#‘multiple choice means there’s only one right answer’ well what if your analysis of the text is WRONG and I don’t see any right answers.

[much-brighter-ink]

[ID: tumblr tag reading “#the SAT” /end ID]

you ever take a uquiz and realize halfway through that you don’t respect the author and their opinion is useless to you

[agentravensong]

Heya, I don't mean to bother you but, I think either I missed something or you never released those stats about the Kris survey? If you did, and I'm just stupid, can you link me to it or something? If not, that's also fine! Thanks<3

Don't worry, you didn't miss anything! I was initially planning to go through all the short answer responses at some point to note the trends in them, in addition to doing some stats analysis on the short answer questions, but I never quite got around it. Not yet, anyway.

But I figure I can share the results from those multiple-choice questions now! I did the analysis when the form hit 100 responses; it's now at 102 but I wasn't gonna redo all that to make up for it.

That being said, I'm leaving the form open in case anyone else still has some stuff they'd like to (pretend to) say to Kris (and in case I ever go through with making the fic). Here's the link! And now, below the cut, the stats:

Soul colors

27% Kindness souls

21% Perseverance souls

15% Justice souls

12% Integrity souls

8% Patience souls

3% Bravery souls

14% unsure

Weird Route

Out of the 100 participants,

39 have done the Weird Route (11 multiple times, 28 just once),

and 61 have not done it. 42 of those have watched a playthrough of it, whereas 19 only know about it indirectly.

19% of the participants would tell Kris about the Weird Route;

19% would not;

and 62% would do so only if prompted. Of these, about 1/3 have done the route themselves at least once and about 2/3 have not.

Sentiments

This is probably the one most people are interested in: from the 15-choice question, which options were picked the most? Well, here it is:

I’m sorry. - 48%

I didn’t want this; I was supposed to have my own vessel. I don’t know who did this - but if we can find them, maybe we can set things right. - 36%

I won’t try to convince you of anything. You can feel whatever you want about me. - 36%

You have done so well under these strange, often upsetting circumstances. You are already enough. - 25%

I just want to support you (and your friends) through this. I would let you take the lead if I could. - 24%

This shouldn’t have happened. No one deserves this. *You* don't deserve this. - 20%

I want to be friends with everyone, including you. - 19%

I’m doing my best to be true to you, what you would say, do, and want. I want to do right by you. - 16%

I don’t know what the future holds. But I’ll do whatever it takes to get the best possible ending for everyone. - 14%

I want to help you be happier. I hope you're getting some joy out of this - going on adventures, making more friends, and getting to be a hero. - 13%

I want to learn more about this world, to understand it. And I want to help you and the others learn more about it, too. - 12%

I’m invested. I need to know what happens. - 9%

I can’t just leave - your world can’t be saved, can’t have “a new future”, without me. So let’s try to work together. - 8%

I want to fix things, to help in a way only someone with my knowledge/perspective can. - 7%

I want to help you grow as a person. - 1%

We just need to trust that this will all work out; that fate will do right by you. I’m confident it will, eventually. - 0%

Now, if you remember, people were allowed to pick three options, and it turned out that there were some combinations of three that got picked multiple times.

Specifically, 5 people picked this combo:

Vessel explanation

"you can feel however you want about me"

I’m sorry

and 4 people picked this combo:

Vessel explanation

"I'd let you take the lead if I could"

I’m sorry

I used the results of the Soul Trait question to do some cross-analysis with this question, seeing which options were popular among which soul types, but I think that'd all be too much to paste into this tumblr post. If anyone really wants to know, I can privately send you the link to the Google Doc this all comes from. I'm not sure there are really any fruitful conclusions to be drawn from it, as a) kindness and perseverance, the two most common soul traits among respondents, were almost always in the top 3 of which soul traits picked any option, for intuitive reasons, which thereby meant that the most popular choices for those two soul traits were basically just the most popular choices overall, and b) there were so few examples for certain soul traits that you can't really say the data relating to them is significant. But, ya know, it's there, if you want it.

I could also, if people really want, give my thoughts on what I personally think of the options - as in, how I think Kris would respond to them and whether I think they'd be actually helpful/reassuring/etc. to say - but I dunno if anyone actually wants that. Let me know, I guess.

Anyway, thanks to everyone who took the survey! It was really fun and often heartwarming to read people's short answer responses, and I do think there are some interesting implications in which of the 15 choices the majority of people gravitated to. And reminder, if you haven't done it yet and would like to, it's still open!

[phantoms-lair]

36 for the crosover roulette?

Existing AU - Endo Class!

It was funny, a lifetime ago (or at least four years ago) going up against Kacchan for his practical hero lesson would have terrified him. Now all he could feel was anticipation.

And it was lucky that he got paired with Ochako, who also attended Endo with him. (Though maybe less luck considering everyone who applied to UA got accepted, so he had a few familiar classmates). They planned together in hand signals from their prep course, out in plain view with no one knowing what they were saying.

The buzzer went off. Izuku and Ochako grinned and high fived, then used the capture tape to tie themselves to each other. They ran, not into the building, but up the side. Well, technically they were scaling it, but at a speed that might as well have been running. Once they reached a high enough point, they began checking into windows. When the found the one they were looking for, a room with three large windows. Sadly, none of them opened, so they couldn't be quiet about this. Thank the bomb was right in front of one.

Ochako positioned herself above the window and Izuku positioned himself into the pane. He gave one good punch and shattered the glass, reaching in and grabbing the bomb before Iida could even react to the sound.

"Hero Team Wins!"

"You came in from outside?" Iida gasped. "That's not-"

"What you were expecting us to do? Exactly. If you're trying to get a dangerous weapon away from villains, doing what they expected just puts you and the people you're protecting in more danger."

Iida frowned. He was going to say 'not in the rules'. But Midoriya had raised a valid point. The purpose of this exercise was to simulate a scenario they might find themselves in as heroes and Midoriya had been thinking bigger picture that just a grade. Again.

And it was that type of thinking that got a quirkless kid into UA, so who was Iida to fault it?

~

"An interesting approach." All Might stated. "Can you tell me why you made the choices you did?"

"Izuku's really good with psychology and analysis." Ochako said excitedly. "So he predicted Iida would want to hide the bomb on one of the upper floors, on a room with a window. This would mean it would take more time for the our team to find him and that the room would have only one door, whereas the inner room might have multiple, leading the hero team to be able to pinscher them."

All Might glanced at Iida who nodded. "Fine reasoning on both your parts."

"I knew when the buzzer went off Kaachan would run off on his own. He took personal offense that a quirkless person like me could pass the entrance exam, so I knew he would hunt me down, leaving Iida to guard the bomb himself. Too bad for Kaachan he was never going to find me."

Small explosions crackled at Bakugou's hand, but Izuku ignored them. "Given those factors we decided scaling the building was the safest and most expedient route."

"And you didn't think that was dangerous without proper equipment?" All Might asked, though there was a bit of challenge in his voice.

"Not really." They answered together, then looked at each other and laughed.

"Ochako used her quirk on me to make me weightless then we tied ourselves together. If I slipped, she'd kept me from floating off, if she slipped, I keep her from falling."

"When did...wait, the high five? The high five at the beginning was part of your plan?!" Kaminari burst out.

"The octopus would be proud." Todoroki said.

Izuku and Ochako beamed brighter.

[aspoonofsugar]

Penny’s Final Word

Cinder might have had the final word of the volume and that is a meta for another time. Still, there is another character who got to have another important final word:

Penny: Let me choose this one thing.

Penny’s arc has always been about self-actualization and escaping objectification.

She was created to be a weapon and everything was decided for her by basically... everyone:

Both enemies and loved ones alike ended up choosing for her multiple times, so it is fitting that Penny herself is the one who has the last word about herself. She makes the final choice that decides how her life should end and what her legacy should be.

At the same time, Penny’s final choice and sacrifice perfectly tie together all the major themes explored in the Atlas arc.

This analysis will try to explore her arc and to show how it is central to everything the Atlas volumes wanted to convey.

PENNY AND HER FAIRIES

What makes a person a person and not something else?

This is a key question in Penny’s story and it can’t be answered without addressing who her Blue Fairy is.

Is it Fria?

Or Ambrosius?

The answer is neither and both. These two characters are definately references to the Blue Fairy, but they are not the ones who make Penny feel human. The one who does is ironically a red fairy:

You saw my soul Through the nuts and bolts You're the friend I can trust Helped me see I'm not just a machine

It is Ruby’s aknowledgement of Penny’s personhood that makes Penny feel alive.

So, what about Fria and Ambrosius? What is their role?

Fria chooses Penny as the next Winter Maiden. This is a powerful moment thematically because it is an aknowledgement of Penny’s humanity. She has always been a real girl, a Maiden at Heart, hence she can be given the powers and protect them.

Ambrosius removes Penny’s robotic parts and makes the “real” Penny come to the surface:

Ambrosius: Okay, but if I take the robot parts out of her, that would leave...

Blake: Penny. The girl who's always been there underneath it.

Penny’s new body is human because Penny has always been human and has always wanted to feel human.

In short, these two moments are moments of recognition of Penny’s humanity. She becomes a human both in soul (Fria) and body (Ambrosius). In particular, she has always had a human soul and this is why it can be tied to the power of the Maiden. When it comes to her body, she aquires a human one because her new appearance is nothing, but a mirror of her soul.

Still, even if these two moments are both meaningful, they are also moments where Penny receives something passively. They are aknowledgements of Penny’s humanity yes, but Penny wants more. She wants personhood aka to live as her own person.

To truly become a person one must be able to make their own choices. And interestingly, Penny’s free will is linked to both moments with her two blue fairies.

Ambrosius’s magic does not simply give Penny a human body, but it gives her back her freedom. Not only that, but it makes it impossible hacking her ever again.

Fria’s interaction with Penny is more complicated.

First of all, Fria does not impose the power on Penny, but asks her to make a choice:

Fria: Penny. Are you the one?

Penny: I…

And Penny does so in a sense, but it is gray. Penny is given no time to think about this choice, differently from both Winter and Pyrrha. It is something imposed on her by the events:

Penny: But taking the Maiden power was the only way to stop--

Moreover, it is something she very clearly does not want:

Penny: I was the protector of Mantle, but now, I am much more than that, and I wish I was not.

In short, Penny’s interaction with Fria is a recognition of her humanity, but also a duty imposed on her by external occurrences.

It is not what Penny herself wants. To truly be human, instead, Penny should make her own choices and be given the chance to pursue what she wants.

Still, what does she truly wishes for?

PENNY AND HER JIMINY CRICKETS

Penny’s wish is made obvious since her first appearance:

Penny: "You called me 'friend'! Am I really your friend?"

Ruby: "Uuuum... Y-Yeah, sure! Why not?"

My wish came true That day that you appeared And called me friend

She wants friends to the point that Ruby’s awkward aknowledgement of their friendship is enough to make Penny completely loyal to the other girl.

At the same time, there are many Jimini Crickets that go in the way of Penny’s wish for friendship:

Penny: I've never been to another kingdom before. My father asked me not to venture out too far, but... You have to understand, my father loves me very much; he just worries a lot.

(...)

Penny: I... was asked not to talk to you. Or Weiss. Or Blake. Or Yang. Anybody, really.

Ruby: Was your dad that upset?

Penny: No, it wasn't my father...

Both Ironwood’s high expectations and Pietro’s overprotectiveness make so that she is not free to enjoy her own life as she wants.

She arrives to the point that she comes up with a plan to stay at Beacon with her new friends:

Penny: Ruby, there's something I've been wanting to talk to you about. I want to stay at Beacon.

Ruby: Penny, they'll never let you do that.

Penny: I know, but I have a plan.

However, we never discover what this plan is:

This does not happen by chance and Penny’s plan is not a dropped plot-point. It is symbolic of how her agency is completely negated. She is objectified to the point that her story is interrupted before she can take any action. It is a meta-way to comment her character and her major struggle.

Penny’s first death is more than a murder. It is a way to refuse Penny’s personhood and agency:

Ruby:  And Penny… was killed… just to make a statement.

She is used as a symbol of Atlas’s shady research. Penny’s own self is forgotten in the chaos that follows.

The same thing happens in Atlas as well:

Ruby: I don't think Robyn was their target. Salem's goal has always been to divide us. I think Penny was exactly where they wanted her, just like at the Vytal Festival.

This time she is not framed as a victim, but as a perpetrator and used as the symbol of an authoritarian regime.

Her enemies’ objectification of Penny is made clear in many ways:

Cinder: I have come too far to be stopped by some toy!

Cinder: You’re just a tool to be used!

Salem:  Although he remains in captivity, it seems that he has worked with Ironwood to gain some control over the puppet masquerading as the Winter Maiden.

And Watts’s virus is just the culmination of it. It is the embodyment of the Jiminy Cricket trying to overwrite what Penny wants.

At the same time, though, Penny’s enemies are not the only ones who try to control her:

Pietro: I lost you before. Are you asking me to go through that again? No. No. I want the chance to watch you live your life.

Penny: But dad… I am trying to.

Penny’s loved ones have tried to protect her all along. However, this wish of protection ends up going in the way of what she really wants:

I've been combat-ready since The day dad made me Now I'll fight for something more Might sound wholesome, But strangely I've got friends Fighting for

What Penny wants is to fight together and for her friends. She does not want her life to be considered less than others’. Still, she does not even want it to be put before others’:

Cinder: I don’t serve anyone. And you wouldn’t either, if you weren't built that way.

Penny: That is not…I choose to fight for people who care about me.

In short, it is as Maria says:

Maria: Don’t you think Penny has had enough people telling her what to do?

PENNY AND BEING A REAL GIRL

At its root, Penny’s struggle has always been this:

Penny: I feel like I wish I could do both the things I need to do and the things I want to do. Is that normal?

She wants to reconcile her duty and her personal wishes.

It is her duty to accept the power of the Maiden and to protect it.

It is her wish to live with her friends and to protect them.

These two things end up coming into conflict multiple times:

Penny: And after the launch, I’ll return to help you all with the evacuation.

Pietro: About that, Penny. When Amity goes up, I think you should be on it with Maria and I.

Penny: But they need me here. Right?

Ruby: Well, if you stay far out of Salem’s reach, then she can’t open the vault. She can’t get to the relic. So...

Weiss: Maybe it is for the best?

Until the finale where Penny makes a specific choice:

Weiss: Penny, no!

If Penny were to act as the perfect Maiden, she would have just gone to Vacuo with the staff. In this way she could have protected both the relic and the power. Even if Cinder had ended up killing all her friends, Salem would have still lost.

However, Penny decides not to act as a Maiden, but as a friend:

Penny: You wouldn’t know anything about friends.

Even the reason why Cinder manages to mortally wound her is because Penny is worried about Jaune and Weiss and gets distracted for a second:

However, it is specifically in the moment of her death that Penny is able to make a choice to reconcile both who she is and what she has to do.

She chooses to protect the power:

Penny: She can’t get the staff..and the power.

And to save a friend:

Penny: I thought of you. And here we are.

Winter would have died without the Maiden powers and the same can be said about the people stranded in Vacuo. Penny saves all by choosing to be the one in control of her death.

Her choice is extremely powerful thematically and it ties together all the themes explored in these last two volumes.

1) It is a choice about trust:

Penny: Trust me.

Winter: Thank you for trusting me with this.

Penny asks to be trusted and chooses to trust as well. After all, this is what friendship is all about:

Attached but not By strings

It is a choice that uses the motif of “the part of you” in two different ways.

