#<- but then again that could be like . a writer’s perspective thing

[galaxymagitech]

I was asked for context and comics panels for my previous post about that time Bruce got himself and Cass drugged on purpose so they could fight because “She had things she needed to get off her chest. I did too.”

It’s not…quite as bad as it sounds, but it’s definitely unhinged. And honestly, I think it's still pretty bad.

So, first: context. Bruce fires Cass from Batgirl and sends her off to a nice apartment alone. Cass feels that Bruce is pushing her away and challenges him to fight her in Batgirl (2000) #50. Bruce says he doesn’t want to fight her, but Cass insists that he’s lying. (The fact that he's lying will become important later.)

They fight a little, with Bruce mostly just keeping Cass away and defending himself as necessary. In the process, they are both exposed to a chemical agent called Soul, which is “the liquified essence of pain, bitterness, frustration, and rage.” Oh, and inhaling it turns you into a homicidal maniac.

Bruce tells Cass to stop fighting him because he doesn’t want to hurt her. The phrasing...doesn't sound good out of context: "Stop this now, Cass. Before I'm forced to hurt you." But he means it literally; Soul will make Bruce hurt her. Cass is like, “hah, like you could.”

So they fight. This time, it’s an all-out battle.

I tried to get some shots of Cass hitting Bruce, but couldn't find any good ones. Because of Batman’s gadgets he surprisingly seems to be winning this fight. And also there’s the fact that Cass isn’t really fighting to hurt Bruce, but actually trying to kiss him on the cheek (it’s complicated).

Dick tries to interfere (of course he does) and gets punched in the face by Cass for his trouble.

Batman ends up causing an explosion on a bridge and they almost drown, but Cass kisses him on the cheek the way she had to fight David Cain to do when she was younger, and the drug seems to have worn off when they surface.

Right. So, excluding the fact that Bruce seems to want Cass to be more loyal to him than Barbara (maybe that’s an uncharitable interpretation, but it certainly seems like it to me), it’s kind of sweet. They cuddle the way Cass’s father never let her and Cass says she’s loyal to the concept of the Bat. Sure, they fought pretty violently, but they were under the influence of a rage drug, right?

Well, they were, but...

So, I want to point out a few things here.

Bruce had the equipment to prevent this and expected the exposure, but chose not to protect himself and Cass from the drug.

Bruce states that fighting and violence is "the core of [Cass's] being...of her soul." Which is just...wrong, in my opinion. The core of her being is her empathy and compassion, not fighting. She was trained in violence since birth, and yet Bruce so easily judges her to be nothing more than that at her core. And I think that's kind of horrifying.

The fight wasn't just to help Cass express herself. Bruce explicitly states that he also had things to get off his chest. And apparently his method of getting things off his chest is...hitting fighting Cass while they're both under the influence of rage drugs.

Yeah. Anyway, it...does seem to have worked. Cass and Bruce resolved their issues with the fight. And Cass doesn't seem mad at Bruce. But it is admittedly an extremely questionable mentoring technique.

(Later on, Bruce uses violence towards his mentee again as a form of "communication" when he hits Tim on a rooftop in Batman (2016) #71. I don't know that these two incidents are really comparable from a "is Bruce a bad parent" perspective, but they do create a through-line of Bruce using violence as communication. I doubt the writers of Batman #71 were purposefully calling back to a post-crisis Batgirl comic, but it still wasn't a new idea at the time.)

(Batman (2016) #81)

Yeah. Bruce and Cass have plenty of sweet moments, but some of the stuff in Batgirl (2000) is pretty messed up.

[scoobydoodean]

Hi, scoobydoodean! Are you of the opinion that Cas' confession parallels John's private speech to Dean before he went to take Azazel's deal which killed him. Like, they're both deals to save Dean. And they only decided to say things left unsaid about how much they loved Dean and were proud of who he was, right before they knew they were going to die. I don't know if that's a stretch, and if it's not, what does it say about Cas and Dean if it does parallel John? I don't know.

You know—I could have sworn I've mentioned that very thing before, but probably just in passing, because I can't find it in my archive. Cas and John have some interesting parallels, and I don't doubt Dean notices (and occasionally chafes) at their similarities (because their similarities tend to dig into some of Dean's biggest issues with his dad). It isn't just that Cas and John both sacrifice themselves for Dean, giving him a deathbed speech about what a good person he is (one that is touching and heartfelt but still comes with painful consequences for Dean that they don't foresee).

John and Cas have also both been known to do the following:

Ignore phone calls for weeks at a time.

Disappear without anyone knowing where they are for long periods, leaving their loved ones worrying.

Try to handle The Mission alone and ice others out of it to "protect" them.

Die leaving Dean to care for, protect, and then (if necessary) kill their sons—sons who are being pursued by powerful forces who want to manipulate and use them—sons who are not actually children.

Trade out a car for a truck, funnily enough.

John and Cas are also both soldiers, and Cas understands the soldier's mentality: The Mission comes before everything (this is what Sam and Dean ultimately clash with John over at the end of season 1). Cas has admired John's handwriting (8.08), and I think is probably a little interested in John as a model of the failed protector, though he knows Dean considers John a deadbeat (5.17). Cas has his own issues with his own father to contend with, and I think because Chuck is the absent father but not the protector father (except very specifically with Cas in a few early moments—bringing him back to life 2-3 times)... Maybe one could argue that Cas wishes god was more like John—that his absences weren't always for lack of love but were somehow mission-oriented. Chuck bringing Cas back a few times gives Cas hope that maybe his father is out there watching and caring about him and ready to help him despite his absence and silence. Even as late as season 14, Cas goes off alone to find a way to reach out to his father for help with Jack. Perhaps we shouldn't lose sight of the fact that Cas going off alone in search of help from an absent father instead of communicating with his family is part of what leads into Dean and Cas's "divorce arc". Perhaps we should consider more carefully if something underlying Dean and Cas's conflicts is how they perceive their fathers.

Maybe to an extent, quite unconsciously, Cas wants to prove that he can be absent from his family and still love and protect them from a distance... because if Cas can do that successfully, it means maybe god loves him from a distance too? Maybe he thinks it can make sense of Chuck's behavior—bringing Cas back several times but still so silent. It isn't until AU Michael tells Cas that Chuck is a writer looking at failed drafts that Cas starts to catch on—and he doesn't want to catch on, is the thing. He wants to reject Michael's narrative. Having Michael in particular (in Dean's body) tell Cas this also pits Cas and Dean's perspectives on fathers against one another—Cas's hopeful belief vs. Dean's nihilism. When Dean pleads with god on behalf of his family, he does it faithlessly because he already knows you can never count on your father to help you no matter how hard you plead and cry (1.09, 5.14, 13.01).

