#yet there are definitely parallels and contrasts in there

[note-boom]

you know, we're so focused on the whole soukoku scene when they fought lovecraft and steinbeck (obviously so cause that was an EPIC scene) that we're completely forgetting the fact that kunikida and tanizaki fought them and won first...

[heros-shade-fanclub]

i've always adhered to the idea that termina isn't a real place but rather a representation of link himself. and it makes me unwell if i think about it too much. to be quite honest with you

[seventeendeer]

hrrr I Saw the TV Glow is still rolling around in the back of my mind. it's hitting me somewhat belatedly that what seemingly starts as mainly an identity story turns out - toward the final act - to also be a love story. two queer kids finding each other (again). the bond they forge (have always had). the feelings that start to grow (were always there) despite the lie they're living. one trying to save the other, and failing. the frail hope at the end that maybe what they had mattered after all, even if they never see each other again. maybe because they knew each other, someday things will be better.

idk. so much of the story feels so lonely. they're awkward with each other at first and they don't really "get" each other and they're absent from each other's lives for long periods and they don't have anyone else. but it's all a lie - they were best friends, they knew each other better than anyone, they are who they are because they knew each other, they were not alone. no matter how bleak the setting is, this fake world can't obscure the truth. they'll never forget each other. it will always have happened, it will always have mattered.

it's so hard to put into words but Owen/Isabel and Maddy/Tara make me so crazy, the way everything in the world works to drive them apart and yet not even losing their memories can destroy the connection between them. and it's not enough to prevent the world from tearing them apart but maybe it's enough to save their lives

queer love portrayed not as supernaturally resilient or invincible (god knows it isn't), but as a precious fragile thing that can and will grow back over and over in some form no matter what ...

[aroaessidhe]

2024 reads / storygraph

Salt Houses

historical fiction

follows 4 generations of a Palestinian family from Nablus between 1967 and 2014

uprooted and grieving after the Six Day War, they start to build a life in Kuwait, until they’re once again displaced in 1990 and scatter to Paris, Beruit, Amman, and Boston

different chapters from almost every family member’s perspective, skipping years in between

explores complex family dynamics, grief, and loss of home and identity through displacement

[ghouly-boiiiii]

Does Max give anyone else major twist villain vibes???

Okay I haven't talked about Max much yet, but I think it's kinda wild to see people talking about him like he's just this sweet innocent cinnamon roll when my read on his character was the COMPLETE opposite.

I mean yes, he does seem very sweet. He's very soft spoken. Naive in a way like Lucy, but not as much. Kinda vulnerable. Got a killer smile. And some of the moments with him and Lucy are super cute and adorable. But damn if he doesn't have a DARK side!

Like I've heard people say that Max is stupid or that Aaron Moten's acting is bad, but hell no. Aaron Moten sold me on his acting during the interrogation scene. Max was scared shitless and I FELT that. I think Max was meant to be played as a character who lacks understanding about certain things and seems disconnected from people due to both being brought up in basically a cult and having an inherent lack of empathy.

You think about the fact that he admitted he wanted Dane to get hurt, someone who's supposed to be his best friend. How he coldly sat there and watched Titus die. And before that stood there and watched him get mauled by a bear, almost like he was fascinated by it and wanted to see what was gonna happen. The fact that he tried to kill Thaddeus the moment he became a threat, even though the two of them had appeared to have bonded and developed a genuine friendship. And let's not forget he was willing to let all of Vault 4 get plunged into darkness just so he could keep playing with his power armor.

Max wants to be a knight, he wants to be a hero. And I think he tells himself he wants it for the right reasons, but I think what he REALLY wants is power and recognition. Which is really what every (okay maybe not every, but a lot) good villain wants, right? Because at the end of the day Max wants what Max wants. He's selfish, even though he doesn't think he is.

And sure, he's nice to Lucy. And he went balls to the wall to save her when he thought Vault 4 was gonna execute her. But she's a pretty girl who helped him and offered him a safe home. When she gave him the proposition that if she helped him bring back the head, he would have the Brotherhood lend her some knights to save her dad, he KNEW he couldn't make that promise. But he made the deal anyway. So he doesn't REALLY care about her or what she wants.

And that blank stare he gets when he gets mad? ACTUALLY terrifying. The guy's got serious psychopath vibes. Literal anti-social personality disorder, if you ask me. In fact the first thing I thought about when Max let Titus die is this kids going to end up going to the dark side lol.

And I think that would work really well thematically if they plan on giving The Ghoul a redemption arc beside it. There are so many parallels between Lucy and The Ghoul, and they have such a strong connection to the beginning when the bombs dropped. I get that Max is there to represent the Brotherhood and he's from Shady Sands, the town Hank destroyed, but it felt weird that he didn't seem to be AS important in the grand scheme of things compared to Cooper and Lucy.

But if Max turned out to be a badass twist villain to thematically contrast Cooper's redemption arc, while Lucy remains steadfast to her commitment to goodness and the golden rule I feel like that would really round it out. It would make sense if you consider a lot of people have pointed out that Lucy, Cooper and Max all seem to represent different play styles and different moral alignments. And I think it'd be pretty crazy if the writers of the show set out to make it seem like Ghoul is a bad guy and Max is a good guy, but then it ended up being the opposite.

I mean, there are definitely hints all over the show that The Ghoul isn't as bad as he may seem. And Max has already done some pretty messed up stuff, so I'd say the possibility is totally there, and I'd be here for it!

Who's with me???

[starcurtain]

What do you think about Sunday and Aventurine? and their interaction in 2.1, I know Sunday did what he had to do but I just have a strong dislike for him ever since. He is an interesting character though.

I mentioned on a previous ask that I wanted to talk about narrative foils/character parallels, and that ask mentioned Aventurine being similar to Robin and a little to Sunday. But I thought I'd combine that character foils idea with this post about Sunday because...

Aventurine and Sunday are Near Perfect Character Parallels

(Also sorry to Youtuber Fayato who I screencapped this image from; I literally couldn't find a single other good image of Aventurine and Sunday in the same frame!)

In media, the concept of the narrative foil refers to a character who contrasts another character; by setting the two characters and their plots side by side, the audience is better able to understand the traits of the central character.

And by setting two surprisingly similar characters in opposition to each other, it becomes very clear how even those facing similar circumstances can take diametrically opposed paths in life.

First, let's start with the basics:

Aventurine and Sunday are both characters whose real fathers were never in the picture, and who lost their mothers right in front of their eyes to traumatizing events.

They both experienced the violent deaths ("death" in Sunday's case) of their sisters.

They both were "rescued" by people who intended to use them by growing them ("grooming them" in Sunday's case) into a figure of authority.

They were both told they were "chosen ones" growing up. And yet ultimately this status as the chosen one is in doubt: Aventurine isn't sure if his family's faith is real, while Gopher Wood tells Sunday that Penacony's chosen should have been Robin all along.

They both became self-sacrificial, Aventurine through his obvious willingness to throw his life away, and Sunday through his plan to remain outside the sweet dream to be its keeper while everyone else got to live in "paradise."

They both are trapped by their situations, Sunday by his inability to leave the cage, Aventurine by his inability to accept the life he isn't able to throw away.

They both became the "villain" of their respective patches and both faced "death."

Personality-wise, they both strongly favor being in control, to the point that their scene together is an aggressive power struggle over each other.

This is how the "future" Aventurine describes himself:

Does it sound familiar? It should, since that's exactly how people describe Sunday.

But they also both prioritize their families, and they are equally altruistic at the core while seemingly self-centered on the exterior.

They both, of course, have the blessing of an aeon.

And here's where I'm going to take a massive tangent, but it's important: I do tend to be among those who think there is at least some connection between Ena, the Order, and Gaiathra.

I've heard all sorts of reasons that they can't be two different concepts for the same being, from the whole "Gaiathra is a goddess of trickery and that's not related to order" to the whole "the Order's followers worship with song while Gaiathra's followers specifically don't," but I think something that has been missing from the discussion of Ena and Gaiathra's possible connection is that "Order" as a concept has entirely different definitions depending on which cultural context you approach it from.