2)  Becoming a part of someone else can be seen as a reference to the process of grieving, which is one of the themes explored in this volume:

Grieving means to come to terms with your loss, to accept your feelings for the people who are gone and also their contradictions:

Robyn: Clover was a lot of things. You respected him, but I gotta tell ya, I think you’re the better Huntsman.

Vine: Then perhaps Clover was wrong too.

The lost ones will be missed regardless:

Harriet: Don't you dare! Clover was... He was...

Vine: ...Important to you.

Still, once you manage to finally grieve, you’ll realize the other person has become a part of you:

It does not matter if Qrow’s semblance has evolved, if it is a part of Clover’s power having stayed attached to the pin, both or if it is Clover looking out for them.

What’s important is that Clover will keep on living inside Qrow because Qrow will never forget him or what Clover has taught him:

Clover: You shouldn't do that, you know.

Qrow: Don't worry, I-I gave that up.

Clover: I meant deflect a compliment. Those kids wouldn't be where they are without you. You've had more of an effect on them than you realize.

Qrow should love himself. Only in this way he can stop being a self-fulfilling curse. Only in this way he can start looking at his own life with hope and wish for good luck.

Similarly, Penny won’t be forgotten and her legacy will live through Winter:

Penny: She's… gone.

Winter: No. She's a part of you now.

Penny: I won’t be gone, I’ll be part of you.

3) Penny becomes a part of Winter because Winter is finally able to do this:

Winter: But yes Penny, we must still acknowledge our personal feelings, wrestle with them. It ensures us that we're on the right path. It's what makes us human.

Winter is the one who taught Penny this, but it is obvious that through volume 7 and 8 she has avoided to face her feelings for both her family and Ironwood. By the end of volume 8, however, she is finally able to accept her emotions. She can finally follow her heart. Penny becoming “a part of her” is symbolic of this. As a matter of fact their dynamic has always been about Winter acting as “the mind” and Penny being “the heart”.

Symbolically they integrate because they both are becoming their own person even if in different ways.

Winter becomes her own person because she rejects this mentality:

Winter: Penny. The general is making hard choices so we don't have to.

Penny becomes her own person because she is finally in control of herself and her destiny. Moreover, she is able to do for Winter what Ruby has done for her:

Winter: No, Penny, you were always the real Maiden at heart. I was just a machine. Just… following orders.

Penny: You’re my friend.

She affirms Winter’s personhood and in this way she affirms her own as well.

In other words, this version of Pinocchio does not end with the protagonist being transformed into a real boy by the Blue Fairy, but with Penny transforming Winter in the Blue Fairy:

So “becoming fully human” in RWBY means to do this:

Qrow:  This last great creation would be given the power to both create and destroy. It would be given the gift of knowledge, so that it could learn about itself and the world around it. And most importantly, it would be given the power to choose, to have free will to take everything it had learned and decide which path to follow - the path of light or the path of darkness. And that is how Humanity came to be.

It is about gaining knowledge, like Penny does about feelings and relationships, loving life and accepting death. Finally, it is about making a choice, even if it is painful.

This is because being human is not always simple. It can be hard:

But I found that humanity It came with sacrifice

Having a human soul means you have a duty to do the right thing out of your own free will, like Fria’s gift showed.

Having a human body means you can experience the warmth of a hug:

But it also means you can be mortally wounded:

This is Ambrosius’s teaching.

Still, it was worth it all for Penny because she got the chance to meet friends and to feel alive:

An answered prayer A chance to Share the world To be a girl Who fin'lly felt alive

This is why her second death can be juxtaposed to her first one. Both times she was killed by Cinder. However, the first time she was used as a pawn in Cinder’s plan. This time instead she is not letting herself be controlled and she negates Cinder what she really wants out of her own free will.

In conclusion, there is this phrase by Jean-Paul Sartre:

Freedom is what you do with what's been done to you.

And I think it sums up Penny’s story perfectly.

Penny does not choose to be born a robot or to be used as a weapon. She is objectified in multiple ways...

Still, she manages to make something amazing out of herself.

[ialwaysknewyouwerepunk]

fine line - a close reading

gonna cry bc i’m at the end, gonna cry bc it’s fine line.

(x x x)

want to give the same disclaimer as with lights up: this song is so layered, so multi-faceted, that i could never hope to give an exhaustive analysis. due to its vagueness and openness for interpretation, i assume that everyone, just like me, has their own ideas about it and has attached importance to it in ways that no one else’s words can or should alter. this song means the world to me for reasons that aren’t necessarily in this post, and that’s how it is with art that touches us deeply. i’ve tried my best to pull it apart, lay it bare, spread it open, if you will, so it’s almost as free as it can be for you all to form your own opinion on it. in the synthesis i will make my own conclusions, but feel free to ignore that if yours are totally different. i’m just one set of brain and heart taking in fine line and projecting whatever i think is right onto it. alright, let’s go

fine line, track 12

sung in falsetto

live version at the form: first verse not sung in falsetto - after first chorus goes into falsetto - like “thinking of her” has summoned her

live version at the form: first verse not sung in falsetto - after first chorus goes into falsetto - like “thinking of her” has summoned her

Put a price on emotion

pouring emotions into the art you create: how much is genuine / how much do you show - line between being authentic to your audience and giving away too much, wanting to keep things to yourself and not feeling truthful with what you’ve written

exploits of the industry: lay your soul bare - or the exact opposite, some pretend emotion - to score that hit

I'm looking for something to buy

cynical. emotions aren’t genuine, right? where can i go buy some?

～ lights up themes. fake life, industry, being a sell-out

You've got my devotion

But man, I can hate you sometimes

“you” = career, music, Harry Styles™. devoted to the craft, to the job, all the ups and downs of it, despite the hardships it brings 

“man” is deliberate: can be seen as an offhand interjection, like “man, that’s rough”, but nothing is casually placed in this song. “man” is: The Man, the heads in the industry, the people pulling the strings. The man in Harry, the man he’s been in the media all these years, the part he’s played/had to play, the man that’s in him

⟶ “hate you”: hate for industry shit, self-hate created by having to play pretend (～ only angel analysis, the persona of the Bukowski womaniser)

“sometimes” - it’s not fucked up all the time

“you” could also be a lover, but the sudden “hate” there then would be for that person, which is absent in any other song about them, doesn’t make any sense

I don't want to fight you

And I don't want to sleep in the dirt

like there’s a choice to me made, but he doesn’t want to make it: either I fight this “you” or I sleep in the dirt

“you” as the industry: if he doesn’t fight them, he might end up being a beggar, lose all his self-worth bc he gave in to everything they asked/told him to do

“you” as himself: fight your instincts, part of who you are/the persona. if he doesn’t fight to figure himself out, though, he fears he’ll also lose

“sleep in the dirt” as a sense of rejection, as well

We'll get the drinks in

So I'll get to thinking of her

drinks to cope - falling, only angel, from the dining table - or to be braver and confront emotions better - tbsl

who is “we”? who is “her”?

narrative of “you” as “lover” further disproven: if “I” and the lover get together over drinks and “I” starts thinking of “her”?

⟷ “her” could be the lover, but then who is “you”? the industry? some other person, besides that lover, harry is devoted to? multiple lovers, all of a sudden? no.

⟶ “I” and “you” are all harry, that get to thinking of “her” because she is in daydreams with him. the narrative that harry is fighting a part of him, the persona he has (had) to play bc of industry limits, makes most sense. that persona is within him now, and part of his work, but all of him, “we”, is begging to come into the light - of which she is a huge part

We'll be a fine line

balancing act. let everything coexist but pay attention that those lines don’t get crossed the wrong way. what we are, what i am, is a fine line between what makes us go under and what lets us thrive

we will be: determination to fulfil this prophecy, statement of fact “we always will be”

“we’ll be a fine line”: other way of interpreting it is that on both sides of that line is what entails “we”, all that is harry. what merges on that fine line is where it’s just right, when harry is fully himself in every way

“fine line” can also be an echo of criticism, bigotry, in the style of: it’s a fine line between being simply flamboyant and queer, between dressing like that and people thinking you’re a transvestite or summat (cause we wouldn’t want that, now, would we) - “we’ll be a fine line” could be owning all of it. putting himself in the middle of all those messy lines, as someone queer without a category

Test of my patience

patience with himself - kindness to self - took a long time to figure shit out and it was a challenge

waiting for change: industry and its allowances/openness

There's things that we'll never know

my favorite line

“we” = harry / harry and company / us in general, all of us listening 

～ tpwk “i don’t need all the answers”: deep sense of acceptance

peace to be found in accepting this!!

You sunshine, you temptress

“sunshine” - as in all the love songs (blue skies, sunflowers, summer days…): lover - possible that there are multiple “you”s in this song?

sunshine could ofc also be directed at the temptress, still

female “temptress” - “i’ll get to thinking of her” - she - it’s tempting for harry to think of her all the time, to lose himself in the “her” in him

other interpretation for “temptress”: woman he knows with negative influence in his life - resemblance to woman “you flower, you feast”, so echo of Bukowski ～ only angel, kiwi (my sunshine, my love, who is involved with this temptress…)

My hand’s at risk, I fold

⟷ tpwk “dropping into the deep end”

not showing his cards just yet / forfeits

anxious to show all of him, to take the chance, with all the risks and consequences involved

Crisp trepidation

I’ll try to shake this soon

nervousness, anxiety - about (not) taking (enough) chances, (not) laying himself bare (release of the album that reveals much more than before)

“crisp” fresh, this feeling is unfamiliar - change is coming “soon”

sense of agency: I can get rid of this feeling by my own volition and make these changes - hesitant, insecure: “try”

wants to be braver. he’s not going back, but still needs to calmly coax himself further and further into the light, out into the open (“we’ll be alright”)

Spreading you open

Is the only way of knowing you

(can anyone else hear “spread thin” like a whisper under “spreading”? or am i imagining things.)

“you” is back - the only way of knowing “you” is to spread them open - the physical

to spread someone open - very literal, don’t need to paint the picture, or to lay bare, to lay it all out 

⟶ “you” as himself - the only way of knowing who i am is by doing this: writing this album, performing these songs, letting others listen in and form their own interpretations, let this world grow where i’m laid bare and OPEN and exist as this person who has issues, who is angry, who doesn’t know who he is a lot of the time, but is still so happy to be here - let it spread and let it all circle back to me so i can grow deeper into myself

We'll be a fine line

We'll be alright

“we” = h & self, h & lover, h & fans

collectiveness from tpwk

(notes on a piano sounding like drops, like he’s emerged from the water and dripping dry)

SYNTHESIS

Everything about this song is plural. Personal pronouns are all over the place. I, you, her, we. The sound is incredibly layered, with Harry’s own voice echoing through its verses like he’s singing to himself in an empty cave. Meanings can be attached to every word like it’s a wax tablet used too many times. What Harry has said in interviews for once holds pretty true to the actual meaning, in my opinion. 

“It felt like it described to me the process of making it and how the album felt in terms of the different kinds of songs on it.” (Capital FM)

This can mean a lot of things, and I think it means all of the things, of course. It means Fine Line is a summary of all of his emotions he visited on the album, of the things he’s laid bare. And it means that the actual process was also described, as one that can be frustrating and challenging, with added industry shit. 

Harry has expressed straightforward gratefulness to his label for "leaving (him) alone” while making the album and that speaks volumes. This time, he had the chance to make his art without the constant interference of a label, which meant he could weave in criticism as well. “Put a price on emotion” is first and foremost a critique on the industry. It’s the first line of the song, setting the tone for the interpretation of this song is about the risks I took while making this album. It involves criticism on an industry that creates such an atmosphere that only a certain type of music and artist breaks through or can be successful, that limits people in their personal expression. Convinces them that it’s better that way. That it’s better to hide who they love because the general public won’t accept them. That it’s better to create a song about a fake emotion than be honest. Harry loves writing songs and being on stage, but it’s taken a while for him to be fully comfortable there as a solo artist and bloom into the person that could make Fine Line. He loves his career, but it’s also limited his freedom in ways beyond our comprehension, and it’s exploited him to the point where he didn’t know who he was, in ways that have clearly taken a toll on his mental wellbeing. To a point where he finishes this album reassuring himself, most of all, that everything will be alright.

That process of making Fine Line obviously includes Harry confronting emotions he hadn’t before. He has stated that he experienced the highest highs and the lowest lows while making it. There are things he hates, he was fighting but doesn’t want to (anymore), uncertainties he was trying to figure out but had to accept he couldn’t, risks he still doesn’t know he can take without shaking. At the centre of it all is this sense of “knowing you.” The different personal pronouns in the song paint a fractured picture, which is ultimately deliberate. That the “you” Harry is devoted to and can hate sometimes doesn’t line up with “her,” that the end focus does seem to be this “you” that is mentioned in the same breath as “man” and “temptress,” forming the “we” together with “I”. 

After having songs like Lights Up, She, Falling and even TPWK, one of the central themes on the album has undoubtedly been self-discovery, in all its pain and glory. There are no female pronouns on the album besides, obviously, in She, and then here, in Fine Line. She is about a man living with a woman “just in his head”, who “sleeps in his bed while he plays pretend.” It is very clearly a trans narrative, the story of someone struggling to put into words what they’re experiencing in terms of gender. To a point that they fantasise about running away. Fine Line brings the ideas of knowing what it all means, which Lights Up kicks off (“do you know who you are?”), Falling deepens (“what am I now?”) and Treat People With Kindness turns on its head (“I don’t need all the answers”), together. Harry is still doubtful, and the questions asked earlier in the album haven’t disappeared, but he has accepted that “some things we’ll never know.” His aim, however, is still “knowing you.” 

To have Fine Line, as the summary of these emotions of self-growth and self-discovery, echo that one female pronoun, speaks volumes. It is a direct reference to She, to that story about gender. “Her” in this song refers to “she (who) lives in daydreams with (him).” The one who still only fully comes out when they’ve had a drink. The one he’s still working to include in who he is, as he tries to figure out who he is, all of it. The song where he sings in falsetto, just like on Fine Line. Of which he sang the first verse an octave lower live at the forum, switching between those voices, those perspectives. That’s also why “you” in this song is also Harry to me. We get this fractured sense of self, this “I” and “you” conversing over a drink, this “you” Harry is devoted to and wants to figure out. “You” and “I” form “we” and all of them are Harry. The lines are blurry on purpose, there is no way to figure out where “you” ends and “I” begins. 

“You sunshine, you temptress” is the most enigmatic line in that respect, and to me blurs those lines even more between the pronouns. “You” is suddenly also identified by a female noun. And no this isn’t about some kind of love triangle. “Sunshine” aligns with all the odes to his lover in the rest of the album. So what does that mean? That there are multiple “you”s in this song, meaning that Harry is addressing both his lover and a temptress? So “her” he’ll get to thinking of, the only other female pronoun used in the song, is identified as a temptress, but tempting to do what? To take risks? And no I won’t forget the “man, I can hate you sometimes,” where "man” is not a casual interjection but an identifier of “you.” 

Or is it an echo of “the light” from Golden’s “bring me back to the light” and Light’s Up’s “step into the light”? So that the “sunshine” symbolises being in the clear, being out of the darkness running through his heart, the darkness caused by not knowing who you are. “You sunshine,” you beacon of light. “You temptress,” risk-taker and source of anxiety. You, one I need to spread open to figure out, to know about, source of happiness and despair, one I’m devoted to but also hate. You, man, you, temptress. You there, in the mirror looking back at me. 

