, and blockade of the Gaza Strip, Israel has developed a range of tools and technologies that have made it the world's leading exporter of spyware and digital forensics tools.

But analysts say the intelligence failure during the Oct. 7, 2023 Hamas attacks casts doubts over Tel Avis's technological capabilities.

Israel's reliance on technology "is an illusion of safety, while imprisoning 2.3 million people under endless occupation," said Loewenstein, who is Jewish and holds Australian and German nationalities.

He described Israel's response in Gaza as "apocalyptic," stressing that the killings of Palestinian civilians, including children and women, is "on a scale of indiscriminate slaughter."

- 'BLOOD MONEY'

Loewenstein, who is also a journalist, said Israel has honed its weapons and technology expertise over decades as an occupying power, acting with increasing impunity in the Palestinian territories.

This led a small country like Israel to become one of the top 10 arms dealers in the world, he said, adding that Israeli arms sales in 2021 were "the highest on record, surging 55% over the previous two years to $11.3 billion."

In his book, Loewenstein explores thoroughly Israel's ties with autocracies and regimes engaged in mass displacement campaigns, and governments slinking their way into phones.

The Israeli NSO Group sold its well-known Pegasus software to numerous governments, a spyware tool for phones that gives access to the entire content, including conversations, text messages, emails and photos even when the device is switched off.

Israeli drones were first tested over Gaza, the besieged enclave that Loewenstein referred to as "the perfect laboratory for Israeli ingenuity in domination."

Surveillance technology developed in Israel has also been sold to the US in the form of watch towers now used on the border with Mexico.

The EU's border agency Frontex is known to have used Israeli drone technology to monitor refugees.

Loewenstein explains in his book that the EU has partnered with leading Israeli defense companies to use its drones, "and of course years of experience in Palestine is a key selling point."

"So again, one sees how there are so many examples of nations that are wanting to copy what Israel is doing in their own area in their own country on their own border," he said.

These technologies and "are sold by Israel as battle-tested," he said.

In other words, he contends that Palestinians essentially have become "guinea pigs," and despite some nations and the UN publicly criticizing the Israeli occupation, in reality "they're desperate for this technology for themselves for their own countries."

"And that's how in fact, the Palestine laboratory has been so successful for Israel for so long," he said.

In his exhaustive probe into Israel's dealings with arms sales around the world, he noted that the country has monetized the occupation of Palestine, by selling weapons, spyware tools and technologies to repressive regimes such as Rwanda during the genocide in 1994 and to Myanmar during its genocide against the Muslim Rohingya people in 2017.

"This to me is blood money. I mean, there's no other way to see that and again, as someone Jewish, who has spent many, many years reporting on this conflict, both within Israel and Palestine but also elsewhere, it's deeply shameful that Israel is making huge amounts of money from the misery of others," he said.

"This is not a legacy that I can be proud of."

- 'NO NATION ACTUALLY HOLDING ISRAEL TO ACCOUNT'

Profiting from misery is to some extent the nature of what capitalism has always been about, but Israel does this with a great deal of impunity, "because Israel does what it wants," said Loewenstein.

"There is no accountability, there is no transparency, there is no nation actually holding Israel to account," he added.

Israel's regime is shielded from any political backlash for years to come because nations are reliant on Israeli weapons and spyware, said the author.

Israel may not be the only player employing surveillance technology that leads to human rights violations, but it still plays a dominant role, which is why Loewenstein insists that it deserves singular attention.

Israel's foreign policy has always been "amoral and opportunistic," he said, calling on all nations to take a stand and hold Israel accountable, and acknowledge that the world is buying what Israel is selling.

#free palestine #animal rights #govegan #animalrights #free gaza #gaza strip #gaza genocide #palestine #veganism #animals

135 notes · View notes

bits-and-babs · 1 year

Note

This is only the first of what I hope will not be too many, but here we go! 🗝 Joel Miller + Country cowbow aesthetic. Because why not?! <3

⋆ 𝐎𝐊𝐋𝐀𝐇𝐎𝐌𝐀 𝐒𝐌𝐎𝐊𝐄𝐒𝐇𝐎𝐖

CountryCowboy!Joel Miller x f!Reader

word count: 1.1k

warnings: soft af, made my heart ache, playful flirting, literally such southern stereotypes written by an English Woman. Dry humping. 18+ ya nasties!

summary: Retired Rodeo-Cowboy Joel Miller settles down on his ranch with his number one fan.

joel masterlist I| main masterlist |I follower celebration I| ask |I

“They’re more hassle than they’re worth, y’know?”