The most mainstream modern concept of "Order" is something that is imposed: A power from on high descends to quell the chaos of the mortal world, to "bring order" through guidance to humanity. This is very Abrahamic, very modern Christian, and that is reflected in the imagery surrounding Sunday. Sunday, as a manifestation of the Order's power, believes he will be able to uplift Penacony from the mire, free people from their unfulfilled desires and confusion, and bring about perpetual peace by enforcing his understanding of harmony on the populace trapped in the dream.

Sunday's Order is not the natural state of the world but something that must be carefully cultivated and maintained, a constant battle against the chaotic forces of life and its temptations. This type of "Order" promises an idyllic future, but at the cost of the present freedom of everyone who submits to the law, who must surrender their original fate for a structured sweet dream.

We understand this concept of "Order" because at its core, it's the one that modern societies largely embrace--ruling authorities establish laws that must be followed at all costs, even when they risk the freedoms of individuals, because they ultimately (supposedly) support a greater good. A majority of society adheres to the laws handed down from on-high, and life functions relatively stably.

Yet this conception of "Order" is predicated on the idea that the course of people's lives is decided first and foremost by the people themselves--which is why they can make mistakes, go astray, and need to be shepherded in the first place.

Without imposing structure through authoritarian power, this type of "Order" will crumble away in an instant, because this view assumes that rightness can only created by humanity, and that chaos--not order--is the natural state of existence.

Ena, who holds worlds tidily contained in her hands, who is tangled in puppet strings, who wears a hood like a nun or the Virgin Mary, and who is haloed like a Christian angel, clearly represents this definition of "Order" to a T.

But... this is not how humanity has always defined "Order."

It was not always taken for granted that people had the power of self-determination, and in fact, for many centuries and across many cultures, the concept of "the order of the world" was tied directly to the concept of destiny. Whether a volcano would explode and destroy your entire civilization, whether floods would swallow your city, whether the crops would grow or fail all depended on the pre-made decisions of supernatural powers, who were in turn often personified concepts of the natural world itself. What happened to any given individual, what twists and turns their life would take, whether they would achieve their dreams or not--all these aspects were also predetermined, decided not by the actions of the individual but by fate itself.

Thus, the world and everything in it has a natural order. Things may seem chaotic, they may even seem unbelievably horrible, but all events in existence unfold as they should. We may not understand why, but everything occurs in due course, woven into an endlessly repeating pattern on the fates' loom--spring becomes summer, life becomes death, disasters happen and are healed from, children are born and grow old. If it is your fate to die, you will. If it is your fate to fight and live, you will. To reject this natural order would be as futile as telling the sun not to rise.

The words "order" and "ordained" have the same origin.

Enter Gaiathra. First of all, she is the Star Rail equivalent of a pagan goddess--her worship exists separate of the confirmed existence of aeons, by an uncontacted and non-space-faring race. Even her description, being triple-eyed, evokes other "triple goddess" figures across history, both in modern interpretations (the triple goddess of Neopaganism) and in ancient mythologies (the three fates of Greece, the Tridevi of Hindu culture, etc.).

She is strongly associated with the natural world: The planet of Sigonia is said to be a manifestation of her very body, the rain is her blessing and acknowledgment, and she goes through a yearly cycle of death and rebirth (calling the cycle of the seasons to mind). She is said to be a goddess of both fertility and travel (likely in the sense of nomadic wandering by the time Aventurine was born). Avgin worship of the goddess manifests in the form of sacrificial cyclic knots.

Which might call to mind another pagan culture well-known for their cyclic knots: the Celts, whose famous Celtic knots represent cycles of eternity, unity, and the interconnected nature of life itself.

The Avgin prayer to Gaiathra focuses on elements of a person's life that all might be determined by "fate"--will your blood keep flowing, will your journey be peaceful, will your schemes stay hidden? It hopes that things will be as they should, that the future ahead of you is predetermined to be a good one, and that the cycle of life decided by the goddess will be in one's favor.

But while the Avgin hope for good things, they also strongly espouse embracing the reality of one's life, with suffering and hardships seen as manifestations of fate that should be accepted as facts of life. It is said that any society blessed by the Order ultimately falls--is it not the natural fate of all societies to one day fall? For mankind to return to the dust and be reborn anew?

Whatever will be, will be.

There is a reason--a logic--an order--to everything that happens.

I hope you can see where I'm going with this: While Sunday and Ena represent the concept of "Order" as a result of self-determination, a power "the strong" can wield to overcome the inherent chaos of reality, Aventurine and Gaiathra represent a different, older concept of "Order" (I can't help but see the entirely separate eye lurking behind Ena?): existence is not inherently chaotic but instead is foreordained, following endless orderly cycles life and death, weal and woe, rise and fall.

PHEW! Okay, so all of that to say Aventurine and Sunday make perfect parallels through a mirror darkly, even when it comes to the blessings they've been granted: One imposes order from on high; one continually rolls the dice despite knowing the inevitable outcome.

Both of their stories are entirely intertwined with the concept of fate, whether by opposing it...

Or accepting it.

And even at the end of Penacony, we leave both Sunday and Aventurine in precarious positions. Aventurine, while ostensibly "victorious," faces another roll of the dice immediately after Penacony, when his future as a Stoneheart is called into question. Yet "fate" comes through for him again--his bet, as always, comes true. His future isn't in question--it is the question itself. What's next? He finally wants to live to find out.

Sunday, meanwhile, ends Penacony's arc in a truly difficult place. He's virtually exiled from the only home he's ever known, a flightless bird tossed out of his cage into cold hard reality. He has to find an entirely new way forward and may even be forced to reckon with an entirely new definition of "Order" itself.

The parallels between these two characters are entirely intentional and very, very blatant, and I am exceedingly interested in seeing whether their paths diverge or continue to reflect similar fates moving forward.

So uhhh... that's what I think of Sunday? 😂

[vickyvicarious]

It seems like the general first impression was "The Demeter crew is suffering and sleepless and dying, while Mina is having a nice sightseeing vacation", but... Doesn't it seem less of a contrast than that?

Lucy's now increasingly odder sleepwalking was there from day one of Mina's arrival, making Mina sleepless. While the crew sleeps with one eye open.

Even on the first day on Whitby, Mina was taking about death and lost ships. While the crew was beginning to lose men. Mina and Mr Swales talk about tombstones and suicide. While the First Mate jumps to his death.

*Mina voice*: the reports of my hot girl summer have been greatly exaggerated...

You're onto something here, definitely. Of course, in the original book, we don't see anything from the Demeter until a little ways into Mina's stay, so it (re)reads as more foreshadowing than it seems like a parallel, but that's one of the really fun things to notice in the daily format! I'm reminded of Lucy's three suitors and her letters about looking into her mirror coming so soon on the heels of Jonathan's encounter with the three vampire women and with his mirror getting broken.

I never noticed just how much a lot of Mina's storyline here lines up so well with the Demeter though. And now that I'm thinking about it... There's a bunch of those kinds of connections!

Of course, there are overall ones. Like you said, Lucy's sleepwalking begins right away, and it robs Mina of her sleep. Meanwhile, the crew of the Demeter are kept awake by storms, by double-watches, by having to pick up the work that no one else is left to do. But though that's pretty overarching, there are also some moments that line up really well. For example, July 27: "Lucy walks more than ever, and each night I am awakened by her moving about the room." and July 28: "Four days in hell, knocking about in a sort of maelstrom, and the wind a tempest. No sleep for any one. Men all worn out."

Then there are Mina's conversation with Mr. Swales, especially the latter one with its talk of suicide, of going to hell - only two days before the mate leaps to his death rather than allow Dracula to get his soul. Mr. Swales also parallels the first mate a bit in being, as Mina says, "a most dictatorial person in his day" and very insistent that there's nothing supernatural going on, though as yet he's not been proven so terribly wrong about that the way the first mate was.