All of you, and myself included, we’ll be a fine line. And we’ll be alright.

This song is about all of that. The self in art, the self on its own, the other, the journey, the chances, the fears, the passion. Hope. Reassurance. Confidence. And, most importantly, that everything will be alright in the end.

x

read all my lyric analyses here

[boltwrites]

Misfits - Chapter 1

Fandom: Star Wars - Clone Wars / The Bad Batch Pairing: The Bad Batch / Reader (Polyamorous)  Rating: M (Rating May Change) Tags: Polyamorous Relationship, Force-Sensitive Reader, Slow Burn

Work Summary: After a year working with the 501st, you've been assigned a new post - Clone Force 99, aka the Bad Batch. You're concerned about the transition - you found it hard enough to fit in with the 501st, and now you had to acclimate to an entirely new squad. As it turns out, the Bad Batch is very accommodating.

read it on ao3 | or read more below

If you were being completely honest with yourself, you were nervous about your new assignment.

“Nervous” wasn’t a trait most people used to describe you. No, your former lifestyle dictated that you weren’t really allowed the luxury of nervousness – force sensitives left to fend for themselves, especially those expelled from the Order, had to grow a thick skin in order to survive. Force sensitives were valuable and much sought after, and not just by the Sith. From the day you had left the Order, it had been up to you to survive, to take care of yourself, and to make your own way in the universe.

But you were still a person – a sentient being that craved some sense of normalcy and security. And you had found that, for a fleeting moment, with the 501st. You hadn’t been thrilled with the arrangement – getting roped into a war that you wanted nothing to do with wasn’t exactly on your agenda the night you were approached by ghosts from your past and led to the Temple you had left behind so many years ago.

The Jedi had created a new program, meant to bolster their numbers in the face of the growing Sith. To create an alliance with unaligned force sensitives: the Jedi would provide protection and a generous stipend for the work provided, and the force sensitives would fight alongside the present Jedi. You hadn’t really been a huge fan of the idea, for multiple reasons… but you had been presented an offer that which you could not refuse. So you didn’t.

And it had been stable, for a bit. You hated to admit that you had grown to enjoy the company of the 501st, but you had. Your General, Anakin, was understanding, and not so uptight. He was so unlike the Knights you knew when you had been present at the Temple – he was reckless, and fearless, and he followed his own heart instead of the code. Perhaps that’s why you didn’t mind his command; you knew that he wasn’t so swayed by Council politics and related trivialities, and that he cared about his men first and foremost. You had grown fond of him, even discussing your personal philosophy regarding the force with him on a few occasions, and even sparring with his padawan, Ahsoka, on several occasions. A teenager holding a higher title than you was alien, but in the relaxed nature of the 501st, you had hardly noticed it.

But, as much as you enjoyed the company of the Jedi, perhaps the person you would miss the most was Rex. Holding the same rank didn’t seem to phase the clone Captain, as Rex had been more than happy to show you the ropes and introduce you to the men. He accepted you as his equal immediately, and you had been fast friends, bonding over your similar roles in the battle and joking about the most trivial shit that left you on the floor in stitches, Rex hunched over wheezing at perhaps the worst pun you had ever constructed. He had introduced you to the other members of the 501st, saved your ass on multiple occasions, and in turn, you had confided in him about how out of place you felt within the military structure afforded you.

“I don’t fit in,” you had rambled, waving your hands emphatically after one too many drinks at 79’s. “I mean – I’m a Captain, right? Like you. But I’m not a clone, obviously.” You laughed, feeling stupid for even pointing it out. “I mean, I know there must be more out there like me – force sensitives the Jedi picked out of thin air, coerced into joining this war…”

You had rolled your eyes, and Rex had raised an eyebrow. In turn, you had waved him off, nowhere near finished your speech.

“But – the point I’m trying to make – is that it’s not like I’m fighting alongside people that are like me. Even when we work alongside the 212th or some other battalion, I think I’ve only seen one other non-Jedi force sensitive.”

“And it’s worse, you know? You guys – the men – they all call me Jedi. Because honestly, what else do you know? What do you know besides Jedi and Sith? There’s nothing really to call a person like me – but calling me Jedi isn’t right, because then I go up to Anakin or Ahsoka, and yeah, they’re nice to me, but they don’t treat me the same as other Jedi. I’m not one of them. And I’m not one of you. So where the hell do I fit in this?”

Rex hadn’t had an answer for you, and you sure as fuck didn’t know.

Maybe that’s why you were assigned to Clone Force 99.

---------------------------------------------------------------------------

“Have you worked with these guys before?” you asked, fiddling with your bag as you waited in the hangar on Coruscant. Rex stood beside you, hand on his hip as he surveyed the sky above you, no doubt waiting for your transport.

“Once. You remember when you were off on that stealth mission with Hondo?”

“Ugh, I wish I could forget.”

Rex chuckled, shaking his head at your sarcasm. “I first met them then. Don’t worry. You’ll fit right in.”

You raised an eyebrow at him, and he raised both back at you, a little smirk tugging at the corner of his mouth.

“Care to elaborate as to why, you bastard?”

Rex grinned wider, shaking his head and turning his eyes to the sky once more.

“They look at the world differently. Like you do.”

You hadn’t expected that, and you stood in shock, watching Rex as he searched for the ship that would take you from him. You thought, for just a moment, you saw a tinge of sadness in his eyes, that a sliver of grief passed over you both in the force at the thought of your parting. You opened your mouth to speak, but before you could, a ship started to descend, the roar deafening anything you might have wanted to say.

The ship landed, powering down its thrusters, and your heart flipped involuntarily. You didn’t want to be nervous – you really didn’t. You had come to know clones over the time you had spent in the GAR – close to a standard year, at this point. You knew that in order to earn their trust, you couldn’t appear afraid, or out of place. You had to act as if you belonged, as if you were already their friend, in order to actually become their friend. It was surprisingly similar to working with scoundrels in the Outer Rim – faking it until you made it.

So, you squared your shoulders and tried to seem confident, and Rex’s subtle smile and firm nod only spurred you on as he stepped to your side, prepared to introduce you to the men you would be working with for at least the new few missions.

The hatch hissed at the airlock released, the ramp lowering so that the crew could disembark.

You knew little about Clone Force 99. Your reassignment had been swift, ordered straight from the top – above even the Jedi, from the Senate itself. According to your official order, Clone Force 99, a special operations unit, was in need of a force sensitive for several missions. They didn’t operate under a Jedi General, and seeing as they were a spec ops unit, the Jedi couldn’t waste any of their precious men on such a small squad. You, however, as an unassociated force-sensitive, were ripe for the picking, and considering that you had previously been assigned to the 501st, a battalion that already operated under a Jedi Knight and Padawan, you had been the obvious choice for the job.

So, you knew that they were a special unit and that they didn’t work with Jedi on the regular. Great. That was such a detailed summary of how they operated. You were so prepared.

Well, you considered. You had gone into battle previously with even less information. It had been even worse when you were operating in the Outer Rim. It could be worse.

You tried to remain optimistic as the steam cleared from the change in pressure and temperature, the hatch hissing as the troopers disembarked. You stood transfixed as they did, and as each appeared, your eyebrows scrunched further together.

You had been told this was a clone force. As in, a clone-based unit. No Jedi, and obviously no nat borns, as beside the Jedi and force sensitives, they were restricted to the Navy, not the GAR. But these men…

It was strange. They looked so different – one large, one tall and slender, another with long hair and broad shoulders. But their biorhythms in the Force were all so similar. The force sang around them like it did with other clones – there was a distinct taste of battle to them, of shared battles, countless. Their signatures sang together, like the rest of the clones’ did, as they had grown and battled together, as they had trusted one another from the day they all met on Kamino. It spoke of a deep camaraderie that was never present among nat borns, that was specific to clones and them alone, and it dazzled you.

“Captain Rex. Good to see you.”

You blinked, snapping yourself out of your analysis of the force, only to see the clone with the longer hair greet Rex with a firm grip to the forearm. As he drew closer, you started to notice the resemblance – the same skin tone, the curve of his nose, the color of his eyes – and it was confirmed through your eyes as well that this man was, indeed, a clone.

“Good to see you too, Sergeant,” Rex replied with a nod, stepping back to gesture to you. You straightened up, standing formally to address the man you would be working with from now on. You weren’t one for formalities, but you did want to make a good impression with him. Some clones were not as openminded as Rex, and they tended to be sticklers for rules and orders, offended by the slightest deviation. Until you knew the Sergeant’s preferences, it would pay to be formal.

“This is Captain Andar. She’s the force-sensitive that’s been assigned to your unit.”

You offered Rex a small smile – he knew how much you valued the term “force sensitive” and how you wished to remain distinct from the Jedi, so you were grateful that he remembered your preference.

The Sergeant frowned, looking from you to Rex and back again, and you felt anxiety coil in your stomach. The downward tilt of his lip and his disappointment in the force compounded, leaving you feeling uneasy.

“We requested General Skywalker.”

Oh, there it was. They had expected a Jedi. Not you, some half-baked, half-trained force sensitive who wasn’t even allowed to hold a title higher than Captain. You should be used to it, at this point, the disdain and the dismissal. But it still hurt you a bit more than it should have, when you were reminded that you were only second best.

“Hunter, we’re stretched thin as it is,” Rex sighed, shaking his head a little. “I did submit your request, but this came from the top. The Senate has disallowed the allocation of the Jedi anywhere other than the front lines. We have a severe shortage of Generals – Commanders, even – but I assure you, Captain Andar is more than capable. She’s one of the best men I know.”

You smiled at Rex, a soft thanks for his kind words, even as Sergeant – Hunter, was it? – looked you up and down.

“So, you’re a force sensitive,” he addressed you. You nodded, trying to get a read on him. His large skull tattoo, which took up the majority of the left side of his face, drew your attention. Most clones turned to tattoos in order to assert their individuality – you had actually seen a few of your comrades getting their tattoos, as it was a communal activity among them. You laughed along with Rex as you watched shinies cringe at their first ink, and you even has a few pieces yourself, hidden below your clothing.

But somehow, Hunter’s skull seemed different. There was a lot about clone culture you still didn’t fully understand, and this may just be a part of it. His tattoo, however, wasn’t quite as intriguing as his hair – long and free-flowing, not tied back besides his headband. There were a few long-haired clones in the 501st, but they always kept their hair tied up neatly, either in a tight bun or a ponytail. Hunter’s was clearly too short for either of those options, and it made him look rugged. You wondered what he was trying to convey with this combination of identifying markers. Clones used everything they had to assert their individuality – to designate themselves as them, to emphasize their personality, role in the military, and who they wanted to be. What did Hunter’s want to present to you with his appearance, you wondered.

But, you couldn’t just stare at the man all day – for fuck’s sake, he had just asked you a question and you’d already spent a good half a second staring at him instead of answering.

“Yes – I possess the same abilities in the force as a Jedi such as General Skywalker or Commander Tano –“ you frowned a little. You were probably closer in skill to Ahsoka, despite being far older. That tends to happen when you’re expelled from the order at fifteen and spend more time trying to simply stay alive rather than train. “- I am more than capable of completing missions where force-related skill is necessary. And, I don’t have to answer to the Council.”

You added the last part on the end with a little chuckle, because Anakin had often asked for your assistance specifically because of that fact – the Jedi Council knew that it was a risk allowing you and the other unaffiliated force sensitives into the GAR, and it was for this exact reason. You had made it work with the 501st, though, and you wondered if this new unit would find that loophole as useful as Anakin had.

Judging by the raised eyebrow, Hunter was mildly impressed by at least something you said.

“Oh, she’ll fit right in, then,” Hunter seemed to soften, just a touch? As if understanding something you weren’t yet privy to as he flashed Rex a grin. Rex smirked back, patting you on the shoulder.

“Told you,” he mumbled to you, and you rolled your eyes at him. Well, at the very least, the Bad Batch didn’t hate you.

Yet.

[iphoenixrising]

DickTim Week Day 4: Dark!Dick and Vampire!Tim

So. So. *Steeples fingers* this may or may not be the fic for you. Yet another combination prompt because the people on the Capes and Coffee Discord are fucking enablers. You know who you are.

Warnings for: captivity, blood-letting, missing-in-time Bruce

The hidden bunker is outside the city limits of Gotham, a perfect place to stay off the grid.

Officer Grayson makes the drive with the radio on WKKG, All Gotham, All the Time. He moves his head to the beat of the pop song blaring over the line.

The outside of the abandoned gas station looks positively deserted and if they were any more rural, tumble weeds would be rolling around the decrepit gas pumps.

Officer Grayson parks around the back of the building out of sight and grabs the paper bags from the passenger side, holds his cup of coffee in the same hand, whistles to himself as he gets out of the police cruiser.

A complex locking system on a seemingly outdated walk-in freezer opens up to an elevator that is decidedly the newest fixture in the place.

He hums the chorus of the pop song from the radio on the way down, small smile on his face reflecting back at him from the mirrored doors.

The underground is a completely different world.

Apparently constructed to be a bunker, the basement is lead-lined and spacious with all processes set-up to stay off the grid, perfect for his needs. He has a separate power supply, a separate HVAC system, a security system with nearly imperceptible cameras to make sure no one, no one gets close enough to the property without alerting him immediately.

And he certainly doesn’t want anyone finding his personal mission here.

Officer Grayson puts one of the grocery bags down on a table littered with notebooks and read-outs he’d left the last time after he’d gotten samples. He sips on his coffee as he walks around the first room, lit only by the emergency lights at the top of the low-slung ceiling, and turns on the power, turns on the lights in the rest of the bunker.

The beeps behind him are the locks resetting on the elevator, the only way out.

Dick is still humming when he passes into the next room, blocked on either end with thick, metal doors complete with a complex locking mechanism and impressive alarm system. The many tables in this room are filled with laboratory equipment, a biotechnician’s playground.

Half-completed analyses are still running on the impressive screens mounted overhead, status bar at 68%.

Five-gallon buckets under the tables with black Sharpie denote chemical names with dates scribbled hastily below.

Dick sips his coffee as he looks up at the running totals, makes mental notes, compares previous tests and results.

It’s discouraging, but Dick just sighs to himself. Of all vigilantes in Gotham, he’s the optimist, and he knows that each failure will just bring him closer and closer to success. He just can’t give up.

Bruce is counting on them.

With his coffee and bag in one hand, he lets the analysis churn, and enters his code in the next door, then places a palm print on the pad outside. Leans down so his eye scan can be completed.

Unlike the other rooms, the lights come on the second the door fully unlocks and opens to allow Dick entrance.

The reason for that is to turn on the intense sun lamps to further weaken the figure strapped down to the gurney in the center of the room, strategically lessening the possibility of an attack.

Dick puts the bag and his coffee down on the only table in the room.

“Sorry I didn’t come yesterday. Rupert Thorne had a big shipment planned and we were up late tracking it,” his voice is light and cheery, his smile wide and white. He comes to the side of the gurney, takes note of the slight burning smell that always seems to permeate the room no matter how much he tries to avoid it by making sure there’s always something between skin and pure silver. Struggling dislodges whatever he uses, so the result is the smell of burning flesh.

He clicks his tongue in disappointment, looking down at Timmy’s closed eyes and painfully pale face.

His frown deepens when Tim Drake rolls his head over to face the wall instead.

Silver chains wrap his arms, legs, neck, and torso, rendering him utterly immobile. Holy relics hang over the gurney as an added safety measure. He’s completely naked under a flimsy sheet.