A smile pulls at the edges of your mouth the moment his complaints reach your ears. His gruff voice drips with sarcasm, but you keep your eyes on the horses that prance around the paddock. They lift their hooves with synchronised grace, performing a dance as they clopped across the dried soil.

“That may be,” you muse, brushing your palms over the planks of wood that contained the mares. They’re beautiful beasts, their coats shining beneath the sunshine that the rim of your Stetson shields your face from. “But they’re mighty fine.”

The mocking southern accent you respond with has Joel pushing his elbow into your side.

“Hey!” You burst into a fit of giggles, the laughter bubbling from your throat before you’re able to suppress it. When you look up, Joel’s face is flat, that typical ‘Clint Eastwood Stand-off’ vibe that he always emanates, but his eyes betray him. There’s amusement swirling in his deep tan-leather irises.

Joel rests his palms on the wood, too, casting his gaze over the field. He’s handsome like this, you think, the dying gilded sunshine painting his face golden. It’s clearly crawled under his skin, cheeks glowing a subtle pink with sunburn and making the greys of his beard starker amongst the brown. His matching salt and pepper hair is windswept from working all day in the summer breeze.

It’s ridiculous, you think. All these years together, travelling to rodeos and spending most of your time hiding behind your fingers when he wrestled steers, you still felt the butterflies erupt in your stomach when you looked at him. He’d since hung up his bulldogging boots, ‘far too old to be wrangling bullocks’, and had taken up a much quieter life breeding horses for racing.

“You know,” Joel smirks, not bothering to look at you when he teases you, “You’re always talkin’ ‘bout how pretty they are but spend all your time lookin’ at me.”

“Shut up,” you scoff, tearing your eyes away from him and folding your arms across your chest with an indignant huff. The rumbles of a chuckle reach your ears, and you can feel your cheeks heat up.

“It ain’t so bad, you know,” he speaks softly, trying to ease your embarrassment, “It’s nice to know an old man’s still got it.”

You can’t stay mad at him for very long. That southern charm that effortlessly and unknowingly bleeds through each word works its way between your ribs and lassoes your heart with such ease. Again, you find yourself smiling, turning to look at him again. He’s unable to smother the grin that’s threatening to stretch across his lips, the edges of his mouth twitching.

“You’re not an old man,” you promise, reaching your hand across the small space between you. You hook your finger under the metal of his belt buckle and pull him towards you with a grin. He arches a brow at you pointedly, and you shrug with a grin. “Mhm, okay, maybe you’re a little old.”

“Oh yeah?” He smirks, watching you smooth your hands over his hips and waist.

“The kind of old that makes a man even more handsome,” you promise him, unable to look him in the eyes and choosing instead to drag your eyes over the tanned skin that glistens with sweat just beyond the collar of his flannel, “You age like whiskey, Joel.”

“Jack Daniels or Southern Comfort?” He asks, and you can feel his gaze dancing across your face, burning into your mouth and tracing your lips.

“Mhmm…” you hum softly, finally braving his stare and looking up at him. His eyes are dark with a rich need, hungering for your lips on his. “Redbreast.”

He can’t stand it anymore, you think, leaning down suddenly to press his lips to yours. They’re slightly dry from the heat, and you can taste the salt of his sweat. His body heards you against the fence, his work-worn hands dragging over your thighs and hips with a delicious hum that pools arousal between your thighs.

“Joel,” you breathe into his mouth. It comes out a little more desperate than you’d like, a little needier, but Joel doesn’t complain. His hands are hoisting you up, settled just beneath your ass, so your legs wrap around him.

“These fuckin’ jeans,” he huffs, frustrated when he lightly slaps your ass. Again, you’re laughing, knowing he hates them. They hug your figure just right, too tricky to get off in a hurry. “Just gonna have to make do, aren’t I?”