As for what this means for Dean and Cas? Well—I've said it before and I'll say it again—fandom could stand to calm down about the "implications" of John parallels. It's often treated like some sort of condemnation to be "paralleled" with John, but... it isn't? Sam, Dean, and Cas all have parallels with John at various points, and it doesn't make any of them bad people. It makes them messy and interesting and (for lack of a better word) human. I think Cas and Dean could have some fascinating fights along this subject and I want to see more of them. Sorry but I love it when they fight it entertains me greatly.

[twentyfivemiceinatrenchcoat]

milgram aside . am at the final stretch w yan!sugu and still having doubts about the ending lmao

[variousqueerthings]

i do think that specifically david tennant being very openly supportive of the trans community has had an interesting effect -- because usually im kinda like "it is nice to know that people whose work i enjoy don't want me dead" and that's kinda my level of (at this point) quite cynical engagement with what a celebrity or artist does or does not think about transness, because these days it feels like it's almost fashionable for well-known (or post-well-known) people to come out of the wordwork and say what they think about trans people, which can get very stressful in its own way (the amount of headlines that try to be misleading or just plain don't say and so you're just like "ok i guess this week i have to find out if [spins wheel] thinks i deserve rights")

but david tennant has a different feeling to it. and to be fair, there are plenty of people with skin in the game, who absolutely deserve to and ought to speak out on behalf of their children/partners/community/friends/family/etc. and im always happy to see these people speak, and dt is included in that list as well

but david tennant is veeery specific in this here country of terf island, in which the labour party will openly state that it will allow certain book writers to affect their policies on trans people, and that's partly because of the effect above in which "having opinions on trans rights seems to be a celebrity game that keeps you relevant, which includes ex prime minister tony blair making his opinion known (hint, it wasn't a good one)" but also because david tennant is known as a national icon to rival that of whatsherface

he was the main actor on doctor who, in the top three, if not very top of british broadcasting iconography that exists. he's one of this generation's most famous shakespearian actors, the other thing that this country-as-culture is most proud of. he's a mainstay in children's film and tv, a standout in modern british crime drama (broadchurch, des), and that's not mentioning things like jessica jones, good omens, and star wars

this guy has no social media, and some of the biggest cultural capital in the uk today -- labour i believe it was made a twitter joke about him ousting the current prime minister as the doctor ahead of this week's election, because that's an iconic scene from doctor who

which means that when he openly calls transphobes whingy and asks them to shut up, there's a bit of a ripple... i mean what are you gonna do, get angry with the doctor? from doctor who??? the man who played a definitive hamlet????? the man who's just done rave reviewed performances of macbeth???? scrooge mcduck????????? this man who occasionally guests on cbeebies???????????

said prime minister and his party and hosts of transphobes go absolutely crazy every time he makes an appearance wearing new trans ally apparel, as if a. he sees any of that and b. it's a dignified response to a man saying, in essence, "i would like my kid to be safe and happy"

david tennant constantly making these statements, again and again, is a powerful voice in the modern fight for trans rights in the UK, in some ways unfortunately, because you wish trans people could have been heard before it got to this state and that it wasn't about being famous, but to be fair, he's also making that point again and again

it kind of feels like the first time in a long time that there's been proper pushback against transphobia in this country from a perspective that the transphobes can't dismiss so easily -- they can try but like. again, one side is a bunch of raving nonsense-spouters on a joke website who mostly belong to a party that's about to get decidedly ousted from the political scene, the other is beloved national icon and star of stage and screen, mr david tennant

of course, it doesn't hurt that the three main actors of harry potter and everyone else who's majorly involved in doctor who, past and present, is also supportive of trans rights, which maybe there's a separate point to be made about the strangeness of a mainstream tv show becoming a cultural battleground for peoples opinions on equal rights, especially now with ncuti gatwa at the helm, because i think some of what ive seen in relation to dw is more extreme than any piece of cultural media ive been alive to witness bigoted reactions to (including star trek), and ncuti gatwa as a black queer man is taking a hell of a lot of flack that is racist and homophobic

but labour... if you're inviting random artists to give you opinions on trans rights, david tennant is right there, and you know he'd make sure to bring along trans rights activists and professionals to get the space in the room they ought to have had all along

[byoldervine]

Writing Tips - Beating Perfectionism

1. Recognising writing perfectionism. It’s not usually as literal as “This isn’t 100% perfect and so it is the worst thing ever”, in my experience it usually sneaks up more subtly. Things like where you should probably be continuing on but if you don’t figure out how to word this paragraph better it’s just going to bug you the whole time, or where you’re growing demotivated because you don’t know how to describe the scene 100% exactly as you can imagine it in your head, or things along those lines where your desire to be exact can get in the way of progression. In isolated scenarios this is natural, but if it’s regularly and notably impacting your progress then there’s a more pressing issue

2. Write now, edit later. Easier said than done, which always infuriated me until I worked out how it translates into practice; you need to recognise what the purpose of this stage of the writing process is and when editing will hinder you more than help you. Anything up to and including your first draft is purely done for structural and creative purposes, and trying to impose perfection on a creative process will naturally stifle said creativity. Creativity demands the freedom of imperfection

3. Perfection is stagnant. We all know that we have to give our characters flaws and challenges to overcome since, otherwise, there’s no room for growth or conflict or plot, and it ends up being boring and predictable at best - and it’s just the same as your writing. Say you wrote the absolute perfect book; the perfect plot, the perfect characters, the perfect arcs, the perfect ending, etc etc. It’s an overnight bestseller and you’re discussed as a literary great for all time. Everyone, even those outside of your target demographic, call it the perfect book. Not only would that first require you to turn the perfect book into something objective, which is impossible, but it would also mean that you would either never write again, because you can never do better than your perfect book, or you’ll always write the exact same thing in the exact same way to ensure constant perfection. It’s repetitive, it’s boring, and all in all it’s just fearful behaviour meant to protect you from criticism that you aren’t used to, rather than allowing yourself to get acclimated to less than purely positive feedback

4. Faulty comparisons. Comparing your writing to that of a published author’s is great from an analytical perspective, but it can easily just become a case of “Their work is so much better, mine sucks, I’ll never be as good as them or as good as any ‘real’ writer”. You need to remember that you’re comparing a completely finished draft, which likely underwent at least three major edits and could have even had upwards of ten, to wherever it is you’re at. A surprising number of people compare their *first* draft to a finished product, which is insanity when you think of it that way; it seems so obvious from this perspective why your first attempt isn’t as good as their tenth. You also end up comparing your ability to describe the images in your head to their ability to craft a new image in your head; I guarantee you that the image the author came up with isn’t the one their readers have, and they’re kicking themselves for not being able to get it exactly as they themselves imagine it. Only the author knows what image they’re working off of; the readers don’t, and they can imagine their own variation which is just as amazing