On July 24, Mina says there is "a buoy with a bell, which swings in bad weather, and sends in a mournful sound on the wind. They have a legend here that when a ship is lost bells are heard out at sea." That same day the Demeter is approaching more bad weather, and later on they get lost in the fog. (Though we never get mention of any bell ringing.)

Mrs. Westenra is afraid of Lucy's sleepwalking because she "has got an idea that sleep-walkers always go out on roofs of houses and along the edges of cliffs and then get suddenly wakened and fall over with a despairing cry that echoes all over the place." On August 2, the captain is awoken by a cry that sounds close, but which he cannot see the source of in the fog. The next day, the mate runs up onto the deck crying out after being figuratively 'wakened' to the true horror of who he's up against just before he leaps over the side of the ship. Also on August 3, Lucy goes about searching for the key so she can get out, and the mate went searching through the boxes in the hold. He clearly found what he was looking for, and it had terrible consequences; if Lucy finds what she seeks in her sleepwalking, what might happen to her?

And, one that I can't believe never occurred to me before... Mina's not only worried about Lucy, of course. She's very afraid for Jonathan. Because he, much like the men on the Demeter, has vanished unseen. He went off to his work (on watch/work trip) and hasn't been seen since. Even when she hears from him, it's brief and she can sense the letter is uncharacteristic of him, short and lacking detail. The reason, though she doesn't know it, is of course that Dracula stopped him from saying anything else/more. Jonathan's real sentiments and words were 'lost in the fog' so to speak (the false trail laid by the letters being the metaphorical fog here). It reminds me of the one sailor's cry that awoke the captain. And even with that, she's still waiting for more word of him and should have had it by this point. But he's simply gone.

It's not endless horrors for Mina at the moment, but the ominous tone is certainly building over time despite more positive moments happening too. To use a weather metaphor, more and more stormclouds have been gathering over time, looming threateningly overhead. And it looks an awful lot like the weather Dracula brought to the Demeter.

[mycadences]

When Elain was about to be thrown into the Cauldron (so this was before she even entered the "oh so evil and corrupt" Cauldron that "definitely twisted and created fake mating bonds!"), notice who was the one who had a visceral reaction:

Also notice how I didn't include Azriel's reaction? Yeah. Because he had none. Azriel had no reaction to Elain's greatest trauma -- her transformation into a High Fae. I can't even find any quotes during that scene, and if you don't believe me, grab your copy of ACOMAF and verify it for yourself. This is why they are definitely NOT mates. Meanwhile, Lucien tried to help Elain although it was their first meeting, so how it possibly be that their mating bond is fake and created by the Cauldron when he felt the bond even before she went in?

In fact, during ACOMAF, Azriel was heavily implied to be shipped with Mor:

But Mor, as we all know, was likely retconned and revealed to be bisexual in ACOWAR (with a greater inclination toward females), putting an end to their ship.

Meanwhile, contrast Azriel's reaction toward Elain's violation to how Cassian reacted when Nesta was going through the same thing:

Cassian's wings were shredded. He was in a sea of agony. And yet when Nesta was being thrown into the Cauldron, he was fighting to stay conscious at her screams. Because Nesta is his mate.

The same way that Eluciens are undeniably, irrefutably mates, evil Cauldron be damned.

Alternatively, you can also contrast to this scene:

Azriel is the Night Court's Spymaster. Yet he didn't leave a single one of the Hybern soldiers alive for questioning? He killed them all immediately, suggesting that he was in a fit of blind, uncontrollable rage.

Which one screams mate behavior to you?

Edit to add: I finally found it! The evidence that Azriel knew to keep at least two enemies alive for questioning, so it was obvious he was incapable of thinking clearly when he killed every single one of the Hybern soldiers who hurt Gwyn.

In this scene (in ACOSF), Cassian and Azriel were attacked by Autumn Court soldiers, and if Cassian knew the reasoning behind keeping two soldiers alive, obviously Azriel (the actual Spymaster) would, too.

"But -- Elain was wearing a cobalt blue dress when she met Azriel!"

Yeah, so? Nesta was wearing an amethyst dress when she met Cassian...

... and she ended up with Cassian, didn't she? If cobalt is Azriel's color then crimson is Cassian's (these are the colors corresponding to their siphons btw), and if SJM intended the scene to be a parallel, wouldn't she have Nesta in a crimson dress?

Also tons of people wore cobalt outfits. Feyre, Eris, Helion, even Vassa in ACOSF. I guess we should start shipping Vassa and Azriel! Azris shippers should celebrate, since by Elriels' logic your ship is confirmed!

And if you really want to compare outfits, I think it's significant that both Azriel and Lucien draped their coats over Gwyn and Elain respectively in light of their traumatic experiences. This is how you do a proper parallel.

Even SJM herself alluded to being an Elucien shipper:

Yes, this was from her actual Pinterest account before she took it down. If you search online for it, you'll find other people talking about it and that this is true, it's not just some random fake account lol.

Elriels claim that Gwyn is the red herring in their ship. I propose the opposite -- Elain is the red herring in Gwynriel's ship, like how Azriel is the red herring in Elucien's ship. Because think about it, if Elriel were really meant to be, why would SJM need to introduce Gwyn as a potential love interest for Azriel? She already had one red herring in Lucien, did she really need a second one? No, she didn't. So why? Why does all the evidence, new and old, point toward Gwynriel and Elucien and not Elriel?

Because there was never Elriel. Elriel were never mates, nor would they ever be. There was only ever Elucien (which came first) and Moriel (but Mor was retconned into being bisexual), which eventually gave rise to Gwynriel and highly likely Emorie (Mor x Emerie).

[withthewindinherfootsteps]

MDZS Notes + Analysis — Chapter Two: “Reincarnation”

Three main things stood out to me when rereading this chapter: the theme of status, our intro to WWX, and the information we’re given about his state after death.

…Well, four things, but the other one will get its own post.

The theme of status is immediately introduced* with ‘MXY’’s treatment and the backstory of MXY and his mother, yet again showing just how well MDZS’s ideas are integrated into the text and how well it’s paced! You’re introduced to every important theme so, so early on. Two screenshots are analysed below:

(See: entitlement of the upper classes towards the lower classes, and how this can exist even between members of the ‘same family’; and arguably the idea of debts between a richer family and someone who was 'taken in'. There are a surprising amount of parallels between MXY and WWX, but I'll make my own post about that)

(See: once again, differences in status between members of the same family, and also the worse, and disposable, treatment of one daughter because she was "the daughter of a servant". Now, why does that phrase sound familiar...?)

Also, MXY's mother was sixteen when she attracted JGS's attention... if you somehow needed even more material to hate the guy...

We also get introduced to WWX’s personality(!), which immediately disproves the rumours from last chapter on how he'd cast the world into ruin:

(That's one of the first questions he asks after waking up – I love how he's so concerned about this! It shows us two important things, too: 1) Morality is important to WWX, and 2) Doing immoral things seems to be out of the ordinary for him. Both of these stand in direct contrast to the picture of WWX we were painted earlier!)

(Same thing here, along with showing us some of the (healthy!) pride WWX has – he wouldn't be offended at this if wasn't something he held as important within himself)

(I use this quote again, but here it's once again proving that the vengeful, evil WWX who'd sink the cultivation world into "nothing but chaos and despair" at the first chance he got... very much does not exist.)

(And finally, it's explicitly confirmed here that he's not the type to take exessive revenge and take pleasure in it... at least at this point in time, because. MXY definitely had reason to think this considering Sunshot!WWX, if everyone had been working from the truth. But importantly that isn't who he is now, and isn't who the WWX villified by the cultivation world was – imo that's including Nightless City, we'll get to that when I reach it. But note that actions during the Sunshot campaign aren't even mentioned in the prologue, because, shock, they actually helped the cultivation world win the war! Though that doesn't mean they weren't part of rumours + the WWX hatred mill later.)