“Aren’t you going to say hello?” He asks softly. “I’m letting Alfred pick up Dami so I can spend some extra time with you today.”

IVs are grotesquely hooked into each major artery, set on slow drain. The multiple blood bags hooked under the gurney show the slow trickle as the bags fill to a crawl.

Tim’s violet-blue eyes crack open a sliver, but he doesn’t look away from the wall, away from freedom.

“That isn’t very nice,” Dick’s tone stays soft, yet firm. “You know what I’m trying to do here.”

The sound of Tim trying to swallow is heard over the soft mechanical beeping, the hum of working equipment. “You know how important you are to this, Timmy. I don’t like how you keep refusing to be a team player.” Dick pauses just a moment, eyes narrow, “is this still about Damian being Robin now? Because you know how many times we’ve been over this.”

Tim closes his eyes again, a muscle in his jaw jumps.

“Well, I think you’ve been sulking about it long enough,” Dick brusquely throws the sheet out of the way to show IVs, burns, and the network of complicated blood vessels below deathly pale skin. “You knew even before you went to Iraq my choices were the best for everyone, not just you.”

Dick checks all the leads, makes sure the drip is slow. He doesn’t so much as lift up the solid silver chains and nudge them with the cloth he keeps underneath, the point of it is to try and keep Tim’s skin from burning, temporarily cauterizing his veins and killing the supply. The last time the chains were displaced this much, Dick had made the mistake of lifting one, giving Tim enough power to bare his fangs and lunge. Since then, the chains have stayed put, only shuffled around a little.

“And if you would have just listened to me and stayed in Gotham, you wouldn’t have been caught by vampires in the first place. You know that, don’t you? If you would have worked with us at home, Ra’s would have never taken that much of an interest and led them right to you. Heck, you might still be alive and have your spleen.”

Shaking his head in frustration at all the events from last year when Bruce’s body was brought back, when the Battle for the Cowl had forced him to raise his hand against Jason again and break his heart over Little Wing again, when he knew Tim didn’t need any more mentorship, didn’t need the support and encouragement Damian did after losing their father, and the ultimate decision to let Tim decide his own future after Robin, when seeing Tim six months after his disappearance as a vampire in a cape, all of it had made the choice on how to handle this situation.

How to fix everything that had gone so horribly wrong.

Do what he had to do, try disseminating the secrets of immortality so they could bring Bruce back.

And like this, Tim is going to help him do it.

“But it’s okay,” he’s back to smiling again, “we’ve worked past all that, haven’t we, Timmy?” Dick is satisfied all the leads are fine and the slow flow unimpeded. He steps back to the bag on the table.

In one hand is a pint of O Positive. In the other, a Krispy Kreme with sprinkles.

Both their favorites.

“C’mon,” he cajoles after taking a bite of his donut, “it’s one of Steph’s extra pints. I know you’re going to like it.”

He holds the oozing bag to Tim’s averted mouth and patiently waits, nibbles on his donut in the other hand.

“Why don’t,” and the tone is hoarse, faint because Timmy mostly doesn’t really talk to him anymore, “you just kill me?”

Dick pauses mid-chew, blinking down at the eyes filling with bloody tears, the hitch in the chest that doesn’t really move anymore.

Dick swallows the bite, suddenly more like ash than icing in his mouth. “You know I can’t do that,” is more harsh than he means. “We don’t kill. Not even vampires.”

“Then let me go.”

“Can’t let you go out and kill people either, Tim, and I need the supply for testing.”

“This is torture. This is fucking torture and you don’t even give a shit about me anymore–”

With a flick of his fingers, a crucifix falls right on Tim’s chest, and the screams are awful, horrible, but that is probably never going to outweigh the smell.

By the time Dick finishes his donut, Tim is weakly writhing in agony and the screams have died down to soft whimpers, mouth open to show those killer fangs.

He dusts his hands off and pulls on a glove from the Nightwing suit under his uniform, gingerly lifts the holy item off, grimaces when tissue and flesh stick to it.

“Kill me,” Timmy whimpers. “Just fucking kill me.”

Dick scoffs and takes the chance to lean down, presses his mouth to Tim’s forehead. “You know I can’t lose anyone else,” is the softest of reprimands. “Don’t worry. Once I just figure this out, we’ll get Bruce back and he’ll help us reverse the turning. Before you know it, this will seem like just a bad dream.”

Dick presses another kiss to each eyelid, talking softly against the deceptively soft yet immortal skin. “And when you’re back to yourself, we can be together again. I’ll take care of you just like I used to, promise.”

Dick leans back up with a small smile on his face and familiar fondness in his eyes. He holds the bag up to Tim’s mouth again, ignores the red tears streaming down the pale face. “We’ll get there, okay? I’m close to the answers we need. I just need a little more time. But, I have to have samples to work with, which means you to drink, Timmy.”

Like usual, the pink tracks down his face stand out starkly in the false sunlight when Tim finally gives in and punctures the bag with his fangs.

[itsclydebitches]

Hey there! Admittedly I'm a little bit nervous since this is my first ask, but I'll try to not be too rambly.

So, recently the main subreddit, r/RWBY, made a ban on active users of the r/RWBYcritics subreddit. As a result there's been discussion around bad-faith criticism in the latter subreddit. What are your takes on bad-faith criticism?

For me personally, I think a bunch of people are misusing the term "bad-faith" and using it as a way to shut down criticism, but I'm curious to hear your thoughts on it.

Hey there, everyone! We woke up to some drama this morning, huh? And hello to you too, Tortoise! I'm so glad you decided to send in an ask, even if it's following some pretty tumultuous events...

Right, I'd like to start with a story. The story of how I personally don't spend time on Reddit, but I have plenty of friends who will occasionally cross-post something for me to see. Yesterday (or the day before? Idk time is meaningless) a friend told me about a post — which, significantly, I'm now having trouble finding — that covers RWBY's inconsistent writing and the fandom's tendency to try and explain away those missteps. They'd thought I'd be interested because I'd just had a conversation here on tumblr where I made that exact point to someone who, also significantly, vehemently disagreed with me, but in a very civil fashion. Given everything going on, I feel like this side point needs emphasis: we debated, we did so in a sometimes heated, but nevertheless respectful manner, it was clear neither of us was going to sway the other, and the conversation ended. The two "sides" of the community interacted without Armageddon coming about.

But back to the purpose of this tale. I went to take a look at this point and found that it no longer exists. There's just some vague message about it not obeying the subreddit's rules. "What happened?" I asked. "Why'd they take the post down?" "People were getting too heated in the comments," my friend replies. So, given that the comments were still visible, I proceeded to read through them, expecting personal attacks, slurs, harassment, etc. Any number of things that would justify deleting the post itself to put an end to such behavior. Instead, I found a thread of people having a conversation. Was the conversation heated at times? Sure. Did one or two individual posters edge into the realm of petulant, "No. You're wrong and stupid" responses? Yes. Was any of this remotely what I was expecting given the post's removal? NOPE.

"This isn't allowed?" I said. "Well then what is? People were being civil! Or at least as civil as hundreds of strangers ever get when discussing a series they're passionate about online."

Then, this morning, I hear that the entire critic subreddit has been banned.

So to answer your question, Tortoise, I don't actually think that "good faith" criticism exists. Meaning, it's not just that fans are misusing the term "bad faith criticism," but rather that there is no unified, agreed up method of writing criticism that will meet their standards. It's not possible and we know it's not possible because fans have been trying to meet those elusive standards for years:

A fan posts nothing but praise for RWBY until changes make them criticize the show as it is now. Their entire body of work is dismissed as the product of a "hater," despite the overwhelming gap between positive and negative reviews.

A fan posts a review that's a pretty balanced mix between praise and criticism. They're dismissed because it's still too much criticism.

A fan posts a review that's 99% praise with 1% criticism. That's still too much, with fans focusing on the single problem they had with the work and using it as an excuse to dismiss the entire review out of hand.

(As an aside, the argument that critics are "obsessed" with only saying negative things and that the only problem here is that they're "too" negative ignores the argument that... RWBY has a lot of flaws nowadays. Few are willing to acknowledge the possibility that it's not fans insisting on making things up to be mad about/ignoring the good parts of the show, it's the that show is, as of now, legitimately more of a mess than it is a praise-worthy product. If I'd been writing recaps in the Volumes 1-4 days, my work would have been skewed far more towards the positive. The critics' stance is that RWBY has gotten worse, which yes, results a higher volume of critical posts. To say nothing of how criticism takes far longer to explain, likewise resulting in posts focused primarily on that side of the divide. I really enjoyed the image of a crying Jaune reflected in his sword. I did not enjoy that moment's context. Saying that you liked an animation choice is a one sentence thing. Explaining the complexities of Jaune securing emotional moments, the problems with Penny's second death, the hurt many fans experienced watching an assisted suicide, etc. takes a whooole lot longer. Hence, you get massive, multiple posts about these nuanced topics and fewer, smaller posts about the details that are working well.)

A fan talks about a topic that has been metaphorically banned by the fandom as a whole. They have something good to say about Ironwood. They dislike something about Blake/Yang. They enjoyed Adam as a character. They have a problem with Ruby's leadership, etc. There's a whole list of topics nowadays that will result in an automatic dismissal, regardless of the point the fan is trying to make or how well they make it.

A fan talks about the minority representation of RWBY — its black characters, its queer characters, its disabled characters, etc. — and as a result has something to say about the biases and missteps of those writing these characters. This is considered an attack on the writers and, therefore, automatically bad.

A fan talks about how they enjoyed RWBY as it was years ago and is having trouble reconciling the dark, complicated story with the simple, hopeful one we started out with. This is seen as an attack on Monty's vision and an unwillingness to accept that "everything is planned."

A fan does as asked and ensures that their post is meeting all the requirements of "real" criticism. They have an argument to make. They have a point. They provide evidence. They recommend a solution. They keep their tone respectful. They don't attack the creators. They provide disclaimers in every single paragraph about how they do not hate RWBY. It doesn't matter. They're considered too negative.

I have, quite literally, seen every one of the above examples on multiple occasions. I have had many of the above accusations leveled at my own work. When fans say that they're fine with criticism provided it's not "bad faith" criticism, they don't actually have a specific post-type in mind; a checklist of behaviors another fan can emulate and, provided they do that, no hate will come their way. Or, if an individual fan does actually go, "Yeah. That criticism I'm fine with" that response is in no way universal. One person's "They make a good, civil point" is another person's, "Omg stop bashing the show!" Because "bashing" has come to mean everything from curse-laden insults towards everything RWBY has ever done, to posts that just happen to say something other fans don't agree with.

It's a rigged game. There is no way to post criticism about RWBY in an agreed-upon, appropriate manner. This recent ban is proof of that. I think it's incredibly telling that almost immediately after I was going, "Wow. A pretty calm debate about the flaws of RWBY in the main sub. That's great to see," all posters from the criticism subreddit were banned. The main sub literally just had the sort of criticism that they claim to accept — people respectfully posting analysis-based arguments resulting in calm debate — and yet they implemented the ban anyway. I'm not going to pretend that I've never gotten too heated on my own posts, never made snarky comments when I'm frustrated, never used exaggerated reaction GIFs that can come across as insulting... but I'd say on the whole my RWBY work is precisely the sort of "good faith" criticism that other fans are supposedly looking for. I never make an argument I don't think I can back up with evidence. I try to allow for the nuance and differing opinions of complicated topics. I try — even if I don't always succeed — to write in a clear, respectful manner. Yet none of that work has stopped people from telling me I'm a "bitter... raging asshole," a "deranged, delusional psychopath," telling me to set myself on fire, threatening to smash my head in, or just messages to straight up kill myself. If someone like me who legitimately works hard to create fair, defendable criticism and who only ever posts on a personal blog that people can easily block, who never engages in debate until someone else starts it first, never seeks out other fans I disagree with to harass them about what they like... if someone like me is still a "bad faith" critic who "deserves" that kind of hate mail... then what kind of criticism do people want?

Nothing. That's the answer. No criticism whatsoever, of any kind, no matter if it's delivered respectfully, is making a good point, whatever. That's why "RWDE" was created. That's why the critic subreddit was created. The community at large has demanded a complete separation between Praise and Anything That's Not 100% Praise, which has now resulted in this ban. Any other explanations we see are excuses, which becomes glaringly obvious when you look at the mods' supposed reasons for implementing the ban:

"Constant arguments with r/RWBY users" - As opposed to the arguments surrounding things like shipping that never, ever happen?

"Vote manipulation and comment brigades" - The subreddit with 3,000 participants, with around 200 on at a time, is manipulating the votes of a subreddit with 155,000 participants, with over 1,000 on at a time? Those numbers just do not check out. If a positive post is downvoted, or a critical post upvoted, maybe that's because large swaths of the community actually agree/disagree with that assessment, not because the incredibly smaller group is somehow manipulating things.

"Attacking and harassing those they disagree with" — Again, as opposed to those non-critics that never, ever harass people? This is an individual problem, not a community problem. Both critics and non-critics have their sub-groups acting in ways they shouldn't. If anything, the main sub will have more individuals harassing other fans, simply by virtue of being so much larger. As the above examples attest, it's not other critics who have told me to light myself on fire and, just to be clear, the asks I've responded to are a miniscule number compared to the amount I've received. I delete the lion's share for my own sanity and to save my followers from reading the really graphic threats.

"Months-long NSFL spam brigades" — I am, admittedly, not sure what this is referring to. Spamming of NSFW content? If so, that's also an individual problem.

"Homophobic, transphobic, and racist attacks towards our users" — See the above points. Again. If someone is being homophobic, transphobic, or racist, then yes please, ban them. Don't ban an entire community for the actions of a few. It's like walking into a store and banning a customer for causing a scene... but then also banning everyone else who happened to be shopping at the same time. It's guilt by association.

The silver lining to all this? The community as a whole isn't pleased. At least according to the main subreddit comments and a few individual voices like MurderofBirds. Despite the increase (from my perspective anyway) of critical voices post-Volume 8, criticism of RWBY is still very much seen as taboo. As this ban showcases. But it's really reassuring to see so many fans, critics and non-critics alike, going, "This was a mistake." A community is meant to include all aspects of engagement: praise, criticism, and the gray area between. If anything, fans like the mods of the main subreddit should be creating a separate subreddit that is specifically for praise. In the same way that there should have been a tag for RWBY praise, rather than trying to eliminate any and all criticism from the main "RWBY" tag. The majority of fans, even those who claim to hate critics and all they (presumably) stand for, recognize that a blanket ban of all criticism is not the way to go, especially when "criticism" has come to have such a staggeringly broad definition. If you want your RWBY experience to be nothing but sunshine and roses (ha), then cultivate your own internet experience to reflect that. Create your own pockets with rules about how this is the space for praise and if you're not up for praising RWBY right now, don't interact with us in this particular space. Don't try to make the entire community — the main tools used to discuss the show online — conform to your preferences. As established, there is no "good" criticism that everyone in the fandom will accept, which just leaves a fandom with no criticism at all. I'm glad to see I'm far from the only one who, when presented with that extreme, is going, "Nope. No thank you."

[lesbiansandgayssupporttheminers]

A rather tongue in cheek look at the British class system.

This post started life as an answer to an ask “how do you know which class you are?”- which is an interesting ask to receive, as I always thought most people in the UK had a strong sense of the class system and their place within it.

In the UK, class extends beyond economic factors and each social class tends to have their own, identifiable culture. This culture is, or can be inherited, and it means that people can sometimes identify as a class that doesn't match up with their current apparent economic circumstances.