5. Up close and too personal. Expanding on the last point, just in general it’s harder to describe something in coherent words than it is to process it when someone else prompts you to do so. You end up frustrated and going over it a gazillion times, even to the point where words don’t even look like words anymore. You’ve got this perfect vision of how the whole story is supposed to go, and when you very understandably can’t flawlessly translate every single minute detail to your satisfaction, it’s demotivating. You’re emotionally attached to this perfect version that can’t ever be fully articulated through any other medium. But on the other hand, when consuming other media that you didn’t have a hand in creating, you’re viewing it with perfectly fresh eyes; you have no ‘perfect ideal’ of how everything is supposed to look and feel and be, so the images the final product conjures up become that idealised version - its no wonder why it always feels like every writer except you can pull off their visions when your writing is the only one you have such rigorous preconceived notions of

6. That’s entertainment. Of course writing can be stressful and draining and frustrating and all other sorts of nasty things, but if overall you can’t say that you ultimately enjoy it, you’re not writing for the right reasons. You’ll never take true pride in your work if it only brings you misery. Take a step back, figure out what you can do to make things more fun for you - or at least less like a chore - and work from there

7. Write for yourself. One of the things that most gets to me when writing is “If this was found and read by someone I know, how would that feel?”, which has lead me on multiple occasions to backtrack and try to be less cringe or less weird or less preachy or whatever else. It’s harder to share your work with people you know whose opinions you care about and whose impressions of you have the potential of shifting based on this - sharing it to strangers whose opinions ultimately don’t matter and who you’ll never have to interact with again is somehow a lot less scary because their judgements won’t stick. But allowing the imaginary opinions of others to dictate not even your finished project, but your unmoderated creative process in general? Nobody is going to see this without your say so; this is not the time to be fussing over how others may perceive your writing. The only opinion that matters at this stage is your own

8. Redirection. Instead of focusing on quality, focusing on quantity has helped me to improve my perfectionism issues; it doesn’t matter if I write twenty paragraphs of complete BS so long as I’ve written twenty paragraphs or something that may or may not be useful later. I can still let myself feel accomplished regardless of quality, and if I later have to throw out whole chapters, so be it

9. That’s a problem for future me. A lot of people have no idea how to edit, or what to look for when they do so, so having a clear idea of what you want to edit by the time the editing session comes around is gonna be a game-changer once you’re supposed to be editing. Save the clear work for when you’re allocating time for it and you’ll have a much easier and more focused start to the editing process. It’ll be more motivating than staring blankly at the intimidating word count, at least

10. The application of applications. If all else fails and you’re still going back to edit what you’ve just wrote in some struggle for the perfect writing, there are apps and websites that you can use that physically prevent you from editing your work until you’re done with it. If nothing else, maybe it can help train you away from major edits as you go

[konpeitonom]

I was wondering if I could ask for some fluffy (+ nsfw if youre comfortable) headcanons about recovered/rescued curly x reader? I’ve seen very few fics about him and I’m so madly in love with him (particularly how ladonb.kokosa on tiktok draws him).

I think Curly would feel guilty about dating and sex because of his disabilities, inaction, and trauma but the reader is still head over heels for him anyway ❤️‍🩹

recovered/rescued captain grant curly headcanons.

sfw/nsfw — lowercase intended ^_^

g/n reader - no pronouns mentioned

requests are open and heavily encouraged, i write for every mw character ^.^

notes; i daydream about this exact curly too!! oh god i love this artist.. writing this in the perspective of you were his spouse previously. let me know if you’d like it if you met him afterwards :)

these r also a bit short so maybe a part 2 if i’m up for it/anyone else would want it. not proofread i never will sorry. this is my 3rd post today i am insane and happy to write!

.. nsfw section is written from the perspective of me, a girl, so sorry men if you cannot relate or feels it doesn’t apply to you too much. i try my best as a non-writer haha. minors don’t read that part thank you please…

here he is in his late forties - early fifties.

SFW

— he feels an intense amount of emotions knowing you waited as long as you did for him— that in those 15-20 years he was gone you didn’t move on *at all?*.. to come back in the state he was in, he felt a lot of guilt.

— he feels even more guilt when you saw him in said state, and still stayed with him throughout the multiple surgeries and months in the hospital.

— that smile of yours always cheered him up. and your reassurance was most comforting. he was lucky to have you as you are lucky to have him.

— curly felt as if he’d have to overcompensate for lost time. he’d plan dates, give you flowers, gift you chocolates or candies you liked. small things like that. he did it often pre-crash but he now does it enough to where it’s still a little special when he does.

— it would take him a long time to tell you what happened, truly. for legal reasons i’d assume he’d have to tell government officials, the media, or some kind of authority what had happened — but the details of it, id take a lot of time for him to speak about. he’d have to speak to a therapist about it first.

— when it came to his inaction, that and the immense survivors guilt he likely holds, he would be scared you’d leave. he’d be upset if you tried to justify his actions too. he knows what he did was wrong. and he doesn’t need you or anyone to tell him otherwise.

— i’m sure curly would donate a lot of the money he receives from media attention, that or encourage people to donate to charities that focus on gender based violence or sexual assault victims. he feels owed too. it’s the very least he could do now.

— back to his relationship with you.. sometimes all he wants is you. sometimes all he wants is to cry in bed as you’re there with him. your mere presence, all of you, is a huge comfort for him.

— he loves that you’re still your happy, old self. and he understands, he’d probably be happy too if someone you thought was dead just came back.

— if i recall correctly, he was in that state for 5 months? most of the time, if anya wasn’t there replacing his bandages or nursing him- he was most likely alone. he doesn’t like the thought of that. and therefore doesn’t want to ever be alone again.

— if you’d allow him, he wants to feel you all over. not in a sexual way. he wants to touch your arms, your fingers, your neck, your cheeks, your face. the feeling of you in his arms feels like gods blessing im sure.

— he’d ask about you. he’s so excited too. he wants updates to your life, your family. what do you like to do now? what’s changed since? do you still like this and that?

— he feels upset that he missed out on those parts of your life, but at the same time he knows that you probably kept him in his heart all those times without him.

— help him get back into his old hobbies!! keep him physically active. update him on all the video games he’s missed, all the movies he’s missed. movie days are probably his favorites. keep him busy.

NSFW

minors do not read

— i believe a strap-on device has to be used, or toys. he is open to all, but he’d enjoy using his hands to please you. it feels more intimate and close. he loves nothing more than touching you— in any way.

— he is old, ok. he lacks stamina, 1 round is enough for him- as long as it’s enough for you. but he is very experienced.

— hand holder!! he loves to hold your hand during sex.. this is canon. i am wrongorgan. he’d rub your palms as you shake, asking “is this okay? does that feel good?” .. please reassure him he thinks it’s the sexiest thing ever.

— uses your facial expressions to reassure himself. he thinks it’s cute when you bite your tongue to suppress your moans. or when your face is all flushed and sweaty. that means hes doing a good job.

— eye contact.. please make eye contact with him. he does struggle a bit with loving himself (especially assuming this is a 1-3 years after he was rescued), but as long as you love him then he shouldn’t have reason to worry.