Then some non-morality related things:

This is just really funny to me, with how the makeup being badly applied (:o) is enough of an issue to merit a thought – WWX I love you.

And then this way of thinking comes back a few times esp during the earlier chapters, enough to be noted I think.

Confirmation on WWX's status after he died – it's not anything new to point out, but this chapter does give us rare insights into what state he was in during the post-death, pre-rebirth period.

So, he was somewhat conscious, enough to be aware of what he was(n't) doing – seeking vengeance, haunting the living – and was seemingly in control of those actions. However, he was specifically a "wandering ghost" – his soul didn't pass onto the afterlife or "return back to Earth"** like the body-offering spell's caster's would. He was conscious that a long time had passed as well, and this long period of downtime where he could accept + deal with what happened in his first life is what likely allowed him to be so well-adjusted the second time round – even taking into account the remarkably good way he tends to deal with things in general (cue the "forgetting the wound when the pain fades" quote, it summarises WWX's mindset really well)***.

Also, as for resisting the summons from the prologue – I'm wondering how much was due to WWX's experience with resentful energy + general capability (if that affects it..?) allowing him to consciously refuse, how much was due to WWX not being the type to hold onto resentment (so possibly spells targeting ghosts, full of this resentful energy, wouldn't be as affected?), and how much was due to the relative lack of knowledge about how ghosts/resentful energy works compared to WWX. Or, if it was something else. Either way, achieving the impossible, that's WWX for you :D

It is interesting that he hasn't heard a voice in ages despite wandering, too – do ghosts just not hear the same way, or did he deliberately avoid areas with people? I could see both, the second being more likely, especially considering how many people wanted to summon him back for... less than stellar purposes.

Misc:

Poor Mo Xuanyu....

--

*Well, reinforced – in the prologue, one of the things said about WWX is that "if not for the YunmengJiang clan’s adopting and teaching him, he would have been a hobo living on the streets", which is among the insults people throw. So of course, class-affecting-perception is tied to WWX from the very beginnning! But this is the first time it's actually explored, not a throwaway line.

**Though that may be what's literally happening to WWX's soul here – it is wandering around Earth – I don't think that's what this line refers to. There's a very good meta on how different translations handled that line, I really recommend it (tysm @/mxtxfanatic for finding it)!

***It would be very interesting to read a fic where it felt like no time had passed for him since his death, actually! Though the extremely stressful circumstances are gone, it would still be interesting to see a WWX for whom the Siege, Nightless City, Qiongqi Path etc are pretty recent – but only in fic territory, since I'm so, so glad we got the WWX we did in canon. Also, I'd love to see a fic maybe exploring some of his time as a ghost...?

[violetasteracademic]

Power and Possibilities

Elriel Month: Theory Post

This week's @elriel-month theme is the perfect time to put together the evidence I have for a pretty popular theory (and one I definitely share) that Elain and Azriel could potentially have a carranam bond. While I'm unsure if it is carranam exactly, I am most interested in the fact that there is evidence of power sharing amongst all of the major mated couples (including Feysand and Nessian, which no one ever talks about!) so let's break it down.

*Multiverse spoilers ahead*

Of course we know Rowan and Aelin are the OG carranam and power-sharers. I have already made a post on the parallel language between Rowaelin and Elriel and the easter egg of true mates being given to another which you can find here.

We have evidence of Bryce and Hunt being able to share their powers in unique ways. While any raw magic can charge Bryce's "battery", they have a unique experience of being able to blend and give each other their powers through intimacy:

Bryce gives him magical orgasms. Literally. 😂

Now, we all already know Bryce and Hunt share power. And of course we know that Ruhn and Lidia had an incredibly unique experience being able to find each other's minds across oceans and not only be able to communicate without a comm crystal, but physically touch each other in a non corporeal space.

Both the Bryce x Hunt and Ruhn x Lidia scenes are very similar to a Feysand scene that I don't really ever see anyone talking about in terms of power sharing with a mate. But they do it, and this indicates it is a connection that happens on all worlds:

Just like Bryce and Hunt, literal stars began to sweep by them. And just like Ruhn and Lidia, they were able to be together in a space where they shouldn't have bodies. And notice the language: I felt him as his power blended with mine.

Another Feysand power sharing moment is of course when Rhys pours his power into Feyre to restore the Cauldron. In Erilea, that's what we call carranam baby.

The Nessian moment is more subtle, but it is there. And I believe we will see all three couples share or blend power on a larger scale:

When Nesta loses herself to the scrying and begins to literally freeze over, Cassian sends his power and heat into her through his kiss and his siphons. He breaks through the ice by pouring his power into her, and unintentionally warms the entire room. Cassian clearly doesn't have a full understanding of what he did or how he did it yet.

Alright.... now what does this have to do with Elriel?

Well, I think Azriel being the one to discover Elain's powers means more than anyone is giving it credit for (and that's saying something, because it is already being given a LOT of credit in the Elriel community!) I believe that the assessments of scenes reflecting Azriel beginning to understand or notice Elain's powers are deeper than just possibly indication of being mates. I think we'll find he can actually feel her power:

Yes he is seeing her and understanding her. He is listening to her. But these passages are worded in such an interesting way. I believe he can literally feel her. Elain starts having another vision, and that's when he discovers the truth of what is happening to her. @rizzoreads88 , this is my take on what these scenes mean from your most recent tiktok!

Now, is this all just theory and speculation? Absolutely, which is why I labelled it a theory post! But I do think it is interesting that Lucien tried to feel Elain. Tried to reach for her through their bond. And this is what happened:

Elain starts actively having a vision while Lucien is trying to reach her. This is in *direct contrast* to when Azriel is studying her while Elain is having a vision.

Even though Elain is using her powers while Lucien is reaching for her through the bond, he doesn't sense or feel anything except the thread of the bond. And likely, due to his blush, the previous thoughts he had the first time he was around Elain. The mating bond commanding that he touch and taste her. But he does not sense or feel her or her powers which are active in that moment. And he is *unconvinced* trying to reach her again will do any good.

We already know Lucien experiences a call from the mating bond to be physically intimate with Elain, and I actually think he was quite respectful in working through that and trying to see past it. However, even while reaching through their "bridge" he could not sense or feel her power while it was active. He didn't feel anything other than the call to be intimate. Whereas all other endgame couples have both.

Elain has already shown her ability to wield Azriel's shadows when she travelled through them and stepped out of them to stab the King of Hybern in the neck. (I do not believe that is a theory, I think that is quite clear. There is no other explanation for how she got across a freaking battlefield by herself in a dress to save her sister at exactly the right time.) Yes, Nesta uses Truth-Teller to remove the king's head, but Elain uses Truth-Teller's power.

Azriel discovers and understands Elain's power.

And yeah, they wanna bang. Do I even need to reiterate that through text grabs?

I can't wait to see how this all unfolds. I truly hope that with Az and Elain already paralleling Rowan and Aelin in so many ways, (Rowan and Aelin sealed their carranam bonds and began sharing power before the reveal that they were true mates and Maeve interfered with fate) they will be the couple that we really get to see power sharing play out with in a meaningful way.

I need their book so bad. It physically hurts.