Apart from the fact I find this personally very interesting, I do think it’s important to examine the class system in the UK. Classism is a very real phenomenon, which exists, for starters. class definitions are difficult and vary with culture and historical moment, but I'll attempt to lay out some key characteristics from my cultural perspective.

The aim of this analysis is not to offend (although it is, at times, to amuse), nor to present one class as “better” than the others.

 Lower- Working class: Your family have traditionally working in non-professional jobs, such as manufacturing, service/hospitality roles, other “unskilled” jobs. Work was likely insecure (especially post Thatcher) and there were periods of being out of work and relying on benefits. Historically, working class people would have lived in council houses or “tied accommodation” but increasingly, they live in insecure rentals. At times, outgoings will have exceeded the money coming in, and there may have been periods where your family needed to rely reselling goods or unconventional sources of credit in order to make ends meet. Increasingly, even in work families are sometimes relying on foodbanks. You/ your family are less likely to drive and own a car. When you were young, it’s likely that you were informally cared for by relatives, or your parents worked opposite shifts to cover childcare.

You speak with a regional accent- it might be pretty strong and you use regional dialect. You eat “tea” in the evening and “dinner” at around midday. A lot of the men in your family follow a local football team, and likely attend games. They might have a bet on the horses, but are unlikely to actually go to the races. Growing up, you might have gone to the park for a kick about with your mates, but you are less likely to have been part of an official team or organised hobby.

You may well care about your appearance, but you’re likely to do things like dye your hair at home, rather than go to a salon. Your clothes are sometimes second hand, but this isn’t through choice. It’s likely you have some clothes or outfits you consider “best”. You may have piercings or tattoos and care less about appearing “conventional”. When you go out, you probably go to a local pub which some people might consider “rough”, but you also sometimes go out clubbing.

You might be close to your family, and the community you grew up in, but it’s also very possible that these relationships are somewhat strained for various reasons. Celebrations such as Christmas (if you celebrate it) and birthdays were important to your family and your parents might have gone a bit overboard with this, even (especially) if they couldn’t afford it.

 At some point in your life, you’ve used the word “scab” as an insult- even if you didn’t know what it meant.

  Upper-Working class: Your family have traditionally worked in skilled trades, or regular “non-professional” employment such as manufacturing. You might also have relatives in the army or in the police force. These days, they might be self employed, but they would be less likely to employ someone else. There are varying degrees of financial comfort, and these days, your family may own their own home but you’re not “wealthy”. It’s unlikely your family have assets or investments beyond one property and cars. If you’re younger than about 35, you or your siblings might have gone to university, but no-one in your parents’ generation has. Your parents probably have a degree of debt beyond a mortgage (if they have one). You probably spent time in childcare when you were young because your parents had to work. If your parents have a mortgage, they are potentially overstretched by it and concerned about how they will pay it off before retirement.

You probably speak with a regional accent and use dialect words. You also use words like serviette, dessert, pardon etc. Someone in your family is really into football but they are more likely to support a team in the premiership and watch games on TV rather than going to matches- if they are into rugby then it’s rugby league unless you’re from Wales or Cornwall. You probably learned to ride a bike as a child, and it may have been your main mode of transport as a teenager. You’re more likely to do a hobby as part of some kind of formal group or club, but it’s unlikely to be one that requires a lot of expensive equipment.

You/your female relatives are probably quite house-proud and take a lot of care over their appearances. There’s probably time spent fake tanning and getting nails done. You’ve probably got a feature wall somewhere in your house. You might have your own distinct sense of style and belong to a “sub-culture” but if you have tattoos, they’re likely to be well planned and/or relatively easily hidden. When you go out, you probably go out clubbing, but you probably have a “local” too.

Family and community are important to you- it’s likely you haven’t moved that far from where you grew up (unless you were really desperate for work). It’s possible the area where you grew up is pretty deprived, although it may be increasingly a victim of gentrification, depending on where you are from.

You know someone who bought their house via “right-to-buy” and thinks this makes them middle class.

 Middle Class: Your family have traditionally worked in more professional jobs. These may not require a degree (especially historically), but we are talking things like accountant, lawyer, doctor, teacher, civil servant etc. They earned a salary rather than being paid by the hour. Some degree of their assets were probably inherited, and they may have some investments e.g. shares or a buy to let property, but this isn’t the whole of their income (unless they are retired and have a decent pension too).

Your parents owned their own home, and are/will be mortgage free by the time they retire. You probably had regular foreign holidays growing up. Your parents are likely to save up for big ticket items, rather than get into debt. You’re not the first generation in your family where people went to university. It’s very likely you had a stay at home parent for part of your childhood.

If you speak with a regional accent, it’s probably not very strong, and it’s likely you don’t use a lot of regional dialect words. You call your midday meal lunch, and your evening meal dinner. If you go to the pub to watch a sports match, it’s more likely to be the six nations than a football game. But it’s equally likely you aren’t into sport at all. Your parents probably made you get swimming and music lessons growing up, and you may well have a hobby- possibly one that requires a bit of financial investment on your part.

You like to think you have a sense of style, but you don’t like to look like you are “trying too hard”. You might be especially into a certain genre of music or films. You may make a nod to subculture in the way you dress, but if you’re older than a teenager, you probably dress in a relatively “conventional” way. You go out to bars, or chain/mid-priced restaurants, although you might also go to a pub for a meal or if there was music on.

Your family probably don’t all live in the same place, and you may only see them relatively rarely. It’s likely your parents have friends from uni or NCT classes who to some extent take the place of family in your life. You may not have a strong sense of community and it’s very possible that if your parents live rurally, you might have moved to the city for work. You’re probably not very religious.

At some point in your life, you have sneered at someone for being a “chav”.

 Upper-middle Class: Your parents are pretty wealthy and almost definitely went to university. You went to a well known university. They likely went to private school and you probably did too (although not a super famous one). If you didn’t go to private school, you went to a grammar school, church school or the most sought after “comp” in the county (your parents probably moved house to get you in). Someone in your extended family owns a second home, or at least a really nice house in the country. You/your parents almost definitely have inherited wealth and assets, as well. You/your parents may just work in a well paid job, but they may also own a medium to large size company. You probably had multiple holidays abroad each year (and it’s very likely you went skiing). If one of your parents’ cars broke down, it would have been very easy for them to replace it, without needing to save up or get into debt, but you don’t have any fear of debt, either. It’s very likely you can get a job through “connections”. It’s likely they employed a cleaner and possibly a gardener, and maybe au-pair or nanny as well.

You speak with an RP accent, and you might have “pudding” after your “supper”. It’s very likely you play a team sport of some kind, probably rugby, cricket, hockey or maybe lacrosse. You might row, or ride horses, or sail. You’ve always been able to do whatever expensive hobby you like, and money has never been a barrier to progressing. You may well shop in charity shops, and brag about the bargains you find there. You may drive an “old” car, but it’s probably a 4x4, genuinely vintage, or quirky in some other way. You have inherited jewellery and possibly some home furnishings. If you’re talented in some way, (sport or artistic) you were probably given every opportunity to persue this.

Networking is important to you and you feel part of a community. You’re probably quite socially confident. It’s likely you know some of the people you work with socially as well. You probably expect to live a reasonably traditional lifestyle, and you’re less likely to be part of a “sub-culture” (unless you’re making a career as an actor or a musician). You probably observe religious festivals, but you don’t go regularly to a place of worship. You avoid chain restaurants, but you like to go to the village pub.

On some level, you probably think “poor” people bring it on themselves through poor decision making.

Upper Class: Historically, your family were rich enough not to have to work for a living, and someone in your extended family owns a very large amount of land. You’re related to someone with a title. You went to a well known private school and you may have boarded. It’s likely your family own multiple properties- some are rented out and some you live in. Some or all of these were inherited, rather than bought. You may have a “private income” of some kind. Your family may have had to “diversify” in recent years, and you may actually be working more than your ancestors did. You might have gone to a well known university, or you might have gone to somewhere like RAU. Your family own multiple cars, and one of them is probably a 4x4. It’s likely your family employed “staff”. At some point since the second world war, your family may well have had to sell off property etc- but your money worries are “how do we avoid selling off land” not “how do we afford to replace the washing machine”.

You talk like you are from the 1940s, and everyone you know has a stupid sounding nickname. You use your own form of impenetrable slang- probably specific to whatever school you went to. You’ve probably been hunting and you know someone who plays polo. You go to events like Royal Ascot, Henley Regatta, the Boat Race and Goodwood etc. You ski. You’ve been on multiple long haul holidays, and you probably went on a “Gap Yah”.

Everyone you know knows everyone else you know and you’re suspicious of people who you don’t have acquaintances in common with. You’ll get married, in a church (you are CofE and white) and having children is fairly important to you. You’re probably involved with some kind of charity work.

You pride yourself on not being a snob, because you got on well with the people you met in Africa, but you’ve never actually spoken to someone who grew up in a council house.

[kellerose]

Holistic Analysis of ‘Volver’ by Pedro Almodovar

tw// mentions of child abuse, pedophilia, death, blood, and sharp objects

Conduct a holistic of the film Volver by Pedro Almodovar. Be sure to integrate terminologies and concepts from course discussions on both photography and film in your analysis. Cite all borrowed materials.

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‘Volver’ by Pedro Almodovar is a 2006 Spanish film set in Madrid, Spain as well as a small village in the La Mancha Region. Upon further research, it’s noted that La Mancha is where Almodovar grew up, which indicates that this film highlights the essence of his childhood.  

‘Volver’, which is Spanish for ‘to come back,’ beautifully captures the importance of women’s lives and what comes of life after death. The film is compacted with stunning architecture, camera angles, color, music and sounds, and visual images that all fit into the film’s overall message. 

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Composition: I have noticed throughout the film that Almodovar chose interesting and compelling camera angles for different situations. When people walk through big doors-- mostly with the windy village in La Mancha-- the camera would be at a one-point perspective. The center of the door would be the ‘vanishing point’ of the frame so that you’ll see the rest of the hallway that the characters will soon walk down. When Almodovar films the characters going up a flight of spiral staircases, he puts the camera on the ground facing upwards in the center to show the movement of the characters. When his characters are going down the set of stairs, he changes the angle so that the camera is at the top facing downwards. When characters are walking down or off onto the street, the camera tends to follow their movement in a single shot; either in front of the characters for more intense scenes and dialogue or on the side of the characters in a distance shot to move along the plot. I also noticed his choice of car scenes. He would usually show the red car driving down a dirt road of wind turbines in a distance shot. If there were people in the back seat, the camera would shoot from the front of the car, and if it’s only one person or two they would shoot their side profiles. I also noticed that certain frames had significance to the plot as an angle would be used for multiple shots; one with Raimunda cleaning the knife before and after the murder of Paco, and when Raimunda was standing by the tree by the river after burying Paco then later that same angle was used when Raimunda and Paula visited the same spot. 

Visual Cues:

Color- The main color of the film-- as well as any Almodovar film-- is red. The color symbolizes death as well as womanhood-- the passion, empowerment, and life that goes with women. The film was full of bright colors, which is a usual touch that the director loves to add to all of his films. Almodovar chooses his color precisely by the setting, as he stated in his interview with Jennifer Merin about the film. He chose to use a lot of black and white because of the location and social environment of La Mancha. Those colors, he says, aren’t ones he typically uses but were the best choice for those certain parts of the film.  

Gestalt Laws: 

Proximity- The closeness between Raimunda and Paula throughout the entirety of the film shows that the two are related in some way. The fact that the two characters are inseparable and are seen living together, an individual can assume that they’re mother and daughter. Paco getting constantly pushed away and being distant from the characters symbolizes the dysfunctional relationship he had with Raimunda and Paula. When Sole ran away screaming from Irene upon first meeting her, one can assume that the relationship is unwanted by the forcible distance. However, we see about 20 minutes later, Sole allows Irene into her home and ends up sleeping next to her in the night. The sudden closeness indicates the love and comfortableness between a parent and child. 

Common fate- The people of Madrid and La Mancha always kissed each other’s cheeks as a form of greeting. Raimunda and Irene both had their partners murdered for doing something taboo. Irene’s husband was having an affair and sexually abused and impregnated their daughter Raimunda. Raimunda’s partner, Paco, was stabbed by her daughter Paula for sexually assaulting her. Another common fate is that Raimunda and Paula were both sexually assaulted by their fathers/father figures. 

Semiotic Signs and codes: 

Indexical Sign- The abundance of people are dressed in minimal amounts of clothing which indicates that the weather must be quite warm. When the characters are in the La Mancha village, the character’s clothes and hair move rapidly indicating that the area has harsh winds.  

Symbolic Sign- The use of red in the women’s clothing, on and in buildings, on the furniture, vehicles, and close-ups on vegetables and blood certainly doesn’t go unnoticed. However, an individual who notices may not understand its significance. Therefore, the color red is an example of a symbolic sign in this film. It emphasizes the meaning of life after death and the importance of womanhood. Another example of a symbolic sign is the song sung by Raimunda within the film. The title of the music is the same as the movie’s title, ‘Volver’. The song is about the need for one’s life to come back, especially a mother’s, in order to move forward in life, which is an addition to the film’s message. One final example is at the very beginning of the film. The women of the La Mancha village are seen cleaning off the gravestones in the local cemetery. The way the women talked with one another made the audience indicated that this was a common practice. This scene set up the meaning of life beyond death and womanhood because only women were standing over the dead. 

Purpose of the Work: A main purpose of the work was for the director to pay homage to his childhood as the movie filmed in the place he grew up and the characters were similar to the women who raised him. 

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Personal Perspective: 

As usual, when films start, I need to take some time to get into it. This is the same with any kind of story, even with books. But, unlike books, I can stay focused and entertained by good cinematography. The Spanish film ‘Volver’ did just that for me. The stunning single-point shots and frames kept me wanting more. I completely adored the close-up shots of characters doing simple tasks. For example, when Raimunda was putting away Tupperware, washing the dishes, and grabbing paper towels-- just to name a few-- I absolutely adored how they were shot. When the plot began to thicken, however, it was more than just the cinematography that left me breathless. The acting was incredible that I was convinced I was watching someone else’s life right before my eyes. There were many surprises that I didn’t see coming that left me on the edge of my seat the whole time. When the film ended, I had felt satisfied and unsatisfied. I wanted to know more of the story, it felt like the conclusion was only starting when the credits began to roll. But, at the same time, I was okay with how it ended because I can make up my own conclusions about how I feel the story will continue. I really enjoyed how the visuals throughout the whole film were chosen carefully to match the overall message.  

Cultural Perspective: 

Almodovar uses a lot of past and present aspects of the Spanish culture in his films. As he grew up in Spain, it’s something he knows well and feels most inspired from. The director is obsessed with the media of Spanish culture-- such as telenovelas, magazine stories, infomercials. Almodovar adds Spanish media to his films quite often. For example, in ‘Volver,’ he uses the idea of a film-within-a-film aspect near the end of the movie. Another example is when Paco was watching soccer on the television in the earlier shots of the film. Almodovar claims that the brightness and intenseness of the colors match the drama that Spanish films have, which is why he tends to this culture more to satisfy his creativity. A quote from a 2006 interview mentioned in an Amuse article by Colin Crummy, Almodovar states, “It is something very Spanish but it is hardly used in Spain. It corresponds both to my personality and the baroque behaviour of my fictional characters. Explosions of colour fit in very well with high drama.”