— loves it when you place your hands on his face, caress his jawline as he fucks you slowly. i think he also likes it when your hands scratch his back. again, it tells him he’s doing a good job.

— i think it’s obvious with the way i write him but he loves talking during sex. i mean, he likes incoherent noises too- just as much as he does talking. but your words mean so much to him. and there’s just so much he wants to say.

— like.. “god, you’re so cute. have you always been like this, sweetheart?” !! he is a gentleman, ok?

— he still prefers a dominant role. he is a service top if i’ve ever seen one. even before the crash, sex is all about you, you, you, then maybe him.

— for the first few times he would be extremely careful and gentle. intimacy is not something he likes to rush. after he gets a bit more comfortable he’d be open to exploring again. like you did as younger adults, but still. he’s old and you’re probably old too ^.^

— feels like he has to make up for all the times you were probably lonely, sexually, the time he was missing.

[fixyourwritinghabits]

No Such Thing As Filler

Okay, so yes, this is another post based on something I saw that irritated me, but it seems like this idea keeps coming up, so I need y'all to internalize this. There is no such thing as filler in good writing. None. Do not approach your work thinking you have to fill space in a story, I will beat you with this wiffle bat. Don't ask me where I got the wiffle bat. Don't even worry about it.

The idea of filler comes from a very particular place - when an anime or TV show has to fit in a certain number of episodes, but doesn't have enough content (hasn't caught up with the manga, the source material isn't long enough, etc) to cover those episodes. An episode has to be written, but the characters can't really progress, and so are given something else to do. Many a trope has come from these episodes, and they're sometimes necessary. Filler in this context is something that makes sense.

The dark side of filler is the idea that you need some space between Big Event 1 and Big Event 2 in your story, therefore you need throw anything in there to take up space and make your word count. This is a mistake I've made and I've seen plenty of other writers do it too, but it's a huge waste of your time. You do need something between those big action scenes, but you should always be writing to accomplish something.

Instead of thinking of that writing as filler, try to approach it with three things in mind:

Move Forward With Character Development and Backstory - Your characters barely survived a huge gunfight, and they won't encounter the big bad again for another few chapters. How do your characters decompress from that gunfight, and what does that say about them? Did a cocky character go in guns blazing, only to be deeply shaken by how a real fight works? Did that fight spark a moment of deep trauma for the main character that they have to reflect on afterwards?

Filling this space with meaningless scenes is a huge waste of opportunity. Think about how to dive deeper into your characters.

Move Forward With Plot and Subplot Development - The bad guy beat the heroes to the stolen gem, but they left behind a clue to why they want it. However that clue could reveal some painful truths about the protagonist's beloved great aunt... Carmen Sandiego???

A major goal following a big action scene is having the characters figure out what to do with what they've learned and what to do next. It's where romance subplots or secret relative subplots make progress, when truths are revealed and next steps are taken. You can absolutely do this in any setting - a flirty conversation while at the battling cages, a tense moment of feelings while hunting down a wayward chicken - but your main goal is making progress for both the characters and plot.

Move Forward With Worldbuilding - Worldbuilding has it challenges, believe me. You don't want to write a chapter on how an airship works only to have to cut it later. But you should still try to flesh out your world, and you should do so with the perspective of how to use that worldbuilding to your benefit. Maybe a critical scene hinges on the main characters knowing how that airship works, or that lake your main character often stares at is the setting of the big Act 3 Boat Battle. The weather can play into both perspective and emotions. Knowing what the main character's house and car looks like can reflect a lot on their personal character or backstory.

When you're struggling with a scene or a chapter, rather than writing filler, take a few steps back and think. What can you establish with your worldbuilding? What can you reveal about your characters through their dialogue and actions? What subplot could you explore or add in these between moments?

Filler from a fandom perspective - Now let me make this clear - if you're writing a fanfic just to have a cute moment between the characters you like, or you really want to force everyone to do that weird Twilight baseball scene, that's fine. You don't need a grand goal to achieve for every story, there's no need to justify your fanwork in any way other than you wanted to do it.

But I'd also argue fanwork doesn't fall under the filler label either - something you create, be it a character snapshot or a 'what if the gang meets Slenderman' parody, isn't taking up meaningless space. It's something fun you did that you and others enjoy, and there's nothing wasteful or pointless about that.

[onwesterlywinds]

I've been thinking a lot again about the implications of the title of "viator" translating to "traveler" (prompted by Writing Things), and while there's been a lot of discussion about its relation/parallels to Azem, I feel like I've seen a lot less, if anything, on how "viator" plays into the overarching narrative of Garlean imperialism as well. For a relatively small detail, it's honestly one of the things I really think Endwalker did really well in its portrayal of Garlemald and Zenos.

Throughout XIV's history, we've been shown countless perspectives for why the Garleans invade and occupy other nations, whether it's [insert Nael's Bahamut tempering], Gaius' claims that peace can only come from a strong leader, the racism we see entrenched in Garlemald's colonial rule in Stormblood, etc. Endwalker, however, doubles down on the role of Corvos in Garlemald's history and elevates it to a founding narrative: the idea that the Garleans are justified in invading other nations because they themselves were driven from their own ancestral land thousands of years ago.* This is by no means the full scope of Garlean history (as just one example, Return to Ivalice posited that many other Garleans are likely descended from the technically-minded people of Goug), but it's still very consistent lore-wise and thematically for Endwalker to present the Garlean people's expulsion from Corvos as a creation myth for their empire, and the way this plays out in 6.0 MSQ lets us see the extent of the damage that that myth has done to those who have made it their worldview.

And introducing the term "viator" at the end of that arc as the name for the Empire's most loathed, reviled, and shunned class - the exile - ties into this idea so well: the greatest punishment the Garleans can give for one of their own is to make them a wanderer - to ensure that person is forever denied the home that they prize so highly in their society. This is a classic example of scapegoating, which has deep connections to empire throughout history and Western literature.

It's also such a fitting conclusion to Zenos' relationship with the Garlean Empire, too! One of the reasons I've loved Zenos as an antagonist since 4.0 is that despite treating the workings of imperialism as beneath him and irrelevant to his true desires ("Ala Mhigo and Doma and Garlemald be damned!"), he has a sense of entitlement to the peoples and lands of Ala Mhigo and Doma - and to you, the Warrior of Light! - that is extremely Garlean. The fact that (to paraphrase Lyse) he did all that just so he could feel something is what makes him such a perfect antagonist for Stormblood in my book. But to the Garlean people, that lack of care for his homeland - be it because (their own) people were tempered/killed from his actions, or the very sexy patricide/regicide, or that he caused the Empire itself to fall into ruin when he "should have" succeeded Varis - was to them the greatest crime he could commit. To put it another way, he probably would not have been named Zenos viator Galvus if he had first been Zenos zos Galvus.