[carniferous]

i need the dil bartylus thesis NOOOOWWW

bartylus is the failmarriage of ALL time to me i’ve spoken about this before but to me they contrast jegulus in that jegulus is a relationship with clear beginnings and ends. its tumultuous for sure but its tumultuous in a very defined way. jegulus cant be a failmarriage bc they’d get divorced. they’re too obsessed with defining what they are to each other bc they want it to be real and meaningful and it can’t be anything less than that

bartylus on the other hand…. they couldn’t define what they are to each other if they tried. they’re like the definition of settling for less but ‘less’ in this case is someone who understands you on a very a deep and fundamental level. perhaps better than anyone in the world. perhaps better than you understand yourself!! i wouldn’t say they’re ‘recognition of self in the other’ bc barty and regulus aren’t even other to each other…. they are each others homes and i mean in this context that both of these characters have the most fraught relationship with their respective homes imaginable. they want each other the way they want to go home (not at all — but also desperately). their relationship is inextricable from childhood. they hate to be reminded of their childhoods

and yet they’re not…. toxic per se! they’re obviously not healthy but they love each other in a way that’s very earnest (childlike). barty dreams of running away with regulus. he is the white knight rescuing the princess from the tower (he’s exactly like james in this respect). but unlike james barty doesn’t see running away as leading to a potentially better life for them….. he has no desire for freedom or salvation. barty just wants to do what he thinks will make regulus happier. and bc of this they will NEVER run away together bc regulus does want freedom. he does want salvation. he will never leave everything he knows unless he has the promise of something better, and barty can’t give that to him (and barty would see dishonesty about that as the greatest betrayal imaginable). so they never leave! they’re trapped together forever! stagnation! rotting! being seen this clearly is love but it’s also unbearable! there’s no mystery there’s no intrigue there’s just the cold acceptance of their fate and the comfort that at least they’ll bear it together except it’s no comfort at all because they COULD have escaped. just not with each other

and don’t even get me STARTED on brotherhusband barty…. there are like some obvioussss barty/sirius parallels and we’d be fools to think regulus doesn’t see them. to think regulus doesn’t want barty explicitly because “this person is like my brother if my brother wanted me” ?? regulus is someone who has lived his entire life wanting to be wanted come on…. he fucks barty because barty is like if regulus could somehow make sirius stay. and barty thinks this is sooooo sweet he indulges it he’s like “yeah reggie why would i ever leave you we’ve known each other since we were toddlers… we’re practically bro—” and then 5 minutes later regulus is sucking his dick and he’s like. wow look at regulus self-soothing! i’m such a good friend :)

in a modern setting they’re a category 5 situationship of unprecedented magnitude. like the picture you paint of regulus crying in his car after their 34th screaming-match breakup of the MONTH (how does this even happen. months only have 31 days max. were they timing it by the hour) is so perfect. ppl tell reg to see a therapist and he graciously does and after explaining it the therapist is like “do you think this might have anything to do with your childhood?” and regulus like “no?” and then proceeds to ghost said therapist bc on the way home from the appointment barty called and apologized and invited regulus over. regulus was like “okay but we’re not going to fuck” and barty is like “ofc not do you think i’m some kind of freak that i would be horny right now—“ cut to barty with regulus’s calves on his shoulders

[dolphin1812]

“The lion shaking off dogs” is an appropriate comparison for the barricades, bringing back the imagery of wild cats being rebellious in contrast to the law-enforcing dogs! 

Marius and Enjolras are terrifying (and Hugo even uses “terrible” for Marius here). 

It’s sad that Courfeyrac has lost his hat, but at least he jokes about it a bit! And while it’s sad on the personal level, it’s important for appearances. Without hats and cravats, the men at the barricades are much less distinguishable on the basis of class. Even death doesn’t bring equality in this book (we saw that with Fantine), but at the barricades, they might actually all die as equals, indistinguishable from one another without these class markers and all branded as disloyal rioters. 

Their “jokes” are much darker now, though, with the lightheartedness of earlier chapters vanishing.

Hugo brings up the Trojan War and epic verse here, and he seems to draw on it in writing. In the Iliad, there are long lists of names of the dead with the occasional brief description of how they died (he quotes an example). That’s how we learn of the majority of Les Amis’ deaths:

“Bossuet was killed; Feuilly was killed; Courfeyrac was killed; Combeferre, transfixed by three blows from a bayonet in the breast at the moment when he was lifting up a wounded soldier, had only time to cast a glance to heaven when he expired.”

(I’m sorry for including this line). But here, we see that there’s still no time to grieve, even as most of the group dies in quick succession. Combeferre gets a bit more detail, but only to remind us that he was a medical student, more interested in healing than in combat. And yet even as a healer, he’s not spared, killed when he was trying to treat someone (possibly an enemy, too! He’s described as a soldier). 

In epics like the Iliad, there’s a section called the “aristeia” where a hero shows his prowess on the battlefield. This is Enjolras’ aristeia. He’s the only one who hasn’t taken any blows, and he’s fiercely defending the barricade in a way that definitely reminds us why he’s “terrible.” He’s paralleled to a god, and he’s certainly “god-like” by epic poetry standards here.

[scoobydoodean]

the thing about emma vs amy is they’re literally not comparable at all really!! one HAS KILLED PEOPLE WITHOUT REMORSE (arguably, it’s been a while since i’ve seen the episode) and the other… HAS NOT! a comparison i have never seen people make that is actually so much better, so much more interesting? emma and that dude in metamorphosis, the rugaru. both are supposedly “monsters” who will inevitably kill somebody and thus deserve to be killed as a preemptive measure (even though they haven’t actually hurt anybody yet), as argued by sam about emma and dean/the other hunter about the rugaru. the difference? DEAN DECIDES TO TRUST SAM AND TRY TO HELP THE DUDE. sam on the other hand disregards dean’s wishes and any possibility of emma making the right choice.

i’m convinced that the only reason people compare emma and amy is because “dean admits he was wrong to kill her” (which isn’t actually what he says but people don’t really care about the exacts). if they were to look at any other episode where the definition of monster is argued, they’d see that sam is usually on the side of “give them a chance” (and ftr dean is too almost all of the time) UNLESS it’s a “monster” associated with dean… why are sam’s morals different for these people? for emma?

sorry i know that’s a long rant, but every time i see the emma vs amy debates it boggles me that metamorphosis dude is never brought up too! also i hope this all makes sense haha

Emma and Amy aren't even remotely comparable. In any way. Emma and Amy's son who Dean didn't kill? Yep. They are directly comparable. But Amy and Emma? Get outta here! Jack Montgomery (Metamorphosis) and Jack Kline (two Jack's!) can both be interesting Emma parallels. Especially when comparing how desperate fans are to coddle Jack Kline from so much as experiencing a negative emotion when he's brainwashing people from the womb, bursting out of his mom's body like something out of Alien, and actively strangling innocent black store clerks to death.

Contrary to the belief of people who don't watch the show but are always making wide-sweeping claims about what happens in it, Sam and Dean have a long history of trying to protect "good" monsters (including from other hunters!) from 2.03 "Bloodlust" and onwards (2.03, 2.17, 4.04, 5.06, 6.02, 8.04, 12.04, 12.16). There's a weird disk horse that's opened up in the last several years that Sam and Dean are always indiscriminately killing monsters who don't deserve it all of the time because "supernatural power bad" and that just isn't true. Like. Actually look at the cases they go on? Sam and Dean kill murderers whose crimes are committed supernaturally which is going to allow them to get away with it and/or continue doing it. They don't kill people just because they're "different"—in fact, the entirety of season 2 is about not killing people just because they're different, or because of some alleged inescapable dark destiny.

I've spoken before about how "Bloodlust" is treated by fandom as an episode where Sam stands on some sort of moral high ground from the beginning about the existence of good monsters, but that isn't what actually happens in the episode. Sam ends the episode with zero remorse about any previous hunts John ever took them on while Dean thinks back and wonders if they hurt people who didn't deserve it at some point (no questionable hunts in season 1 FYI—and the majority of them are ghost-related).

The way that Sam can compartmentalize/let go of his past actions and move on is useful in their field of work, but in contrast with Dean's tendency to feel eaten alive by guilt, it often results in fandom disk horse where fans follow Sam's lead by compartmentalizing and burying and excusing his actions as if they never happened, while putting everything Dean does under a microscope because his visible guilt implicates him in the eyes of fans. Because Dean spends several episodes feeling bad after 7.03, he must have done something super duper bad and horrible and is the worst person alive, and Amy didn't deserve to die. But because Sam doesn't ever show a single shred of remorse after 7.13 and Dean doesn't ever talk about it again, Sam must have been in the right. It's actually bizarre when you think about it—Sam's lack of guilt ought to be chilling to fans, but instead, it's often used to absolve him of wrongdoing... and for all their flaws that everyone is always harping on, I do think Bucklemming intended Sam's actions and his attitude after to be chilling. They don't intend him to be seen as "in the right".