Critical Perspective: 

There were multiple mentions of child abuse and pedophilia within the film. One example is that Raimunda’s father abused and raped her as a child that led to the birth of Paula. Near the beginning of the film, there was an up-close shot of the fourteen-year-old girl’s private spot indicating that Paco-- the supposed father-- was looking at it, and he was creeping on her while she got undressed in her room. After a few scenes roll by, we see Paula waiting for her mother at the bus stop in the rain looking petrified. After Paula didn’t give a clear answer, we see Raimunda finding Paco’s dead body on the kitchen floor. Paula began to explain the whole event of the assault that led to her stabbing him in detail. The aspect of child abuse and murder is enough to provoke a strong response from the viewer. The whole event is extremely traumatizing that will make people talk about it afterward. A major theme throughout this film is death and the afterlife. The superstitions of spirits visiting you before you pass on overflowed the village. Irene was thought to have passed in a fire four years prior to the story’s timeline. So, when she had visited her sister who was dying, many suspected that it was her spirit helping the living pass on. The idea of death and the afterlife is a difficult topic to bring up in conversation, so it wouldn’t be unusual if someone had felt uncomfortable. There were many ways death occurred within the film; stabbing, old-age, a house fire(that was intentional), and cancer. Each death-- and the reason it happened-- can provoke an emotional response from the audience. The running themes and cultures of the film will leave anyone’s mind wondering: what’s next?

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References

Merin, Jennifer. “Jennifer Merin Interviews Pedro Almodovar Re ‘Volver.’” ALLIANCE OF WOMEN FILM JOURNALISTS, 13 Dec. 2006, awfj.org/blog/2006/12/13/jennifer-merin-interviews-pedro-almodovar-re-volver/.  

Team, Amuse. “A Musical Tour of Ibiza.” Amuse, 24 Mar. 2021, amuse.vice.com/en_us/article/bvg3p4/a-musical-tour-of-ibiza. 

Lester, Paul Martin. Visual Communication: Images with Messages. Sixth ed., Michael Rosenberg, 2014.

Almodóvar, Pedro, Agustin Almodóvar, Esther García, Penélope Cruz, Carmen Maura, Lola Dueñas, Blanca Portillo, Yohana Cobo, Chus Lampreave, Antonio . Torre, Carlos Blanco, José L. Alcaine, and Alberto Iglesias. Volver. , 2006.

[abroadeducation]

Simple Way to Ace GRE Data Interpretation Section

Introduction

For a student, GRE is a challenging exam. But it's not as difficult as it seems to be. If you follow the right strategy then you can crack the exam with ease. These strategies are very effective and will help you achieve top scores in the GRE Data interpretation section.]

What is GRE Data Interpretation?

GRE Data Interpretation questions are designed to test your ability to draw conclusions from data, not just answer factual questions. You will be presented with one or more tables and asked to interpret them in order to answer the question(s) provided.

The data interpretation section is made up of 30 questions: 20 quantitative comparisons and 10 table analysis questions. The total time allotted for this section is 35 minutes, which means you should spend no more than five minutes per question if you want to finish on time!

(Read more: ACE YOUR SCORE IN GRE FOR YOUR ADMISSION INTO TOP UNIVERSITIES OVERSEAS!)

How to improve GRE Data interpretation?

Practice, practice, practice.

Analyze the question, then decide what you want to say.

Understand the concepts involved in the question.

Use the flowchart to solve the question.

Use the plug-and-play technique to solve the question (if applicable).

Use follow-ups if necessary (if applicable).

Trick 1 - The approach

The approach is the most important aspect of solving any data interpretation question. The approach helps you understand the question in the best possible way, which means that if your approach is wrong then every step after it will be incorrect too.

The following steps should be followed for each and every data interpretation question:

Identify what type of data representation has been given to you (i.e., table, graph, etc.)

Identify whether there are labels or not on axes/tables/figures

If there are no labels on axes/tables/figures then label them yourself based on your understanding of what they represent

(Read more: GRE Preparation Tips 2023 – Know How to Score 325+ in GRE)

Trick 2 - The Flowchart

The flowchart is a very useful technique for data interpretation questions. You can use it to solve any question, and sometimes it will even help you solve a question in the easiest way possible!

The flowchart is a great way to understand the problem. It's like having an illustration right there on your screen or paper that shows how each piece of information relates to each other piece of information (and how they all fit together).

Trick 3 - Plug and play

Plug and play is a technique that enables you to solve a GRE data interpretation question by plugging in the given data into the answer choices and then picking the best answer. This is an easy way to solve GRE data interpretation questions, but it is not always possible for some questions because of their complexity or ambiguity.

The steps involved in plug-and-play are:

Identify what type of question you're dealing with (multiple choice or sentence completion). If it's multiple choice, then there will be four answers given; otherwise, there will only be two options available for selection as answers

Choose an answer based on how well it fits into each scenario described by the passage given (i.e. if one paragraph says something about improving efficiency while the other talks about increasing profit margins, then choose between these two options based on which one sounds more feasible)

Trick 4 - The follow-ups

Follow-up questions are the ones that you have to answer after you've given your answer to the main question. You can get follow-up questions in Data Interpretation questions, but they may also come under other types of questions on the GRE exam as well.

(Read more: How to Achieve High Scores On GRE Quantitative Section)

Follow-up questions are usually easy if you know what to look for and how to tackle them. These are mostly asked with respect to data provided in a graph or table, where there is no direct relationship between two variables (e.g., one variable increases while another decreases). For example: "Which of these two numbers is farther from zero?" or "Which number has the greatest absolute value?" You should review the answers to this quiz before submitting your results because if you give incorrect answers, your score will suffer.

Conclusion

In conclusion, we can say that the shortcut is very useful and helpful for students. It helps them to solve problems quickly without wasting time thinking. By taking GRE Coaching you will know about shortcuts and tricks.

[youngbugandtonystank]

Your analysis about tony in hoco is interesting!! I saw some people said he's not a good "mentor" for Peter but I think they failed to see Tony's character in depth, so your analysis really helped a lot! If you have time, could you please do for Peter in hoco as well? Thank you ❤

Hi!

I know other people asked different things but I’m going to respond to these ones first. Thank you for asking!

Ok, first I want to talk about three things people usually get wrong about MCU Peter:

1. He’s not poor.

2. He doesn’t blindly admire Tony. 

3. He’s not dumb.

1. He’s not poor. Now, this doesn’t mean he’s rich or a billionaire but Peter is not poor. He’s average or might be above average. I think the reason people choose to believe that he’s extremely poor is because of his relationship with Tony and his classmates. Tony is a billionaire and many of his classmates are rich kids. Peter goes to a very expensive school so you are obviously going to spot kids with cars and expensive clothes, that doesn’t mean Peter is dying of hunger.  

Of course, the kid can’t afford really expensive things like cars but if his aunt is capable of taking Peter out for food instead of cooking, capable of affording a Jansport Wasabi of 46$ multiple times, sneakers of 39 to 70$, capable of affording apartments like this then the kid is doing fine. 

He has an extensive wardrobe, hell, I even spotted Flash wearing the same shirt three times on different occasions and Flash is supposed to be rich. Peter is a dumpster diver because Peter always loses, breaks or ruins things when he’s Spiderman. He mentioned in hoco that he has the habit of losing his backpack and the movie demonstrates that Peter gradually breaks his phone till it’s in pieces. His aunt is not going to pay stuff multiple times for him and it’s not because she can’t afford it, is because Peter would never ask unless it’s a necessity like a backpack. Something he can’t build, so he fixes or makes the other stuff. 

2. He doesn’t blindly admire Tony and 3. He’s not dumb. The thing about their relationship is that people love to exaggerate the ‘’bad’’ parts to fit their ‘’Tony Stark is a villain’’ agenda. Peter knows Tony is not a perfect man, he’s a smart kid, he can tell. Tony’s life is constantly on the news, that includes his dumb decisions: like giving the villain his home address or his playboy party days. Peter knows about this too. 

When Toomes explains to Peter why he’s doing what he’s doing he tells him that Peter is the lesser guy to a man like Tony (something that is more of a reflection of toomes’ character and attitude more than an actual explanation as to why continuously being aware of hurting people and dealing with weapons illegally is a choice he /Toomes/ still makes) and that they’re usually the ones that eat their table scraps. What’s Peter’s answer? ‘’Why are you telling me this?’’ /= ‘’I’m aware of this, why are you telling me this?’’ 

Truth is, Peter doesn’t share his opinion. He sees Toomes for who he is. He sees someone who continuously makes bad decisions and chooses to act in a morally incorrect way to provide to his family and Peter understands that in the end, he’s going to end up hurting Liz (This is why he dropped out of a high school experience such as homecoming with the girl he likes, because Peter understands. ’’How could you do this to her?’’). He sees someone who got comfortable with wearing a profiteering two-faced skin, something Peter could never do. He knows Toomes is only using the ‘’tony stark is evil too’’ card to try and justify his actions. He’s basically saying: ‘’The hero did it, so why can’t I?’’ The hero changed, Toomes didn’t. That’s what makes him the villain.

People now more than ever have a hard time accepting the fact that Tony is, in fact, someone who grew out of a bad place/mentality/morality because they want him to stay as the ‘’bad guy’’ in their minds. It’s easier for them to hate him with this mentality. Truth is, he’s the definition of character development. Tony learns from his mistakes and makes an effort to correct those things. He rebuilds himself. He stops. He fixes things. Because when you do something wrong, you make things right. That’s how it is. And Peter also understands this. 

You see, Peter looks a little desperate in Homecoming to become an Avenger and it’s not because he wants to impress Tony Stark. Peter himself addressed the reason for this. 

He’s bored.

This is his face when entering the school.

And this is him getting out of it.

 ‘’So, how’s school? It’s boring. Got better things to do.’’ ‘’You want to be a high school dropout? I am so far beyond high school right now.’‘ ‘‘But we have a Spanish quiz. Ned, I’m probably never gonna come back here.’‘ He’s tired of school. This is proof of how smart this kid is, he doesn’t need to look at the board or pay attention in class because he already knows all the stuff the other kids are learning. He counts the hours to be able to leave the school. The principal knows Peter is a smart kid. His classmates begged him to stay on the decathlon team and doubted they could win a competition without Peter. School is not a challenge for him anymore.  After getting the experience he got in Civil War, he firmly believes he’s wasting his time in school and could be doing bigger things and his one-way ticket to do that is getting an official membership to the Avengers team. 

Look at him here, he’s having the time of his life.

For a hyperactive

genius kid

school must be hell. 

His motivation to be an Avenger is completely different than his relationship with Tony. He wants to change the pace of what he’s so tired of experiencing. High School. Now, he does want to impress Tony but not to prove his worth as an Avenger but because he looks up to the man. With all of his flaws and mistakes. He knows Tony is not perfect, he knows about Ultron, about his playboy days, about the Accords (you can see him receiving a full lecture in school about them: ‘’The Sokovia Accords were put into place…’’), about how he gave his address to the villain and how said villain destroyed Tony’s house, etc. All of this was on TV. All of it. 

When Peter said ’’I just wanted to be like you’’ he didn’t mean ‘’I wanted to be you’’. Peter wants to do great things, world-changing things, make a difference in someone’s life, help out on a bigger scale. Something Tony does. It’s easy for a kid like Peter to like those things about Tony because he wants the same. And he wants that because it’s who he wants to be. So why wouldn’t he want the approval of someone that does those things? 

‘’So you wanna look out for the little guy-

-you wanna do your part? 

Make the world a better place, all that, right?’’

‘’Yeah, just looking out for the little guy-

-That’s what it is.’’

Aaron Davis about Peter: ‘’The other night, you told that dude, “if you shoot somebody, shoot me.” That’s pretty ballsy.’’

Peter sees a great guy in Tony. Despite everything else. Someone who knew how to put himself together after surviving the grief and pain life presented for him. Peter can see through him and can tell this man has been through hell and back and Peter admires that. He can see strength in him and he wants that as well. If Peter thought Tony was a god almighty, he wouldn’t have stayed at the ship in IW claiming he ‘’thought about Tony’’ and decided to stick to the side of the ship to help his mentor. 

He got attached to Tony really fast. He thought of him as a guidance figure because that’s how Tony presented himself to Peter, since the beginning. He told Peter when he met him that he was there for a hundred-point restoration. He asked him why was he doing the superhero thing, what is his MO and what gets him of bed every morning. It’s natural that Peter got attached that fast, because Tony not only did his homework on him, he showed him that he was there to support him and that he understood him. When was the last time Peter got that from a male figure? That’s right, his previous father-figure, Ben Parker. So receiving that from Tony made him start looking at the man that way.

When we start seeing this? In here:

He challenges Tony when he believes the man is not listening to him, not caring enough about him. Thing is, Peter, had been way too involved in his own little world that never once stopped to pay attention to details like: ’’like that lady that bought you the churro.’‘ ‘‘Happy told me you quit band six weeks ago.’‘ ‘’My dad never really gave me a lot of support…and I’m trying to break the cycle of shame.’’

And like a typical teenager, he gets defensive when Tony proves him wrong.

Here, he starts to realize Tony means more than just the Avengers membership or the recognition. He gets way too upset and sad over something like what happened. He could easily offer an apology or use his old suit instead. He gets upset because he feels like his relationship with Tony is over.

‘’I just thought that I could work really hard and he could– He would– You know. But I screwed it up.’’  /=  ‘’I just thought that I could work really hard and he could see me as a hero, he would offer me a place on the team/his life- You know. But I screwed it up.’’

Peter was aware of all of this just after the ferry incident. Just like Tony, before that confrontation, he was doing this unaware of the personal feelings he was putting into the equation. He even complained to Ned about Tony like any kid would about their parents: 

‘’I’m sick of him treating me like a kid all the time.’’

‘’Why would I tell him about the churro?’‘ ‘’Can I please talk to Mr. Stark?’‘ ‘‘I don’t really want Mr. Stark to know about it.’‘ ‘‘Mr. Stark really overdid it.’‘ ‘‘Hey, Mr. Stark, could I do anything?’‘ ’‘I gotta tell Mr. Stark.’‘ 

He wants Tony in his life. He already thinks of him like he’s his father-figure.

He gets time to reflect on everything and does the right thing as he’s always done. He understands he needs to give Tony his space and that if he wants to be there for him, he needs to be patient. And he gets that at the end:

‘’Boss wants to see you.’’ ‘‘Give me a minute with the kid.’‘ ‘‘I gotta talk to the kid.‘’ ‘‘I was wrong about you.’‘ ‘‘I think, with a little more mentoring…’‘ ‘’Happy will show you to your room…’‘ ‘’You’ll fit right in.’‘ ‘‘See you around. Okay.’‘ ‘’He actually made a mature choice.’’

He wants to be more than what he is and he wants to stay around Tony because he wants the guidance and the feeling of comfort and security he gives him but he knows he needs to stay on the ground for the little people. That’s where he started, that’s where he stays. After getting crushed by a building, I think he is still a little unprepared for the big stuff. 

And at the end, he gets confirmation Tony is going to be there, no matter what choice he makes.  

Thank you!

[depths-of-hope-and-despair]

Doubts

The next day, Aditi opted to clear her conscience by planning for the future. The next few days, she could visit Hajime and talk out her concerns. The Trifle situation was... more difficult. She paced outside her sister’s door for.. hours it felt like. In reality, it was only five minutes of hyping herself up, only to chicken out and speed walk back to her room. Her brain being so busy with ideas and studying dreams means she felt exhausted by the end of the day. Enough to fall asleep normally instead of with alcohol.