And despite me forever lamenting the fact that the 5.X-era plot thread of Zenos having dreams about Amaurot never actually went anywhere, even that ties into his eventual role as viator: the only place with which he has ever had any real connection is gone forever.

Which makes a grave at the end of the known universe feel almost fitting in its tragedy.

(*On a serious note: While I do think the writers were intentional - and, mostly, thoughtful - around leveraging imperialist rhetoric, the fact that this particular framing is often used to justify an ongoing genocide is one of many reasons why I would be very happy for future Garlemald stories to stay on pause for the next few years.)

[anisangeldust]

Office Hours 𝜗𝜚⋆

Summary: Anakin definitely has a favorite student.

Pairing: Prof!Anakin x Student!Fem!Reader

Warnings: READER IS 18!, masturbation (m receiving), mentions of sex, no use of ‘y/n’, undertones of grooming.

A/N: Ik this shouldn’t be glorified, but i also crave for an older man to tell me he’s proud of me and that i’m doing a good job <\3. Also i hope the perspective changes make sense in this!

PART 2 HERE!

Anakin loved grading your work, in fact, he set aside your papers so he could grade them together.

He taught a required course, one that all student who wished to have a degree in anything to do with English had to take and pass. Some hated it, most just did their work and got their grade.

But not you.

You cared, Anakin could tell. you were always on time, you were attentive, a gifted writer, a wonderful person, and a great student. On top of all that, you were the prettiest girl he’d ever seen.

At first he kicked himself for his feelings, telling himself it was inappropriate, that it was wrong, how dare he think about one of his students like that! But you were 18 and he was only 32, that’s not so bad right?

The more he stared to feel about you, the more he let himself think about you. How could he not? When you always wore little pink bows at the back of your pigtails, when your lips were always pink and glossy, your cheeks always flushed when he’d compliment your work. You were truly an angel, perhaps a goddess; but that didn’t matter to him.

He’d worship you either way.

The ding of a clock indicated that he had 30 minutes to grade before his next class started, the class you were in, and he dug into the pile of ungraded work like it was the best book he’d ever read.

The last assignment Anakin gave was easy but long, a research paper on a book of your choice. Then you had to take notes on your work and turn in the paper and notebook.

He was giddy with he saw yours, the essay neatly tucked into the cover of the notebook, adorned with a small smiley face on the corner by your name. Anakin saved yours for last, a little treat he reminded himself as the other students’ work was less than savory.

When he got to yours he opened it up and almost groaned with excitement. never would he be over how neat and tidy your handwriting was, nor the fact that you wrote the whole thing in with a crisp, pink ballpoint pen.

Your work was superb, as always.

Anakin could have cum in his pants from how careful your essay was, the time and detail was apparent as he read through your incredible notes. He read both over and over again before the filing in of students reminded him that class was starting soon.

He wrote a few notes on your work and put it in the stack of graded notebooks to hand back.

——

“Brilliant work as always clever girl”

The words seemed to jump out at you, they were right next to the big red 98% on the corner of the essay you just got back from your favorite professor.

Surely it meant nothing, he was a professor, an educator, he was meant to praise those who did good, so why when directed to you did it always feel so different?

‘Maybe i’m just better than the people in here’ was the thought that jumped forward in your mind, of course your professor didn’t have a crush on you! what a silly thought to even entertain!

Yet his glances at you when you left the classroom, and the fixing of his pants when you smiles and waved at him made you think otherwise.

——

Anakin was rock hard when your class got out. the look on your face when you saw your final grade and the little note he wrote was enough to make a lesser man moan out loud. The way you chewed on your nail the rest of the class and jotted down notes had him sitting down so his erection was less apparent.

Naturally, he wasted no time when the day ended.

He quickly discarded himself of his blazer before sitting in his desk chair and unzipping his pants, his aching dick slapping against his stomach as he pulled down his boxers and immediately started rubbing the pad of his thumb over his leaking tip.

He wondered what it would feel like if it was your cunt, the mewls that would erupt from your throat, the desperate movement of your hips as he pounded you into his desk, the wet slapping of your arousal, god he craved you.

After gently teasing himself for a few moments, he fully wrapped his hand around his full length and began to messily jerk himself, your name falling from his lips like a sacred mantra.

The moment felt so good, the feeling of his hand was heavenly against his aching length, it was so good that he began to wonder what he could do to get you to let him fuck you, asking you up front could lead to him losing his job, no.. he needed privacy, he needed to know you wanted it to.

Ropes of cum spurted from his fat dick, the moments of clarity allowing him to think of the most perfect scheme.

——

The flutter in your heart was almost painful, you had ran the moment over and over again in your mind. Double, triple, quadruple checking that you weren’t crazy, that your beloved professor did, in fact, call you sweetheart.

If you were a man you’d 100% have a boner right now.

All you did was mention how you were proud of yourself for your grade on your last assignment, you were not expecting your beloved Professor Skywalker to quip back with-

“I’m proud of you too sweetheart”

-you could’ve cum right there, and you might’ve if you didn’t race out of that classroom like someone was chasing you.

This was wrong, horrible, ghastly. Though he wasn’t married, he had a tendency to ramble during his lectures, he was still 32! a whole 14 years older than you! But no amount of self-scrutiny could stop you from wanting to tangle your hands in his shaggy blonde curls while you rode him like a stallion.

———

The next few weeks felt interesting to say the least.

It seems your professor was un-aware of how much he was affecting you. the semester was coming to a close, so he rid himself of his blazer to prepare for the summer air, dawning only a white button up that displayed his back muscles the way they deserved.

You wanted to rip him apart, claw at his back until it was bloody and raw, suck on his skin untill you were the only thing he could feel, you wanted to destroy him, the only stronger feeling in your system was your want for him to destroy you.

His little notes also changed. It went form standard teacher notes like:

Awesome! or you did great!

to ones you could tell he only left on your paper, adorned in the corner of everything you got back was:

good girl, i’m so proud, i knew you could do it princess

It was getting too much to bare, he even started to touch you, to let his hands linger. Like when he passed you in the library and places his hands on your hips to move by you. It was too much.

He had to know what he was doing right? he had to know that you were rubbing your pussy raw to the thought of him, gridding pillows and hooking up with random boys that had similar mops of curly blonde hair and piercing cobalt eyes. he had to right?

He did.

——

Anakin knew he had you. Weeks of teasing, testing the waters, leading you to him, and you finally took the bait.

When he opened his E-Mail this morning and saw one from you he almost jumped out of his skin. it was professional, just you saying that you’d like to chat about your grades, but he knew, he knew the moment you walked in that you were his, that you’d do whatever he wanted.

It just so happened he was unavailable the rest of the day after you scheduled your office hours.

———

Anakin groaned, he thought maybe he could wait, that he could hold in his desires for after you two spoke, but he just couldn’t. He was uncomfortably. hard, his whole body was shaking from need, and it was still 5 minutes until you had scheduled to see him.

despite his better judgments, he undid his belt and palmed himself through his boxers, it felt so good, his balls were heavy with need and the tiny wet patch indicated that he needed to get off, now.