Dean buries what happens with Emma down deep, and it's obvious why. He can't take another hit like this in season 7. Not after Cas and Bobby. He buries it deep down like he buried Lisa and Ben deep down. In addition... if Dean wanted to bring Emma up, who the actual fuck would or could he have talked to about her? Bobby's dead. Cas is dead. The only person left in Dean's life is the person who killed his daughter, and Sam made it very clear that he didn't give a shit how Dean felt about her being dead. In fact, he lectured Dean for hesitating to kill his own biological child, and said she "wasn't really his". Then when Dean disputed that claim, Sam immediately called him crazy and acted like Dean's actions (trying to push a monster kid who hasn't hurt anyone off a terrible path) are out of character when they ARE NOT (2.03, ALL OF SEASON 2, 4.04, 5.06). Even 7.03 itself supports Dean's actions with Emma as in character, because the ACTUAL Emma analogue, Amy's son, is not killed by Dean. So yeah. Who the FUCK was Dean going to talk with this about? Given Sam's long and storied history of behaving as the thought police, if Dean had so much as looked too sad in his presence, Sam would have lit into him all over again, and what fucking good was that going to do?

And yeah teehee Sam doesn't want Dean to have too many friends. More than one often-dead close friend is too many.

[that-ari-blogger]

The Aftermath

The Beacon is a very... disjointed episode. It has the unfortunate placement of between two episodes that are, in my opinion, the two best that the show has to offer, and it doesn't matter how good this episode is, it suffers in the contrast.

The Beacon is trying to set up The Promise and still recovering from No Princess Left Behind, which means that it struggles to tie both together without feeling like a ton of disconnected events.

So, for the sake of analysis, let's look at those events on their own, and see what they do for the story as a whole. Because some of them are really well written.

Let me explain.

SPOILERS AHEAD

Catra's moments in this episode are genuinely some of the best little moments for her in the series. We see her kind nature start to show, ever so slightly. She is not kind, I want to stress this, a few actions do not make a redemption (yet), but we start to plant the seeds of that here.

In Entrapta's interrogation scene, we see Catra being manipulative, that much is obvious. But it's interesting how she does it. Catra doesn't belittle, or lie, or even seem disingenuous with her compliments, she is just aware that compliments lead to allegiances, and she is trying desperately to befriend the single smartest person on Etheria.

"You're not mad? People usually get mad." "Are you kidding?"

There is an empathy here with Catra. I mentioned in the previous post that everyone's greatest strength is their greatest weakness. And the same is true for Catra. She is exceedingly emotionally attuned. She sees herself in Entrapta, as the person left behind. The side effect of this is that she falls on her sword a bit when Adora leaves, but also in a weird, other way.

"Don't worry about that thing with Hordack. I've got plenty of experience getting yelled at... you get used to it."

Catra is talking to Shadow Weaver here, of all people. Why? Because she sees a person feeling low, and offers some condolences. Without concern for who she is, or what she has done. Catra offers a hand of peace. I want to stress that empathy isn't a weakness, that's not how this works, but it makes her easy prey for Shadow Weaver, because Catra is a child, a teenager, who is naive, and Shadow Weaver is evil.

But how does Shadow Weaver return the openness that Catra has displayed?

"I will not get used to mediocrity like you"

She returns kindness with an insult, and through her touch. Shadow Weaver desires power above all else, so when she is at her weakest, she tries to grab it from the one person she thinks she can mentally overpower.

This is why Catra is the way she is, any attempt at kindness is met with animosity for reasons she has no command in. But that little influence of Adora, and now Scorpia and even Entrapta, has kept the instinct alive. The empathy is there, just buried deep under the surface.

"I just wanted to prepare you for the world"

I love that Shadow Weaver has worked out her tactics are failing on Catra, so she tries giving the Adora treatment to her, and even that fails. I think that's rather satisfying. I pity her, but it is definitely gratifying to see her this low.

Shadow Weaver fits the same bill as everyone else in the series (strengths and weaknesses being the same), but she forms a weird parallel with Bow of all people. Shadow Weaver thinks big picture, she is the strategist, and she gets undermined time and again by the tiny things, such as personal determination, and unconditional love. This parallel isn't dwelled upon, but it's a neat thing to point out that Shadow Weaver's opposite isn't Catra or Adora, but Bow.

Speaking of Bow. The man is supportive of everyone, similarly to Sea Hawk. Bow still thinks big picture, but the difference between him and Shadow Weaver is that when Bow meets a wall, instead of thinking of a way to break it down, he finds another route. Bow is a strategist of the heart, making sure everyone is at their best and ready to step in to keep people's moral up, should they need it.

I also really like Glimmer's line:

"Your sorry is wrong and mine is right."

I think this is extremely revelatory about Glimmer, but that won't come up for a while.

Finally, there is Adora.

Under stress, she reverts. This is what Shadow Weaver did to her, she gave her a few set behaviours in response to certain stimuli. Notably, when scared, punch what I tell you. Shadow Weaver isn't here to give a target, so Adora decks the first thing she can get her hands on. Namely, this light.

There are other sections in the episode when she is in the background of other shots. And instead of just standing there, and looking apathetic, she shadow boxes. Adora cannot focus when she's directionless.

So naturally, she jumps at the opportunity to heal Glimmer, including possibly stabbing her, just to feel useful. Again, preprogrammed responses. She needs to feel useful, so she will run towards whomever is offering her that purpose.

"You want me to be weak? Well (Throws Sword), I am"

This leads into the above line. Adora believes she needs to be weak, and the first thing she does to achieve that is return to her original form and throw away her sword. Adora has associated strength with ability to achieve a given task. In this case, heal.

But the fascinating thing is how she goes about the accountability of failing. She has a weird internalisation of good things being She-Ra's fault, and bad things being Adora's fault. It's awful.

I'm going to finish this on a mildly happy note, because Glimmer and Angella have a really sweet interaction in this episode. Its the reassurance that a parent figure can offer. She offers support, and affirmation that this may not have worked, but it wasn't because of Glimmer's ideals, but her methods, which can be worked on.

Compare the following two lines.

"I will not get used to mediocrity like you" "We'll figure it out, together."

I have boldened a few words, because they reveal character quite nicely. One tries to separate the speaker from its subject, complete with an insult and a comparison, the other is supportive and constructive, and strives to make the listener understand this fact. Angella is a great mum.

Final Thoughts

This episode isn't particularly memorable. Which isn't its own fault. It is sandwiched by The Promise and No Princess Left Behind, which both render it rather uninspiring.

But this episode is actually quite decent. Its moments string together cohesively enough, and Marcus Scribner (Bow's Voice Actor) kills every line.

However, that opening sequence steals the show for me, as everyone leaves on their own way. That was why Entrapta's fake out death doesn't feel cheap. It actually hurts these people, and they don't get over it. This is a death that has its cake and eats it too, and that's a difficult thing to pull off. I think the thing that sells it is this is the only scene so far in the show (I think) in which Sea Hawk stays quiet, the events of the previous episode have managed to make the bard stop singing.

Previous - Next

[its-short-for-jackalope]

THE SEARCHER IN THE SHADOWS

☆ Thoughts On Part One ☆

I have many thoughts and feelings and I am definitely not gonna be able to wrangle every last one in here, but I can do my darnedest to hit most of the big ones!

Dropped From The Clouds

The contrast of this first song compared to the start of TGOA makes me a little insane. Both songs are full of questions and uncertainty and take place after the characters have been teleported to another time and place, but When Are We? has the comfort and assurance of being with friends while Dropped From The Clouds has Rose isolated and alone without any familiar faces, and the parallel just reminds me of how much has changed and how quickly things are continuing to change. When are we going to slow down? Not now, it seems.

Dakkar's introduction, oh my god — "I'm nobody." [mildly threatening Radiance noises] "Give me the orrery." — and then he immediately goes into science mode. I need to draw him so bad. Also, side note, I already adore Jesse Bhamrah's voice.