You’re unable to question him, to ask what he means, because he’s immediately grinding his hips against your own in a way that adds just the right amount of pressure to your clit through the seam of your jeans. Fuck, he’s rock hard beneath you, clearly turned on by your ridiculous teasing and the way you melted at the sight of him.

He swallows your moans with heated kisses, tongue dragging against your own. Fuck, his hands are squeezing at the flesh of your ass through the denim, enjoying the handfuls he steals.

It’s deliberate. The slow, heavy arcs of his hips when he grinds into you, focusing all the pressure on your clit with expertise only he could offer. He’d mapped out your body after all these years, the peaks and troughs of your structure memorised like the landscape of his ranch. Joel knew every pleasure point of your body, how to work them to his advantage and to your detriment.

“Fuck,” you whine softly, feeling him smirk into your shared kiss. Leaning your head back, you sigh when he pulls his lips across your jugular, pressing open-mouthed kisses against your pulse.

“Kiss your mother with that mouth, Darlin’?” He questions you, and you answer with a pointed, open-palm slap against his shoulder. He chuckles again, but responds with another heavy drag of his hips.

“Ohfu-“ you choke out, tears welling in your eyes. He just ruins you, just picks you apart and puts you together again so that all you can think about is the throbbing arousal that shoots up your spine.

“You gonna give it to me, Darlin’? Come on, Sugar. Come on,” he whispers to you, that gravelly tone sparking something honey-sweet inside of you. It’s not the lighting crack that he usually produces. No, it pours through you like molasses, slow and rolling and dripping between your thighs. A soft, drawn-out moan of Joel’s name pushes its way from your lips, and he praises you as your thighs squeeze him tight.

“Mhmm, Good Girl,” he hums, planting kisses along your jaw with a grin. “Don’t think I’ll have to work hard to wrangle you into bed, will I?”

He doesn’t.

END

1K notes · View notes

soshadysoquiet · 1 month

Text

TUA S4 thoughts.

Below, spoilers.

Okay. Lord gonna need some strength to get through this coherently.

Basics first:

The Music: Maybe 2-3 good songs. Dissapointing. Let's talk of a mo about Baby Shark: to me it wasn't funny, the song being such a social media present one in this world really took me out of the show. Yes sure the funnies of parents having to listen to kid music and them being stuck that way but I really wish they'd taken the time to make an original annoying jingle. TUA is usually such a delight for the ears that this hurt me bad! Plus they then kept changing whether the song was on or off, seemed like Diego could control it somewhat, but then why would he turn it back on for them riding into the final battle?

The Dialogue: Felt forced and cheap in places. They can use the word 'fuck' now and seem to therefor have decided they don't need to make the characters have witty insults for each other.

The 'Themes' of the show: Why has my quirky family drama been turned into a 90's romance film. Who asked for this. No.

The "Plot": When your own characters don't care about the plot for the sake of shindigs you think will be more entertaining then you know you fucked up. It made sense the first 2 series them having side quests. Less so in the third. Even less so now. Literally at times they had to say to each other 'oh yeah shouldn't we find Ben?' I'll be here in the corner raisining. Also they came up with these 'stages' for the apocalypse but had one guy throw up, a couple things go boom and then they merge, it was one of the least threatening depictions of apocalypse I've seen - though that could be that it wasn't shot in very interesting ways.

Also side note for why there were so many shots that started upside down and rotated? Like I get if Klaus is upside down, and yeah the umbrellas are inside out, but it (plus the Bennifer monster) gave me too many stranger things vibes.

Now the sub-cast:

Jennifer: Love that for 1/2 the protagonist of the apocalypse she had little to no love put into her character, I legit kept forgetting her and Ben were part of the storyline. I loved that she was birthed from the squid, but why put something eerie and cool like that in and make it have meant nothing? Such a waste.

The villains [Gene, Jean and Abigail/Psy(sp?)]: Whilst I liked the idea of memories infecting the timeline, literally all of these guys was Tell don't Show. And for a series with only six episodes I do not want my time wasted with some side-character villains getting a dance number over the main cast. Despicable. Also there were WAY too many villains here especially if you then also count Reggie as one. Literally make Jennifer be trying to link up with Ben and coercing him (then Viktor could break through to him briefly from past experience of a similar relationship - the symmetry is nice) and have Abbigail be pulling the strings. There were so many side characters of no import that I lost track of the main cast. Hell, make Kenny's Mom be the bad guy I'd have loved that! Also, I like that Abigail was somewhat evil, but then they tried to make her good too? No thank you. Pick a lane not everybody needs redemption.