Yanking down his boxers, he did the same thing he did everytime he was alone with the thought of you, his hand pumping up and down his fat cock. The only thing he could hear was the sound of his own heartbeat in his ears. he was so deaf, in fact, that he didn’t hear the rattle of the turning knob to his office door.

“Professor Skywal-“ your voice was sweet like velvet. His eyes shot open.

shit.

[drusill-a]

[WWDitS finale spoilers]

Aside from the obvious – the gross shipbaiting and mocking naive viewers who dared to believe an m/m dynamic could be treated as anything other than the butt of the joke – my biggest issue with the WWDitS finale is that it’s an ending that could have made sense… but at most after s2. Back then, we were still watching a story about characters who didn’t share any particular bonds (except for Nadja/Laszlo) and who were entirely static, unaffected by the things they experienced.

The thing is, the creators themselves realized you can’t build a long-running story on that formula – eventually, the characters had to evolve at least a little, and their relationships had to deepen so viewers would have any reason to root for them. And so Guillermo’s position in the group began to change – first, he earned their minimal respect, then a very solid place, until finally, in season 5, all the other characters had reached a point where they didn’t even hide that they genuinely cared about him a lot. The same happened with Colin, who at first was completely left out by the other housemates but gradually earned an equal spot in the group and developed that stupid yet sweet bond with Laszlo (erasing those memories was, imo, one of the writers’ biggest mistakes). Laszlo showed himself capable of empathy, which he proved again in s5 by helping Guillermo, and even Nadja, who used to completely disregard everyone’s feelings, had several moments in later seasons where she openly cared – at least in her own way –  about the others.

And of course, that’s how we got the romantic subtext between Guillermo and Nandor. Over all those seasons – from s3 up until s6 – I was certain it was a classic will they, won’t they dynamic that would end with them getting together. I just couldn’t believe the writers would spend the last 4 seasons making their relationship more equal and showing Nandor’s journey to realizing Guillermo genuinely mattered to him, only to do nothing with it – or worse, regress them back by three seasons. But the late s6 Nandor’s “no homo” attitude has very little in common with the Nandor from seasons 4 and 5, who was openly pining and lusting after Guillermo.

From Guillermo’s perspective, this ending is an absolute tragedy – even the end of the previous episode gave him much more hope. Maybe he’d lost his lifelong dream and still hadn’t found a new purpose, but he had found a family and a place in the world, with a potential chance to build something meaningful with Nandor in the future. I don’t understand why this episode had to undo all of that – to show us that none of his friends really listen to him, that the power dynamic with Nandor will always be uneven, and that ultimately he wasted 16 years, and no one would really care that much if he left. Considering how great Guillermo’s development was, especially in gaining confidence from s4 onward, this ending feels so unfair and insulting to his character.

I feel like the writers’ biggest mistakes have been forcing a return to the status quo after every season. After the breakup in s3, the characters should have stayed apart for at least an episode or two. Colin should have remembered that Laszlo raised him, and they should’ve kept their funny, fucked-up father-son relationship until the end of the show. Guillermo should’ve been a real vampire for at least a full season—or, in my opinion, permanently—because, as it turns out, the writers had absolutely no idea what to do with his character once he lost that goal. Relationships that had evolved shouldn’t be randomly reset by a couple of seasons just because the writers couldn’t be bothered to put in the effort to write anything new for them.

You can’t have your cake and eat it too – if the writers were so dead-set on giving us an  ending that says “nothing in these characters’ lives matters, and nothing will ever change,” they should have made the show half as long and spared viewers the trouble of getting invested in character and relationship arcs that ultimately went nowhere.

This is a comedy show that was supposed to make people feel better. After this finale, I feel mocked by the creators for believing that the queer ship they sold me for 4 seasons had a chance of being treated equally to an m/f ship. I’m also sad because the characters were regressed and left stuck in eternal limbo, and generally I feel ridiculed because the writers openly made fun of us for getting emotionally invested in the story they wrote for us.

And maybe the biggest crime of these last few episodes was that they weren’t even remotely funny—so you can’t even say they prioritized comedy over character development, because it failed on that front too.

[sp-ud]

Every time I see a "Hazel doesn't really need fairy godparents, she has good parents and friends, so what if she's sad they moved and her brother is off at college? Thats nothing compared to what Timmy or Dev have going on." I want to cry.

Have you considered that maybe that's the point? I know here on tumblr it's mostly people who were fans of the original show and are now in their early adult lives and teens who probably heard of the original but haven't watched it but checked out ANW for one reason or another. But don't forget, this is still a show for younger kids.

Hazel reflects a lot of the realistic internal struggles younger kids deal with, especially when suddenly thrown into a completely new phase of their lives like moving to a new city, going to a new school, or an older sibling going to college.

And that's a good thing, it's good to show kids that even if their lives aren't Horrid they still can have issues. They're still allowed to struggle 'even though' they have good parents, 'even though' they aren't bullied, 'even though' most of their issues are internal.

And that is why it's good Hazel is the protagonist and not Dev. While yes from a fandom perspective I get why people are drawn to the character with the most blatant angst potential, that like. Would be a terrible show. Even if it was meant for a YA audience and not kids.

But back to Hazel, she's so brilliantly written with her struggles because it's like yeah. I can see any 10 year old being in her situation. Minus the whole fairy godparents. Lots of kids struggle with making new friends, or knowing how to deal with being somewhere completely new, and so many other things. Its nice to see, and once again I think this choice by the writers was very intentional.

Also maybe some of yall need to think about possible unconscious biases you have that could be causing you to focus on the sad white boy and not the black girl who has plenty of her own complexities and issues. And why when you do focus on Hazel why you only focus on how she can support Dev.

Hazel is an interesting and well written character and I'm sick of there being like no talk or anything in the fandom about her without it being attached to Dev. It's her show goddamn it. The writers made her the protagonist for a reason and wrote her the way they did for a reason so please don't just ignore her. Go rewatch the show and actually pay attention to her.

And a final semi-related note, some of yall need to stop forgetting Hazel's 10. The amount of criticism towards her that can instantly be countered with "She's 10" is insane. I know for some of us it's been a while since we were 10, but I think we can all agree we were all far from being perfectly logical and emotionally intelligent at age 10.