He was/is a Traveler and a Searcher? so it seems the titles aren't mutually exclusive, then. I wonder if his unclear status as a Traveler has anything to do with whatever he's got going on that we heard in Transmission 14.

Fast Friends

CAPTAIN ADDISON ARVAD!!!!!! THE SCREAM I WANTED TO SCRUMPT!!! (also Natalie Masini sounds amazing)

"Lower your weapon, for God's sake." "The gun was your idea." I love them, your honor

So Dakkar and Addison were absolutely taking precautions in case Kal had possessed Rose, right? That's the vibe I get, anyway. Maybe they know he's capable of doing that sort of thing (maybe Sia has seen it happen? or, y'know, ✨️seen✨️ it) and that's why they wanted to check if she knew the GAD's publication date—Kal doesn't seem to automatically gain his host's knowledge, like when he didn't seem to know Morgan had already been sent away, so if he was possessing Rose then he probably wouldn't have known the date.

...Actually wait, you know what? Maybe it was Itzal they were worried about. We don't really know anything about what magic he could have at his disposal—maybe he can also possess people or change his form. and since he's a bigger, badder threat, I think it could make more sense for them to avoid saying his name rather than Kal's. 🤔

ADDISON IS A ROSE FAN???? ROSE IS PRETTY FAMOUS ON THEIR ISLAND??!? THEY HAVE A BRICK FROM TOWNSHIP NUMBER 9??!!?! Rose deserves the hype 100% of course but I have so many questions

okay I didn't expect Rose to meet Addison the very hour she arrived 2 weeks in the past, so I did not consider the fact that she and the crew would be here and they wouldn't have disappeared yet. I am now deeply afraid, because I know something happens to her. I have been so afraid of how the time travel will hurt me irt the twins that I didn't think about how many OTHER ways the time travel could hurt me.....

AND ROSE CAN'T WARN HER!!! So she just has to keep her mouth shut and let it happen and Addison must know that something happens, she and Dakkar didn't seem surprised that Rose didn't know who she was, but she's gonna go in blind anyway... 😭😭😭 okay wait, what if Addison and Sia's plan was for them to leave the Antikythera drifting for the others to find, but instead of returning to Lincoln Island Addison and her crew disappeared??

Destiny Strange and Sublime

...well now I just feel silly for not even considering that Dakkar would be the Searcher in the shadows 😂

I can't quite tell if the people he mentions he'd been unable to save is like... a personal thing, as in he actively failed to save them because of his own mistakes, or if it's more of a shared grief for the Blazing World and all its inhabitants. the first interpretation is definitely more angsty, lol.

I wish I had more coherent thoughts on this one but at this current time it mostly boils down to ohh pretty music, Dakkar is cool, Jesse Bhamrah is awesome, et cetera.

Arrival, part 1

HELLO PART 1 SONG!!!! I am excited to see how parts 2 and 3 may emotionally devastate me in the coming week!

so many people from the Blazing World! pleasantly surprised my island of refugees theory was correct. then again, I've spouted off enough theories that odds are at least some of them gotta be right, lol

Ahlaam my beloved!!! Virginia's voice is gorgeous, omfg.

The different creatures and plants from all over the world.... have the Searchers been looking for things that remind them of the Blazing World and bringing them back to the island to make it feel more like home? Crafting a facsimile of the Blazing World from pieces of Earth? (aough, and I thought "Ipomoea, just like home!" couldn't hurt any more than it already did...)

the phrasing of "OUR planet's biggest ocean" is interesting to me. Is the Blazing World connected to Earth somehow, thereby making it the same planet in some way, or is it just that this island has been home long enough for Ahlaam to feel attached? Or. Or. If the Blazing World is on the moon, then it would make sense for Ahlaam to refer to the Earth as her planet because the moon revolves around it and it's the moon's planet. (yes, hi, hello, it's a new pulp episode, we are once again in the Overthink Everything And Fire Off A Bazillion Theories era <3 )

They've been waiting for Rose for YEARS? ...would that be since 1835, or 1829? and we know they've been waiting for Margaret because, well, duh, but have they been waiting for Samuel and John, too? or are they all just Rose stans?

the crew of the Antikythera....... 😭😭😭

I love that a good portion of this song is basically just Ahlaam going "check out our sweet digs" lmao

The nights have been dark but this is the spark that will set the whole lighthouse ablaze — YELLING RIGHT NOW, oh my god. lighthouses are guides through darkness and stormy weather and they also cut through fog, I want to bite something (/pos)

this has got to be both very nice and very overwhelming for Rose, lol.

Addison & Dakkar and Ahlaam & Dakkar are both very fun dynamics

A Spell Is Just A Rule Made With Magic

THE FOG IS FROM A SPELL!!! ITZAL CAST A SPELL AND CORRUPTED HIS PEOPLE! "It saturates the heart with darkness 'till you forget life before the blight" oh my god, he convinced all of them that the fog is how they always were & were meant to be? No wonder Kal considers Sia and Margaret traitors. So when Kal says "soon the Blazing World will meet its end" he might not be talking about an actual place—in his mind he's probably talking about the traitors' movement & the ridiculous, dangerous ideas they have about replacing Itzal's world with one of light...

"A spell is just a rule made with magic, and any rule can be broken" AOUGH. CHILLS.

ooh they believe Rose is the key? aw man this adds more weight to "I was a hero and the heroes win — don't they?" in Vanishing...

"Capital." oh my god Mr. Dahan you can't do this to me. The similarities between Dakkar and AJ have to be intentional, right?? ...oh god, is Dakkar gonna make a bad deal to save lives? Is he gonna sacrifice himself in some way to save his people?

Two Weeks

I love this montage, it's such a nice way to go through this part. also I just really like how this whole first part is structured, having this entire part dedicated to Rose in this time is a great way to handle the time travel without being confusing by jumping back and forth, AND it gives us time to get to know the new characters a little bit! It's also a bit of a breather after how hectic the end of TGOA was. (I feel like part 2 is going to get super intense super quickly, lol.)

So they start with science and testing her mind, giving Rose access to all their research to see if she figures out anything there. And then they go to the volcano and scan her, starting to test her body for evidence that she might be able to help them in some magical way. (They're probably still going over the research too, ofc. Those were a lot of books, Dakkar.)

Day 9!!! Sia is here!!! I desperately want to know exactly what she and Addison were talking about. I think it might be a plan to abandon the Antikythera for Margaret and the others to find in a few days, but that's mostly speculation.

also Sia seems so much more relaxed and at ease here. maybe it's because she's at home with her people and she can be less secretive than she was on the satellite? (and because she isn't in a literal magic battle, lmao.)

Dakkar mentions phase three and they go to the lake to try doing stuff with illusion magic—do they want to try using magic on Rose to see if they can get her to activate whatever magic she may have? Or maybe how Rose reacts to the illusion magic could reveal something...?

Rose not wanting to go in the water, aoughhh 😭 and Sia helping her when she's scared 😭😭😭

Dakkar's Grotto / Mobilis In Mobili

when I saw this scene during the premiere I said "holy sci fi" and I stand by that. this environment is so cool. I wonder why the rest of the island isn't like this when they're clearly people with a lot of knowledge and technology... it's probably a matter of supplies. They fled to this island from Itzal and his spell, so they wouldn't have had time to pack a lot of stuff. I imagine whatever they did manage to bring and/or build is all dedicated to their efforts to find a cure and protect everyone.

we know they haven't found anything yet because they're still testing Rose's blood. man, that's gotta be stressful for her. (And the Radiance folks, yeah, but c'mon. so much pressure on Rose right now and she's brand new to all this. 🥺)

The Nautilus is here!!! and it's a spaceship!!! AHHHH!!! 🤩

SHIT IS GOING DOWNNNNNNN! Margaret is radiating and I am going to be Thinking about what it means that Sia can sense it—is it a part of her precognitive abilities? is it part of whatever bond they have that allows them to combine their power?