Special RIP to Diego and Lila's twins that Never Even Got Names 💀 fucking hell that's lazy ass writing.

Now the main cast:

Viktor: He deserved better, why bother to introduce that he's had a girlfriend, slept through the entire town, and owns a bar when you then don't talk about any of it. He's told to 'grow up' it's so specific, what does it mean? Also since last we saw he was the sort of ride or die for his love type (with both Leonard and Sissy) this is a frustrating turn with no explanation. Also his whole fight with Reggie and getting things off his chest arc felt forced and not as well written to me. And his character seemed to have been given zero changes from the last 6 years. I miss when his powers actually had a sound element to them rather than just, Havoc from X Men hands. You're taking the Viktor out of my Viktor.

Allison: We have no explanation of how she and Klaus found each other and fell in together. No info of how she and Reggie parted ways. We only hear that 'Ray left her' and nothing else. She says no one wants her at the party but then seems to know Gracie? Has she talked with Any of them since? Nothing was addressed from the end of last season, or even referred to being addressed in the past. I don't see the point of her new powers, or any of them having slightly off or new powers when then some of them don't? Either way, her rumours are so classic and now she's floating people? I see the link and if they'd been developing new powers over 6 years fine but no. You're taking the Allison out of my Allison.

Luther: Praise be, I did like Luther this season. He mentioned Sloane (shock horror, a love interest from a time gone by being brought up?!?! In TUA!!??) he was cracking me up and was really being Best Boy. Although I felt a lot of his dialogue was flat, and it seemed really out of character for him to start attacking the piñata? I don't think we've ever seen him physically lash out unless angry? It looked to me like 'oh yeah here's another silly gimmick that will be a haha. Diego, sure. Luther, no. They also decided (not surprised but always so disappointed) to make him getting ape-i-fied again humorous and not the soul destroying thing it would be. Also, why was he ape-i-fied??? His ape-ness came from the serum not the marigolds? Generally though, I really did enjoy him this season.

Diego: Love that we're throwing every over used marriage-in-pieces trope in the book at these two. Love that. Especially as they seemed to have sorted out some of their communication issues. I get their trajectories but was so deeply, Deeply bored watching it. Diego was sadly pretty dislikable for the whole season, which was real sad because I had grown to love him. There were some funny moments don't get me wrong, he's got too much personality to be a boring character, but whilst they didn't have to have a perfect marriage it was so dull and in hindsight such an obvious set up for the bleh that was to come. Plus they threw in a 'don't make me turn this car around' type moment to show how 'he's a parent now look wow' but I can't imagine any of the siblings hearing that and not laughing at him.

Lila: Again, marriage and wrong-conclusions and it was so boring. She's such a fun character and she was reduced to 'ooo how can we make her be a cheater and with Five' Why do you even need to do that? I just feel sad about it. And it doesn't help that we Don't Know Two Of Her Kids Names and neither her nor Diego seem to think of them for however long they're on the road, and she mentions them only once in the 7years of subway hell and both of them seem relatively undistressed without them. Sure, parents do need a break, but if you don't care about the kids visibly you know for sure I the audience member ain't gonna. Also why the eye lasers save for again a brief gag? It makes no sense when she then also has mimics abilities?

Claire: Let's give Claire a side note at this point. I do so hate it when shows decide to make children their parent's brains and moral compasses, take little to no time to show any bond between parent and child until the last 2 episodes, and instead choose to spend that time showing us how naturally fractious a relationship they have. Love that, so much. Never seen it before really. I get it's normal, but when ever other part of the show is cookie cutter predictable I don't need this too. Give her an actual personality that isn't "the wise old rebellious teenager"

Ben: Wow. So glad that A) I had to hear a character explain crypto currency for me, so glad we wasted precious time of a 6 episode series on that. B) Ben had changed 0%. C) that he had Even Less input and impact at the end emotionally than in any previous season and this one was About Him! And do you know why? Because D) they basically used star-crossed-lovers-can't-help-ourselves and made him use every creepy stalker OTT moving way too fast line in the books especially when Jennifer at a lot of moments was verbally saying she wasn't into it.. Also why does he talk about her like he's a 12 yr old and, idk, it was a shame to have no real impact from him until the end when he's suddenly scared and pushing Viktor away to save him but we see no connection from him and Viktor previously as to why he'd listen it would make more sense if it had been Klaus or Luther at this point.