[uriekukistan]

i wanna talk about this thing gege said

i’ve seen a lot of people saying that this is a bad way to write a story, and i couldnt disagree more. from a writer’s perspective, there is no reason to kill off a character if it’s not going to have impact.

in any case, i think this reaction points out two things i’ve noticed about the jjk fandom.

i. jjk fans prioritize enjoyment of characters over the plot

which is fine, i guess. i’m not gonna begrudge any readers the space to enjoy their fav characters. however, what i disagree with is the constant trashing of gege and jjk as a story because the narrative doesnt treat the characters as you want it to.

i mostly talk about these things from the perspective of someone who has been writing for a while, so i will take a second to acknowledge from the reader perspective. it’s easy to get attached to characters and see them as real people in your life.

but they arent real people. they only exist for the author’s intentions. every time i see someone complain that “x character only died because plot” i just think “yes?” characters exist for the plot. they exist to serve the narrative. they live and die for the plot, and that isn’t a bad thing. this is a story. that is how stories work.

with characters like gojo or choso, it’s easy to look back and see their character arcs and how their ends fit their purpose in the story, but i think people get so caught up in wanting to fuck the character, or fanon, that they forget their original purpose is to do what gege wants them to do.

this is a war against the most powerful, most evil sorcerer in history. of course characters are going to die, and of course it’s going to be characters we love. it’s honestly unrealistic to expect anything else.

and i think it’s really disrespectful to say so many rude things to gege because he is thinking about the story he wants to tell, and not the story that best suits your favorite character.

ii. few people want to feel anything from what they’re reading anymore

which again, is totally fine, but maybe read something else?

tragic stories have existed and enjoyed immense popularity for millennia. and theres nothing wrong with that. there’s nothing wrong with authors intentionally stirring up their readers’ emotions.

i wanna bring attention to the origins of the words “tragedy” and “catharsis”

“tragedy” is a genre that stems from greek drama based on human suffering and the terrible or sorrowful events that befall the main character. the intention of of tragedy is to invoke “catharsis”

“catharsis” is commonly used to refer to the purification of thoughts and emotions by way of expressing them. in terms of tragedy, this refers to arousing a negative emotion with the intention of expelling it so the audience can walk away feeling relieved.

for all intents and purposes, jjk is a tragedy. it’s meant to make you feel sad. that’s gege’s intention. yet every time people feel upset by a specific event, they call “bad writing.” if anything, according to what jjk is, it’s good writing if you feel sad.

i have seen some people say that jjk wasn’t set up this way, and i disagree so strongly that it’s hard to comprehend.

jjk0 ends with gojo having to kill his best friend, his one and only. tragedy. yuuta’s story is tragic too, having cursed rika and accidentally isolated himself just because he didn’t want her to die.

jjk starts with yuuji faced with execution just because because he wanted to honor his grandfather’s dying wishes. within a handful of chapters, there’s yuuji’s “death” and junpei, and there’s a clear set up of tragedy and repeated loss, despite characters giving their best effort.

i could get into how this relates to my interpretation of the themes of jjk, and sharing burden/responsibility to be stronger together, but that’s another point.

tldr; the point of this post is to say that gege killing characters and making readers feel sad is not bad writing or a bad narrative choice. it’s true to his intentions and the essence of jjk. if you don’t like that, then don’t read. but there’s no reason to disrespect gege and his hard work just because it’s not your cup of tea

[ripplestitchskein]

Let’s talk about miscommunication in narratives for a second because I think it’s a point that gets missed based on comments I see in various social media platforms and on the episodes themselves.

Bad writing of miscommunication between two characters is usually down to a few things:

- Two characters who would normally talk about the issue just…aren’t. There is no narrative explanation as to why the two characters are not discussing whatever The Issue is and it’s purely to create an artificial conflict. Usually the lack of communication is wildly out of character and there are many examples of the characters discussing similar issues previously without issue but because the writer needs two people not to talk about it, they don’t.

- The miscommunication is caused by an easily cleared up misunderstanding. A missed phone call. A missed note. This does not include plot devices like another character deliberately orchestrating the misunderstanding by deleting a call or throwing away a note but is usually just a lazy way of inciting a miscommunication through pure coincidence, and it would be easily solved by a “Didn’t you get my note/phonecall?” If there has been previous established character anxieties or a history of a character being flakey or not following through this can also be used effectively to create a plausible reason for The Issue that could be rooted in real conflict, but if it’s just a simple happenstance it’s usually just laziness on the part of the writer to drive conflict for conflict’s sake.

- Two characters are given information by someone the narrative has already established as being untrustworthy but for plot reasons they believe them anyway. Again, on its own this isn’t necessarily bad writing, if some effort has been made to give the characters a reason to believe it, such as a doctored image or other proof, even if the credibility of the messenger is shaky because they are a villain or otherwise untrustworthy, that is enough to dodge the bad writing accusation in most cases. If there is no reason to trust the information they just do because that’s what the plot needs that is bad writing.

So let’s talk about when miscommunication is NOT bad writing or why two characters can’t simply say what needs to be said to resolve the issue based on comments I’ve seen for HB:

- A character has been previously established as having difficulty opening up or discussing The Issue. A good example is Stolas and Octavia. A commenter said “If Stolas had just told her he was depressed/unhappy they wouldn’t be at odds”. Well yeah. But we saw in LooLoo Land that he has difficulty discussing it with her. He had difficulty discussing it with Blitz as well. It’s a well established character trait that he does not discuss these things. It’s a critical part of his character arc so it makes sense that he wouldn’t just say it, and where they are now it’s been established that even if he HAD she wouldn’t believe it. The writing covered it from both angles.

- Two characters are avoiding a conversation because of circumstance or a character conflict. For Stolitz they still haven’t just come out and said how they feel. But we also spent a bunch of episodes showing why these two characters wouldn’t just do that, we’ve shown they have trouble expressing those feelings verbally, and we also have several situations where it simply wasn’t appropriate to have that conversation. Right after the trial wasn’t a good time, Stolas was still reeling from losing everything and at best it would read as Blitz saying he loved him because he saved him. And it wasn’t a good time after Octavia because obviously that’s a bad fucking time to broach the subject of a relationship that is the root cause of a major family upheaval. We the audience have both sides but as I’ve said before from Stolas’s perspective the last contact he had with Blitz that we know he remembers was before the party. He also just went through an entire season where he was shown that he shouldn’t trust his own judgment or choices. There is a whole song where he questions his own perceptions and that was NOT resolved. Before Stolas saved him the last Blitz had was Stolas going off with BTB guy, and Stolas is an emotional mess from the moment they meet again until the end of Sinsmas. All perfectly valid and established reasons they can’t just say the thing.

-Two characters are manipulated into not speaking by outside forces. While I do think Octavia and Stolas teeter between believability when it comes to Stella and Andrealphus’s machinations enough has been established to make it at least credible that Octavia would still doubt her father even though her mother is blatantly keeping them from speaking in Sinsmas in front of her. I don’t think the BEST choices were made there writing wise, but I think they established enough to make it at least tolerable. I wouldn’t go as far as to say it was bad writing, maybe a little rushed but not bad. We’ve had enough shown of Octavia’s insecurities and Stolas’s probably neurodivergence and trauma driven Out of Sight, Out of Immediate Mind to make it credible.