Rose blurting out a warning about the fog and Ahlaam and Sia immediately getting more concerned.... I hope that maybe since she waited until right before Sia left it won't influence anything negatively, if at all—it's only a very small part of the present that will be influenced and it's not like they totally altered their actions across two weeks to accommodate for that information so I'm sure it's fine. hopefully.

Rose is worried about Samuel almost drowning like she did (and is/will be)... she is not going to like hearing about the dangers he's actually facing. well, if anything is gonna wake up potential magic in her, learning that one of the bad guys attacked & has been harassing her baby brother will probably a good contenderrrrroh fuck I had a thought. uh, stay tuned, we'll get there.

oh god the Ellen Austin will be arriving soon and Samuel and Rose will reunite (they BETTER REUNITE ASAP) and Rose is going to be two weeks older and I am going to perish

not the little reprise of The stars appeared... that made me so sad last time.... 😭 I love how this version of it is positive. the parallels,,,,,,

Rose and the Stars

IT'S HERE AT LAST!!!!

The past stays soaked into our skin 😭

we are lit by suns that shatter through the dark.....

WE TRAVEL WITH THE SPIRITS THAT WE KEEP — ough, makes me think of the ghost of all my yesterdays in Behind Me. also the change from "Don't spend a second looking back" in ep 1 to "only looking back to see how much we've grown" has me feeling things idk how to describe rn, lol

THE CONSTELLATIONS TURN INTO A CROWN!!!!!! 🗣🗣🗣🗣🗣

Rose will shine again 🥺😭❤

A Few More Thoughts

Is the day Sia arrives also the day Addison and her crew left the island? we don't hear from her after this, and her disappearance isn't mentioned in the rest of part one but Sia knows that something happened to the crew when she confronts Kal on the Ellen Austin. If they had a plan for the Searcher crew to return to Lincoln Island and leave the ship for the others to find & investigate to kickstart Margaret's memories, but then the crew just didn't show up, I would think it would be mentioned? Unless they didn't want to overwhelm Rose and distract her from her work, or maybe they avoided discussing Addison & the Antikythera with her because of time travel rules...

oh and it is gonna take me a bit to grasp the time travel rules, lol. (sorry Matt, I haven't seen any Back To The Future since I was a kid.) I am going to be pondering the timeline for a while, particularly where Sia is involved. I feel like they probably want to avoid going back into the past as much as possible just based on how they are with Rose and how they put a lot of effort into not altering the present with her information about the future, but I don't think Sia would have gone from 1835 and skipped right ahead 39 years and stayed there? Like she has people to take care of and plans to make, she probably wouldn't just disappear on them for such a long time? maybe the Travelers who are experienced in abiding by Time Travel Rules are able to navigate backwards in time with more freedom because they know what they're doing. idk, like I said it's gonna take me a bit to wrap my head around this. maybe parts 2 & 3 will make it a little clearer.

OKAY, CONTINUING MY SAMUEL THOUGHT FROM EARLIER: Sia and her bunch believe Rose is the key. What if Itzal and Kal think Samuel is the key? What if that is why Kal was interested in Samuel on the Ellen Austin and why he seemed to really delight in antagonizing him? If Kal was hanging around long enough beforehand to see how close Margaret and Samuel are, then that could have convinced him that Samuel is Important™ to the Blazing World and that Margaret knows he is important to them. And maybe both sides are only halfway there, maybe it's both twins, together, who are the key, and that's why they haven't made progress towards the cure with Rose over their 2 weeks.

okay there are probably plenty of things that I'm missing and more that i could come up with and tack on, but I've been working on this post since last night and i want to finish it and get to other things so I am calling it here, lol.

...that is a horribly long sentence but I am not editing it. hope you enjoyed. <3

[distort-opia]

Hello! So I recently got into batman, and I’ve been slowly climbing my way up my reading list while also browsing through tumblr in search for metas about him, which is how I found your blog, and I really enjoy your metas!

I have a question though that won’t leave my mind, yet I also don’t want to stop my current reading list to jump into another series (JL), so I hope you don’t mind me asking this question to you instead 🙏

Basically, I’ve been wondering whether Bruce has opinions about Clark in relation to his self—Bruce’s self? So far from what I’ve read, Dick is (excuse me if the wording isnt exactly accurate, but just as a sums up) “the one that brings the light to Bruce’s darkness & the ideal self—the best of him”, whereas Joker is “the mirror to his self—the him that ‘what could have been’, the him who took different route”, and I wonder if there is a similar thinking/opinion about this self thing from him @ Clark too (like some sort of parallels)? I’m sorry if it sounds confusing 😅 Thank you!

Welcome to the fandom! Thank you for the kind words, glad you've enjoyed what meta I've put out. Hope you're having a fun time with Batman comics.

Oh Bruce definitely has opinions on Clark and Superman in general, in relation to himself. Though I have to make the note that in no way was Superman intended or built as a narrative foil for Batman's character, a "mirror self". Dick and Joker are characters who populated Batman's world from early on and were always meant to say something about the protagonist. Superman is a protagonist onto himself; he was created before Batman, and his popularity was actually a big factor contributing to Batman's creation. But that doesn't mean these two characters haven't grown together and influenced each other in a myriad of ways.

On a surface level, you've got the... grumpy one/sunshine one dichotomy. Superman is brightly colored and more emotional and fights in the light to bring people hope. Batman is enshrouded in darkness and stoically represses his emotions and fights in the night for justice and vengeance. One in the light, one in the shadows, one alien, one human, the "boy scout" and the "bad boy"... Even though they work together and are both on the side of good, these contrasts between Bruce and Clark are easily noticed by both others and themselves, and have led to conflicts on more than one occasion. But the way this translates in Bruce's head, to approach it from the angle you mentioned, is probably best summed up by the following pages... which I'm putting under a cut since this gets a bit long. Spoilers too I guess, for the Rebirth Batman run (if you haven't gotten to it yet).

Batman (2016) #36

"He's a better man than I am. [...] Who am I, compared to him?" And this is no way a new sentiment for Bruce:

Batman: Hush

Bruce doesn't see himself as a good person. He's capable of risking people's lives, of blackmail, lying, torture and manipulation, of unbelievable brutality and violence in the service of what he believes is his Mission. But he sees Clark as an inherently good person; as an ideal that he himself is not capable of ever reaching, of ever being. If I were to summarize only the projection aspect when it comes to Batman and Superman's dynamic, I'd say it's this one-- Superman is the hero Batman wishes he could be, but not one he'd ever try to become, because he believes himself fundamentally incapable of it. If as you said Dick is someone Bruce relates to and sees parts of himself in, but better (in trying to help Dick he retrospectively tries to help his child self), Clark isn't that. Superman is less of a mirror Bruce actively acts on, and more of a... negative. Clark is technically an alien, and yet in many ways he's more "human" than Bruce, having grown up with a loving family that Bruce wishes he had. Where Bruce tries to rise above the humanity he sometimes sees as weakness, both in emotional and physical terms, Clark is someone who's already "above" humanity, and yet yearns to be part of it. Moreso, Bruce envies Clark's sheer god-like power, but he knows that he doesn't have Clark's good character; that if he had this kind of unstoppable power, his need for complete control would drive him mad. Which actually happened one time, in Superman/Batman (2003) #53-56.

That being said, as is noticeable even in the pages above, this can result in Bruce putting Clark up on a pedestal, and idealizing him a bit too much, to the point of forgetting that Clark is a person too, with flaws and weaknesses. And not just that... the more ruthless and calculated side of Bruce never truly stops seeing Clark's power, both as something he can wield and something that can be turned against him (hence the hoarding of kryptonite and the contingency plans, in case Superman went bad). Perhaps Bruce's attitude more generally is illustrated best in this very recent moment:

Batman (2016) #128

Superman as Earth's greatest hero, and its greatest weapon. And Bruce is willing to risk his life to preserve that, because by comparison, he isn't these things. (And because Clark is his friend.)