Klaus: Now, I know a lot of his storyline this season came from the comic, and sure it's good material, that should probably have been used Throughout the seasons rather than crammed into 1 day. But let's chat for a hot mo: Now I like that we got to see him be nasty rather than the precious uwu Klaus that I've been guilty of perceiving at times, and that we see some of the negative effects of addiction on the family for the first time. Great moments, important. BUT. I'd have felt his rage out at Allison and turn to drugs would have been a lot more impactful if they'd bothered to show him waking up to the sound of being screamed at, barely able to hear his siblings, struggling to focus on them and wanting to drown it out. But we don't get that, the horror of what this means for him. Then we proceed to got through this whole let's have him want to get shot by a drug dealer (don't quite get why - or how Claire knows he's immortal now? did the powers back thing ever come up??) have him kidnapped and forced to prostitute himself, take more drugs (but still use his powers?) Develop a new power though without using the comic's fun quirk that he has to take his shoes off, and then bury him alive. Wow. this guy had plenty going on, but sure. Then -he can save himself, I thought this might become something poignant - he's able to conjure the dog to Go to Allison and lead them there, but no, he just gets rescued again. Gee I wonder what grave he's in Mom? All I don't know Claire, how about the Only One That's Been Dug Up? I thought it was really interesting to see his moments as a teen with Allison, and how he was living with her and thought they handled the worry about death/germs etc thing well tbf. Though also how the hell did he get home from being 13 hrs away and why nobody cared to go with him was pretty low.

Five: Dear lord that moustache was awful and I'm glad they all called it creepy and he had no concept. I despise 2 things they did here: made it canon that he gets romantic with Lila. Made going back into the literal apocalypse that he spent time having flashbacks about barely if at all affect him - it's unsure if his hesitation going back into it the second time was hesitation to go in there, and that's what I hoped they would do, but then, no. no. Please, Pleeaasse don't take away this nice, safe space I had in this nice, safe 'you literally can't sexualise him with anyone it would be so problematic' character and say 'they held out 7 years but yeaaahhh they hook up.' don't see why it was needed. It didn't 'heal' him, it was a plot for conflict but I've got plenty of other conflict plots that can end with Lila and Diego fighting without having to make every damn character have a god damn love interest! I loved their bond before, it was so fun and special to see a male and female not have to fall in love, and they ruined it. And it was for nothing? And they didn't have time to make the 7 years feel like 7 years and it was lazy writing for cheap conflict in my opinion. I hated it, I hate that it's "canon". I don't think I can describe just how awful I found it and unnecessary. I also don't buy that Five would be willing to not drink the marigolds as much as the others, or that there would be a timeline full of given up fives that sit around a diner. It was fun to watch though. And up until they started the montage in the subway and we knew where it was going I was enjoying Five in this season. that boy has had such a shit life and this is how it ends?

I will say that the flashback to them as kids was my favourite part of this series. It's always good to have a little deeper insight into how they interacted as children but I do have some Opinions here too of course: Reggie saying 'you look ridiculous' to Viktor, no, he made their outfits? I felt that was lazy writing when Reggie in the past has laid into Viktor's insecurities much more keenly: 'That outfit is only for your brothers and sisters / we've been over this, you're not special take it off / I will not have you wasting time with frivolity when the Academy has important work to do, leave us." etc. Also I thought there might be something different about why they all forgot their Ben memories. It was brutal yes, which I appreciated, but I can't believe that these guys wouldn't see their father kill their brother and not One of them flip their shit? Idk, it was a little... good and bad I guess.

I think that's it for now, if anyone read this far then well done! I might write a fix it post in a bit for my own entertainment.

#tua #the umbrella academy #season 4 spoilers #thoughts and feelings

61 notes · View notes