A major reason why two characters can’t simply “talk to one another” is simply that the plot demands it. There’s no story otherwise, especially in a largely character driven narrative like Helluva Boss. The external threats are secondary to the character’s own issues with this show, there wouldn’t really BE a show without them, at least not an interesting one. And I do think this lack of understanding of what comprises good miscommunication based on established characterizations and events from bad miscommunication that is forced for plot convenience drives a lot of the misinformed takes I see.

Just because two characters aren’t communicating does not automatically = writing bad, you have to consider all the factors and where the characters are to make that determination.

[yearnerspermit]

The thing I keep coming back to about the finale is how much the writers get it

Anne Rice wrote the book because of the loss of her daughter. It grew and developed a world and life of its own in the years and decades after that, but at its core, Interview With the Vampire was born from a death. And doesn’t that just make so much sense? For vampires, where birth and death are inextricably linked?

And again, even here in adaptation, no matter how much else is changed:

Louis tells the story. He’s the perspective. It’s filtered through him, remembered imperfectly by him, shaped by him. And Louis is shaped by Lestat, there’s no denying it

But at the end of the day, the story is about Claudia. Lestat only matters here because he became her maker, Louis only matters as far as being the one who initiates that change, and the one who recounts it all

Because what story is there to even be told, without her? Without her life, and her anger? The unfairness of her existence and the unfairness of her destruction? The tragedy that at every step she could have been helped, this could have been avoided, but the only way to avoid it entirely would have been her never entering the narrative?

That truly the only way you could ever avoid the death of the one you love is if you never had them to begin with. And would that be better? For them? For you? It feels like logically the answer is yes. But emotionally? Even considering erasing someone you love from your life feels worse than being the one to kill them. I cannot say even now that I regret Claudia

Every important beat after her introduction — the good, the bad, the ugly — is motivated by messy, imperfect love for her. The story only exists for the love of Claudia, it’s only told for the love of Claudia. The story is Claudia

The tragedy is that they can’t forget her. The tragedy is they can never remember her as she was. Memory is a monster because it’s an incomplete, blurry copy of the people we love who are gone, and it can never be killed, even if you wanted to. But we never really want to, do we? So you cling to that monster, keep it, make it part of you

And at the end? Louis and Lestat, meeting again?

It’s perfect. It’s them, broken. It’s them, on the threshold of learning how not to be. It’s not about romance, its not about betrayal. It’s not about them

It’s two parent, grieving a child. It’s two parents, looking at each other, knowing how badly they failed that child, and knowing how much they loved her still. It’s two parents, embracing and crying and grieving a loss that only they will every truly understand

Because the story is about Claudia. And even when she’s gone? The story is about learning to exist without her. Her absence is still a presence, though. The space she filled, the space it left behind, matters. Because it will never go away, and it will shape them and what happens next, forever

Whatever madness and plot and love and hate spirals out from here, it started from the love of a child, and the loss of a child. And whatever happens next, that will never go away

The story will always be about Claudia

[leohtttbriar]

i definitely agree that ds9 could have used more moments between kira and dax in which they not only disagree but express that disagreement to each other. but i also feel like their friction is even more interesting for the fact that they are always on each other's sides despite the ample evidence that they shouldn't be.

like, dax being who she is, kira being who she is---and still most of their interactions are in active support of one another. they're a flipped version of spock and bones: meant to express two very different perspectives to the captain--never bickering about it. the "truce," so to speak, that they have must be so particular and fragile and yet the audience is never really given the impression that it's ever under threat of breaking.

(i also suspect the writers were trying to avoid, at least on some level, the tired trope of "women not getting along"--jadzia and kira being the main female characters sort of bars that from happening. but that's a separate thing)

and the fact that the most friction we see between them is some version of them advocating for the other where she's not advocating for her own self--kira concerned when jadzia wants to honor curzon's oath, jadzia wanting to expel the prophets to save kira's life--is really really compelling to me. they're also shown both criticizing the other's culture--like kira saying the trill ban against reassociation isn't right--while also actively supporting each other through it--like jadzia disguising herself as a bajoran religious figure to help the bajoran government. i absolutely would have loved to see them talk about the differences between them more (i mean a wrote a fic about the religious tension--i do in fact find it worth thinking about), but also one of the reasons i think they're so interesting is the fact that they don't talk about it often and still are who they are and still they behave the way they do.

like in "children of time" when jadzia is blaming herself the whole episode for kira's death, blames herself again for kira staying alive and the colonists' non-existence (blames but sure does smile about it), and in between that there's the scene where jadzia is resigned to a fate she absolutely doesn't want, a fate that is kira's preference/kira's death, and they clasp hands and just look at each other without saying anything before moving forward. which was affecting.

bareil even commented on it once, how they shouldn't be friends, and kira just laughed it off---like there's so much there. not any of it undercut by dax's """"underdevelopment.""" she may not have had as much screentime and narrative focus as she should, but she wasn't just there to technobabble. she's a character that feels as much like a person as the others and a lot of that personhood is expressed with her unyielding loyalty to kira.

[mollysunder]

For once I actually went through the Arcane AMA and found those quotes about Silco's motivation. It's kind of wild to see it in full context.

First, I didn't even know the "dirty little thing" insecurity was an agreed upon perspective, I just thought it was one writer's opinion but no, Christian Linke (Praeco) let us know that was Silco's thing. Ok. I can see how that can tie in to how Silco and Jinx connected, personal insecurities from a hard life.

But then Amanda Overton (leeloo104) goes into detail.

I already know the creative team said they don't think political struggle is "relatable" (yikes), but I've never seen this extra tidbit before!

What do you mean this all so Vander will respect Silco again?!!??!? First of all I could really go in about how Arcane's team seem incapable of having any character fully articulate an actual in-depth explanation about on their grievances with the status quo and what changes should be applied that isn't somehow about familial validation. *looks at Jinx*

Instead, we need unpack how this motivation is at best, very weird, or flat out doesn't make sense. The quote makes it sound like Zaun was fully Silco's idea to win back Vander's love and respect, but Silco said a free Zaun was their shared dream. And regaining Vander's respect seems like a moot point when Silco killed Vander.

Unless Silco knows Vander isn't dead, and that Singed's been slowly turning Vander into Warwick. But then why does he talk to the Vander statue like Vander is dead? I don't doubt Silco wouldn't visit Warwick even in Warwick's confused state. Either way, the Vander that Silco wanted to receive validation from doesn't exist anymore.

I get that they probably wanted to connect Silco's motivation to Jinx's obsession with Vi, but that can be problematic too! It just ends up where Silco and Jinx are written in a way where their search for emotional validation takes precedence over any attempt for them to communicate a coherent and detailed observation on the surrounding politics of their environment.

It would be one thing if they were minor characters, or this was just related to Jinx because she's the youngest in the cast and her story is about understanding who she is. But it's both of them, Silco's at least in his forties, and they're a part of the main cast. On top of that, I'd say their the two most politically influential Zaunites in the cast, and we know NOTHING about what they stand for, what they think the future should look like. Nothing, just vibes.