She suspected these dreams in her sleep was a form of self-analysis. That Albert was merely a character that existed in her head, that she could use to learn about herself. But, his reactions were independent of her? That wouldn’t make much sense. Least to say, when the dream blurred into her vision, she was the first to speak this time. “Do you exist independently from these dreams?” She blurred out without giving a second to consider waiting.

“Good day to you too.” Albert responded without the usual bravado, reading through the notebook he had been writing in the whole time, clapping it shut again, the usual smile appearing back on his face as he responded casually: “I don’t see how this is relevant to our progression, Aditi. If we were here to smalltalk and dilly dally, I would have met you in a cafe.”

He smirked a little as he remarked: “Dilly dallying is quite the entertaining word, don’t you think?” He chuckled to himself as he opened a drawer in his desk, procuring some papers, eyes roaming over them.

“You’re as humorous as you are straightforward, Doctor.” Aditi muttered in annoyance.

“For today I thought we could do a little personality test. Nothing too intrusive, it is just there to distinguish your basic characteristics, like punctuality, empathy, introversion or extraversion etcetera etcetera, you can also choose not to answer if you are not comfortable. All of these questions can be responded with ‘yes’ or ‘no’, you do not need to elaborate in any way.”

Aditi folded her arms together, much like a pouting child and rolled her eyes. She figured that questioning him any further was a dead end at this point. He was fair too cryptic and waffling to let her in on secrets. With a disappointed huff, she nodded to give her agreement to the test.

He wrote Aditi’s name on the paper and then read some of the questions to her:

“When I see someone crying, I feel the urge to hug them and try to make them feel better.”

“I often miss public transportation.”

“You can find me at the club every Friday night.”

“Family is extremely important to me.”

“I need social interactions every day to function.”

“I like to try out new things.”

The first, made her pause. Did she feel the need to hug or comfort anyone she saw crying? The answer was no. Crying only immediately provoked curiosity in her. Her sympathy pains only seemed to be accessible only with her loved ones. People she knew, and already could appreciate. Both being true, her choice was to stay neutral. “No answer.”

The second was simple. The few times she relied on public transportation, she was never late. Rather she stressed about being early. “No.”

The third took no time either. Easily assumed, she was a wallflower, and hardly ever had fun at parties. Unless illegal means were involved. “No.”

Family. The ones she chose as family, yes. Celia? Trifle? Knifu? The first name, no. The second.. yes? And the third was yes. So, she decided to follow suit. “Yes.”

Did she need to interact with someone everyday? No. She went without it for years being raised by Celia. “No.”

Trying new things? Adventure. Discovery. Absolutely. “Yes.”

He nodded along to her answers, occasionally looking down to jot the right square, a smirk edging on his face at the attitude Aditi was giving him. “Are you doubting my measures? Just wait for it. By the end of this test you might be surprised by how much more I know about you. I’ll just need a day to properly evaluate it.”

Amusement was edging on his face, a weird static atmosphere starting to fill the office as he continued with his questions, making sure his voice was clear so there wouldn’t be misunderstandings.

Aditi stared back defiantly, clearly not buying his claim. Answering a few questions with yes or no wasn’t nearly enough to get an idea of what that person was like. The static noise and atmosphere didn’t phase her outside of a more narrowed sharp gaze. He continued:

“I regularly go on holidays.”

“I suffer from thoughts that don’t seem to be my own.”

“I don’t understand social cues often.”

“I have a hard time imagining myself in someone else's shoes.”

“I feel the urge to physically harm people that have done me wrong.” His eyes flicked up to her for a moment to see her reaction.

Regular holidays? That referred to taking breaks and enjoying the company of others, didn’t it? “Yes.” She nodded.

Hear thoughts that aren’t her own? She remembered struggling with this since childhood, even before Celia. “Yes.”

Social cues. At first, she struggled with them desperately. Nowadays? She was fair better at reading the room, but not too comfortable to call herself an expert. “Yes.”

This one was easy. A perspective empathy question. She often exorcised her ability to relive the memories of others, in order to gain more empathy for them. While it was intrusive, it was the fastest way to understand. “No.”

The last question caused some amount of discomfort. She clearly didn’t like the question. But she disliked her answer even more so. “... Yes.” She admitted, glancing away while doing so.

His grin widened at her answers, quickly writing down the answers and reassuring her. “You‘re doing great. Don’t worry, we are almost done...” He flipped the page, a soft singing was audible, so quiet it could almost be missed. It sounded like a little girl singing a nursery rhyme, but in another language, so it wasn’t sure what she was singing.

When he talked, it sounded like multiple voices, hushed whispers accompanying him like backup singers, but the man himself didn’t pay it any mind, continuing as if nothing weird was going on.

“I wish that I had more friends than I actually have.”

“I feel the urge to harm people for no clear reason.”

“I feel scared of what the future holds for me.”

“I feel guilty.”

“I feel disliked by people around me.”

“Get out of here.”

His voice was very quiet compared to the whispers that were accompanying him, maybe those weren’t actually the questions he was asking and just the whispers, but he looked at Aditi expectantly. The whispers were still audible, telling Aditi to leave.

Aditi listened to the whispers and singing combining together into a whirl of madness. It was much like a nightmare, one of the standard ones that showed anxiety in others. People could hear voices of disdain talking to them mostly when they themselves felt judged by others. None of this triggered her into a breakdown thankfully, only medical themes or visions of past mistakes caused her to falter. While unnerved, she pressed forward, eyes narrowing in response to his encouragement.

Did she want more friends? She has been told many times that she isn’t easy to approach, and when she takes initiative that can turn poorly as well. Part of her wishes was that she looked more inviting. “Yes.”

A desire to harm others for no reason. Generally, no. She didn’t want to hurt people without reason. Only when she lost control did she feel that impulse. Of course, she considered herself a sadist to an extent also. Those factors made this question difficult to answer. “No answer.”

Scared of the future? Who isn’t scared of the future? Of the unknown? It’s only natural to feel that way, right? “Yes.”

Guilty. She barely had to think of her answer. “Yes.”

Does she feel disliked? That’s strange too. Her whole life, she was surrounded by people who wanted to kill her, or adored her. The laboratory experiment children would’ve gladly watched her drop dead. The cultist would’ve given their lives for her. Only now was there a happy medium. But... the bitterness of the past wouldn’t let her see on the brighter side. “Yes.”

“Very good, Aditi. You are doing great. We are almost done actually.“ He jotted more stuff down, his expression looking a little off from just a few seconds ago.

“I just have 5 more questions for you and then we can end tonight’s session.“ he informed her, turning the Page, fingers tightening around the paper and crumpling it lightly. He opened his mouth, but suddenly his voice was completely gone. It was like he got muted, in his place the whispers filling the room. He still held eye contact, though it was more like he was looking through Aditi, something clearly on his mind. And instead of the questions she heard:

“I’m sorry this is all my fault.”

“You don’t deserve this.”

“It should have never come to this.”

“He’s hunting you. He’s a monster.”

“Get out of here.”

His mouth closed again and he looked at Aditi expectantly, waiting for her answers. He looked less worried and more hopeful now, a giddy glint in his eerie eyes.

While shutting out the instructive thoughts was easy enough when she could hear a voice over them. Now? No. It wasn’t easy at all. Not easy to stare straight again. Not easy to keep from flinching every time the voice asked a question. Not easy to hold her neutral gaze. It reminded her all too much of how it felt to lose control. To be consumed by despair. Her thoughts no longer being her own, only whispers and taunts, keeping her at bay, pulling her down to let her instincts do all of the work. Her head felt.. fuzzy. Aditi felt similarly at this moment. Her lips curled into an uncomfortable scowl. What the hell is this? It hadn’t been nearly this unsettling the other times they spoke. What was getting in the way?

Or.. was this the plan all along? To earn her trust more, only to make the dreams devolve into hellish nightmares? She sincerely hoped that wasn’t the case.

The whispers suddenly stopped as he opened his mouth again, asking Aditi: “Are you alright, Aditi? You look a bit pale.“

Something really didn’t want this session to continue. But if the doctor noticed, he did a good job at hiding it.

“..... I couldn’t hear your questions.” She admitted quietly, her eyes shifting around the room carefully. “Voices spoke over you. Whether they were in my head or not, I’m uncertain. They are...” She paused once again, thinking over if she should be honest or not in this situation. Ultimately, she decided against lying. “They are.. apologizing to me? Saying I do not deserve this. It should’ve never come to this? He, whoever that is, seems to be hunting me. He is a monster? They are.. telling me to leave..”

He regarded her, expression serious as he listened to Aditi, contemplating something for a few seconds, then ultimately sighing. He looked around the room again, as if he could make out the voices and silence them, ultimately deciding to try and explain: “It is probably your subconsciousness running wild from stress...“

He set the test aside, leaning forward to give Aditi a comforting touch. It was cold as ice.

“Let us end the session a little early, alright? You don’t need to answer those questions. I’ll just review the test without them.“ he reassured her, a sad glint in his eyes.

“Orabelle.”

The voices were a lot quieter now, but it was probably for the better to end this meetup earlier to start better off on the last one.

“Rest easy, Aditi. I’ll see you tomorrow.“

Aditi didn’t understand. She sat with shifting eyes, looking left to right like a frightened child. It made her feel weak for her emotions to be easily sensed or stated. It felt wrong to hear her dead name be spoken aloud in her ear, so wrong that it caused her to flinch back and fumble. Her eyes narrowed so angrily at the voice, she nearly forgot to take his hand. “... This was a mistake..” Her grip on his hand was uncomfortably tight now, she seemed to seethe with contempt.

This only happened after she put faith in him and gave away sensitive information about her past. She thought it was of little consequence, yet here it was... being shoved in her face. Taunting her. This being was taunting her, wasn’t he? Mocking her. Before she could convey her distrust, the dream had faded away like the smoke of fireworks.

[lucarioisinthevoid]

Twitch Streamer AU???

(I planned on pushing out a FEW AU asks, but then realized I don’t even have so many. There’s going to be a FNAC event, but that will be an event, not a specific AU ask, so- I guess this is it! Very cursed AU, thank you very much Anon Small warning for mentions of blood, I think? Nothing too bad.)

Streamers, youtubers, content creators. Some people are all of these, some people are none, and some are just one- because each of them needed a very different talent. Those who could do seemingly everything were few and far between- And they ruled the entertainment scene! Thankfully though, the main three as most called them, were also always out for new content to watch. Thus they boosted those that they saw potential in. With some taking the boost and then going off to do their own thing- And some becoming good friends. It always started with a letter. Mike had the habit to do things on stream, as long as no personal details were not visible on them. He used a false email which he regularly changed, and he generally kept himself as safe as possible. Opening emails on stream could be rather fun, even if it was a risk. Sometimes it encouraged people to send bad things- So to prevent the worst, nothing would be downloaded and all emails containing images would be put into the spam bin. Better safe than sorry, the internet was full of terrible people. This day so far had been successful. And by successful it meant that Mike was SCREAMING. “I HATE SUPER MEAT BOY. I WILL COMMIT VIOLENCE AGAINST MEAT IN A MINUTE. I HAVE A BIG F-CKING STEAK IN THE KITCHEN, AND I WILL THROW IT AGAINST THE F_CKING WALL. I WILL GET A HAMMER.” The chat was going wild, cheering. The chat’s phrase of today was “tender Mikey” and it didn’t help at all. “I DID. NOT. HIT THAT! I DID NOT!” A donation popped up, with a robotic voice. ‘Oh hai Mark!’ “NOT FUNNY! NOT F-CKING FUNNY. I’M SUFFERING HERE AND ALL OF YOU SUPPORT IT. YOU’RE ALL F-CKING MONSTERS HERE, I HOPE YOU KNOW THAT. AND I’M NOT F-CKING TENDERIZING THE MEAT WHEN I SLAP IT AROUND, I’LL RIP IT INTO PIECES AND CONSUME IT RAW!” Standing up, he genuinely went to get it- And fifteen minute later he had slightly calmed down, his hands and room slightly bloody. The chat was still celebrating and donating- another thing that never failed to make Mike BEG them to stop and use the money for something GOOD and SENSIBLE, LIKE THEM-FUCKING-SELF- but he had gotten out most of the energy. “Alright. Alright everyone. ENOUGH. I gotta stop you HERE. It’s email time.”   A celebratory jingle played, as Mike booted up the website, opening the inbox. Memes, storytime, I’m-not-fucking-reading-that-and-you-know-it, and- One of the emails caught his- and the chat’s- attention, however. Sender: Fazbear Entertainment Topic: Challenge Needless to say- once again the chat was out of control and this time there was NOTHING Mike could do to stop them. After opening the email, Mike slowly took a deep breath and looked into the camera, between concerned and honored- But that wouldn’t be enough to rip him from his carefully maintained persona. So he audible scoffed- albeit him being unable to hide an excited grin. “Alright bitches and bastards in the audience- we’re firing SuperMeatBoy up again. You won’t be catching ME losing to a pink son of a bitch anytime soon!” After the letter- provided it was accepted and responded to, the production happened. The deal was that a teaser was dropped on the big channel- The entire video itself was put on the smaller one, attracting the viewers over and hopefully make them more likely to want to see the other works the creator had put out. It was a win-win overall, the big channel being able to vary their content, testing the water for new things- and the smaller channel getting a boost and a lot of tips from very experienced creators. Henry and Dave were very generous people. Jeremy was sitting there, taking deep breaths, trying to stay calm. So far, everyone seemed to be rather kind, even if Jeremy was basically a complete nobody. Hell, he never wanted to be anybody. He just wanted to stream himself baking, for those who never had someone baking with them. Because baking could feel stressful, especially when you were missing ingredients or- many reasons, actually. Not only baking, but cooking too- Sometimes playing games on request, but not much in terms of requests ever came in. And now he was here in an actual studio, soon to be seen by an insane amount of people. A cooking competition. Sounded silly- you couldn’t really FIGHT in something like that… But… Henry and Dave had promised it would be fun. And they were nice. With and without the cameras rolling. Speaking off- There they were, approaching, their assistant coming along. He wore a weird phone-head, to ensure his privacy. Or something. It was kinda weird, but he had just accepted the answer he got. “Why, there you are, Jeremy! Would you like to see the equipment we have prepared?” Henry warmly asked, reaching down with his hand to help his guest stand up. “We have gotten a few extra things, just in case.” As they entered the studio, Jeremy’s invisible eyes went WIDE. “Woah- that looks really nice! I love it here! This is high quality stuff-!” “Fantastic!” Pleased Henry opened his arms in his typical theatrical manner- Before being abruptly interrupted by Dave jumping in, halfway over Henry’s shoulder. “ARE YA READY TO GO!? CAMERAS ARE READY!” “Ah- I- I guess- but-“ “YOU HEARD HIM, BOYS! GET IT ROLLIN’!” “W-wait, I don’t even have-“ “Everyone! Welcome to NOTHIN’ AT ALL!” Henry swiftly fitted in, continuing on with the intro. “Todays challenger is the man, the legend, the baker and occasional chef- Jeremy from Baking With Jeremy!” “Wait, what- that’s seriously your channel name, pal?” A bit offended Jeremy looked into the eyes of the people behind the camera. “U-uh- you guys here- I mean- he has literally called his channel Henry Miller! I- uhm- I-“ Snickering Henry put a hand on his guest’s shoulder. “You are very right about that. Say, are you nervous about losing?” “… n-no. I mean- maybe a little. This place here is big and very professional and I’m not used to many people looking at me…” Taking a deep breath, he gave off a nervous smile for the audience. “… yet, I know- it’s a good thing! And as long as everyone has fun, everything will work out!” “Awwwww, look at him!” Dave said, pleased. “You’re so right! We’ll be havin’ fun!” “But also, I will win.” Henry pointed out. “That is when I have the most fun.” Slightly playful Jeremy smiled. “K-keep that attitude, that will make it even easier to blindside you!” Simon whistled, clearly bemused as he held the camera in place- And Henry smirked. “Sure. Anyhow, the stakes are-“ “Steaks? We’re makin’ steaks? I thought we planned on-“ “Dave. I swear to god.” Henry looked at him from the side, before shaking his head. “What is on the line is easy to see- we have roughly an hour to cook the best meal. If Jeremy wins, we will donate 5000 to a charity of his choice!” “And if the young pal loses, he’ll be joinin’ our channel!” Dave chirped. This was news to the brown-haired boy. “W-wait, we never agreed to that-“ “GET TO YOUR STATIONS!” Someone in the back announced. “WHO’S TODAYS FAVORITE?” Simon checked the stream. “The chat says Jeremy is a clear winner. Nobody trusts Henry to keep his two braincells together for long enough to not forget the salt or something.” “Excuse?!” Not only Henry was APPALLED by the chat, Dave joined right in. “Ya guys have NO taste. I’ll be clearly winnin’… but hey, maybe ya peeps don’t know that I plan to cheat!” Surprised Jerry looked over to Dave’s cooking station. “How… how can you cheat at cooking-“ Before he could finish his sentence, he shrieked as Dave pulled out a flamethrower. “HELL YEAH BABY, I AIN’T WAITING 30 MINUTES FOR SOMETHING TO COOK IN THE OVEN, I’LL BE DONE IN FIFTEEN MINUTES MAX!” “W-WAIT THAT DOESN’T SEEM SAVE-“ Henry just raised his hands, cheerful. “Ready… set…” The Phone Guy made eye- well, rotary- contact with Jeremy, slightly raising a fire extinguisher that was by his side. … alright, it seemed the people here were well-prepared for this scenario. So instead he focused on the ingredients in front of him. Almost manic, Henry’s voice rang. “GO!” And… … that was it! Some joined, with amazing results- Mike rubbed his face. “Who thought that was a great idea. I fucking hate this.” Dave next to him on the couch just grinned. “It’s amazin’ what these websites all offer to sell. You won’t be BELIEVIN’ what’s in this box!” “I’M NOT OPENING IT.” “YOU WILL. OTHERWISE IT’LL HUNT YOUR DREAMS. I’LL PUT THIS BOX NEXT TO YOUR BED. YOUR TOILET. ONTO YOUR DINNER TABLE. INTO THE FRIDGE. I’LL ORDER MORE OF THESE BOXES.” “Jesus CHRIST, calm DOWN-“ “I WILL FIGHT YA TO THE DEATH OLD PAL-“ - and some people just went back to the usual pattern, with the occasional raid from Fazbear Entertainment. They asked first, of course. Each of them fulfilled their own niche, each of them had caught Henry’s and Dave’s attention in one way or another. Henry and Dave however- Well, Dave was the varied creator. Henry liked his niche. He played horror, investigated ARGs, read stories about real and fictional crimes against humanity. The world was a terrible place, wasn’t it? Yet he reveled in it. Aside from that he showed extra effects, he built machines and thought everyone one or another thing about creating special effects at home. From dry ice to genuinely ridiculous chain-reactions, Henry showed them it all. Blood too, multiple forms of it, depending on how and where it would be used. Sometimes breaking it off with more light-hearted one-off games and listening to what his community wanted to see… but the most comfortable he was with horror and analysis. He was a youtuber, a streamer, a content creator… … and one thing more. It wasn’t easy to find the code. But his intended audience were a very small amount of people. A small number of strangers. There was no way to know if anyone ever made it to more than one show, but Henry did not care. It wasn’t for them that he did this. Him and William moved down, down below the set, into the lowest regions of the house. The workshop. Nobody really question why you added what to your home if you were a creative person. Even less so if you were a famous, eccentric creator. Yes, the free reign was what he REALLY loved about his job. Maybe he should build his studio somewhere else- But like this it was so much more thrilling! Wordlessly both of them put on their suits. It would hide their identity perfectly- especially the animal heads that contorted their voices a bit. Enough. Today’s participant wore a mask too- another phone head, differently made, different style, but to hide their identity too. However, the voice was in no way muffled. Panicked the person dragged on the chains keeping them attached to the chair. “H-HELLO!? HELLO!? S-SOMEONE- IS SOMEONE HERE!?” A noisy one! Delightful! Both Fredbear and Springbonnie stepped out of the shadows, one form each side. While Springbonnie put his hands gently on the shoulders of the whimpering person, Fredbear stepped in front of the camera, bowing. “Ladies and gentlemen-“ The low voice sounded more like the one of an animal than from a person. Yet it was smooth and comforting. “- I welcome you to yet another installment of our show. I am Fredbear, and over there is my wonderful assistant, Springbonnie. Today we have brought a simple stranger, a nobody who might not even be missed. Thusly I encourage you to truly be creative with your ideas. And while your votes roll in, maybe I point out that next time we will have another little game-show, with quite the effects. We might even get a real bull! You will not want to miss it.” The board above the camera blinked up, as a bitter fight of votes started, everyone wanting to see something else. Three tiers to vote on! Foreplay (light injuries), main course (heavy injury leading to death) and of course what to do with the body. Below it was a little measure for “face reveal”. Some of their viewers really enjoyed seeing the expressions during and after. It came with a risk to Fredbear and Springbonnie, as the victim being recognizable meant their general area of activity was more obvious- thus it was incredibly expensive. They knew there was every now and again law enforcement mixed up between the genuine watchers. It was thrilling too- Yet Fredbear wanted to keep this game alive as long as he could. Thus it was important to hide what they could. Fredbear was a creator first and foremost, an entertainer second- And there was nothing that attracted an HONEST, an UNRESTRAINED, a PURE audience quite like violence. Once blood spilled, humans degraded and it was wonderful. Behind him, the victim began rattling even more erratic. “WHAT- WHAT IS THIS?! LET ME OUT- PLEASE- LET ME OUT- PLEASE- I- DIDN’T DO ANYTHING-“ Burying his hands into the shoulders of Springbonnie downright cackled, enjoying the mania that always accumulated in these situation. “Be still, new friend! The audience HATES too much whining, y’know? And at least you could die with your tongue still intact, wouldn’t that be nicer than having to swallow the thing? Once it almost killed someone, boy, that sure was a bother!” His voice was changed to a cartoonish, upbeat pitch- “While the votes come in, how about we quiz today’s friend… maybe if you are smart enough, they will want you to live! It happened before… o n c e.” Fredbear took out a long scalpel, the face a morbid grimace. “Surprise us!”

[itsclydebitches]

Hello again! Im the tinfoil hat anon with the long ass asks and I finally had the time to read your response. Thank you, it makes my day reading your answers. I honestly just enjoyed them over a cup of coffee like a good book.

Now, the gun pointing scene I mentioned was in fact the one from the droid fight facility like the other anon suggested. But I really liked that you covered the boat scene too, I haven’t thought of it much myself and now I definitely have!

I also would like to mention I love your “candy bar” choice analogy and I 100% agree Hunter’s “invitation” to join back wasn’t welcoming in the slightest. It is very likely just an obligation as you said. Sort of “you gave us a chance, we owe you a chance too”.

And the problem with it is now I am struggling to figure out how the batch members might change their attitude toward Crosshair going forward, especially Hunter. As of right now Crosshair’s best relationship is not with his brothers but with Omega(as surprising as this is). And I think he does realize now she cared about him the most out of all of them during the short time they interacted(both 1st and last episodes). Even between themselves(not counting Omega) I find most of the bad batch members to be cold and distant to each other. They feel less like a family than Rebels for example. And they aren’t even a “found family”(a trope everyone loves) but an actual one! And I get that they’re soldiers and supposed to be tough, I don’t expect them to share all “the feels”. I just can’t put my finger on it but something feels off. I agree with your previous post, the show doesn’t do a very good job showing or even telling they love each other.

Will Hunter and co only start caring about their brother again only after he leaves the empire?(assuming he does at some point). What about Disney’s prevailing theme and message that “family always love and care for each other no matter what”? I guess it’s “family always love and care for each other but only if you’re good guys making right choices”. There is no room for mistakes or wrong decisions. In the last episode everyone form the batch seemed to have given up on Crosshair(besides Omega). For now their attitude seems to be just “you’re not our enemy” and that’s that.

I realize Crosshair is a “bad guy” and consciously made his choice(and we know it’s the wrong one) but to me it felt like he thought he didn’t even had a choice or rather became so lost and confused he actually thought he chose the empire as “the lesser evil”(as in the less shitty choice out of all the other bad ones). We as audience have the benefit to know exactly how atrocious the empire really is but maybe Crosshair still doesn’t realize that.

So what exactly must Crosshair do to get back “in their good graces” as you say? Start saving “the good guys”? Save the bad batch multiple times? There is a popular opinion on how Crosshair can redeem himself. That he eventually heroically sacrifices himself to save them. I personally REALLY hope it’s NOT what’s going to happen but I heard so many people speculating his story is set up to be redemption=death. I know you mentioned you don’t want “Vader style redemption” either. Personally I think it would be a waste of a character who has a lot of potential. And I just think that the batch kind of don’t really deserve his sacrifice(maybe save for Omega) after how they never tried to save him themselves and how they treated him overall. Maybe he will risk his life to save Omega at some point and that will “prove” to Hunter he cares? Although he has already shown he cares by saving her(even if in Crosshair’s own words it’s just so they’re “even”). And the thing is, he doesn’t need to prove that he loves them, he already did that in episode 15 and made it clear he does care. He actually went to extreme by shooting his squad to prove his loyalty. What were the moments the batch demonstrated they care about him? Hunter saying “you never were our enemy” and taking his unconscious body to safety? To me Hunter “not leaving him behind” during bombardment felt more like guilt about the last time it happened and an obligation to Crosshair for helping them with droids, rather than them showing care. And I kinda of think if that was any random civilian(or anyone other than an enemy or a threat) they would carry them out too just because that’s what good guys do and not because it’s their brother. You also mentioned that minutes later Hunter snaps at him with “if you want to stay here and die, that’s your choice” which I agree can be interpreted in different ways. And I think it’s one more point to it being an obligation that in Hunter’s eyes is fulfilled now. He corrected his mistake of leaving a brother behind and saved him this time, now his guilt won’t burden him any longer.

Anyway, I can’t wait for season 2 and I appreciate you and all the anons sharing the tinfoil hat, interacting and speculating together. Those discussions have been a lot of fun!

TLDR: How do your think the relationship between the brothers will mend or evolve in the next season? Do you think S2 will improve in portraying the batch more as a family rather than a group of mercs doing missions together? What are your thoughts on the popular idea of Crosshair’s redemption by ultimate sacrifice? As in, how likely do you think this scenario is?

Anon, that is just wonderfully hilarious to me. Ah yes, the sunrise, a good cup o' joe, and the overly long character analysis of a snarky, fictional sniper. Exactly what everyone needs in the morning! 😆

You know, TBB is far from the first show I've watched where there's an obvious, emotional conclusion the creator wants the audience to come to—the squad all love each other Very Much—yet that conclusion isn't always well supported by the text. It creates this horribly awkward situation where you're going, "Yes, I'm fully aware of what the show wanted to do, but this reading, arguably, did not end up in the story itself. So what are we talking about here? The intention, or the execution?" It's like Schrödinger's Bad Batch where the group is simultaneously Very Loving and Very Distant depending on how much meta-aspects are influencing your reading: those authorial intentions, understanding of how found family tropes should work, fluff focused fics/fan art that color our understanding of the characters, etc. And, of course, whether someone saw TCW before they watched TBB. I personally wouldn't go quite so far as to say they're "cold" towards one another—with Crosshair as an exception now—but there wasn't the level of bonding among the squad that I expected of a show called The Bad Batch. Especially compared to their arc in TCW. The other night I re-watched the season seven premiere and was struck not just by how much more the squad interacted with each other back then, but how those interactions added depth to their characters too. For example, Crosshair is the mean one, right? He's the one picking fights with the Regs? Well yeah... but it's also Wrecker. While they're trying to decide what to do with Cody injured, Jesse calls out Crosshair on his attitude—"You can't talk to Captain Rex like that!"—and Wrecker's immediate response is, "Says who?" and he hefts Jesse into the air. And then he just holds him there, clearly using his superior strength to do as he pleases, until Hunter (sounding pretty angry) tells him to put Jesse down. If Wrecker had put him into a more classically understood bullying position, like pinning him to the ground, it would probably read as less funny—less "Haha strong clone lifts Jesse up in the air!" and more "Oh shit, strong clone can do whatever the hell he wants to the Regs and few are able to stop him." It's such a quick moment, but it tells us a ton about Wrecker. That he's going to stick up for his brothers, no matter the context (Crosshair deserves to be called out). That he will gleefully assist Crosshair in bothering the Regs (something that is reinforced when he later throws the trays in the mess hall, after Hunter has already deescalated the situation). That he's likely been hurt by awful treatment from the Regs too. That he'll only listen to Hunter when it comes to backing off. Little of this work—that interplay among the squad that shows us new sides to them other than basic things like "Wrecker is the nice, happy brother"—exists in TBB.

Or, at least, little exists after Omega becomes an official member of the squad.

Because, as said previously, she becomes the focus. I don't mean that as a total criticism. As established, I love Omega. But if we're talking about why the squad can feel so distant from each other, I think she's the root cause, simply because the story became all about her relationships with the Batch, rather than the Batch's relationships with each other. Having dived headfirst into reading and writing fic, it occurred to me just how many of the bonding moments we love, the sort of stuff we'll see repeated in fics because we understand that this is where the story's emotional center is, are given to Omega in canon:

Someone is hurt and in need of comfort. Omega's emotional state is the focus + moments like her being worried over Hunter getting shot.

Someone needs to learn a new skill. Echo teaches Omega how to use her bow.

Someone reveals a skill they never knew they had before. Omega is a strategic genius and plays her last game with Hunter.

Someone is in serious danger and in need of rescue. Omega rescues the group from the slavers + is the most vocal about rescuing Hunter. (Which, again, is a pretty sharp contrast to the whole Crosshair situation.) Omega, in turn, needs rescuing from things like the decommission conveyor belt.

Similarly, someone is kidnapped and in need of rescue. Omega is kidnapped twice by bounty hunters and the Batch goes after her.

Someone saves another's life. Omega saves Crosshair from drowning.

Someone does something super sweet for another. Wrecker gives Omega her room. Omega gives Wrecker Lula.

A cute tradition is established between characters. Wrecker has his popcorn-esque candy sharing with Omega.

Someone hurts someone else and has to ask forgiveness. Wrecker is upset about nearly shooting Omega and they have that sweet moment together.

Note that most of these examples could have occurred between other Batch members, but didn't. Someone could have created a space for Echo on the ship too. Wrecker also could have apologized to Tech for choking him, etc. It's not that those moments shouldn't happen with Omega, just that there should be more of a balance across the whole season, especially for a show supposedly focused on the original squad. Additionally, it's not that cute bonding moments between the rest of the Batch don't exist. I love Hunter selling Echo off as a droid. I love Wrecker and Tech bickering while fixing the ship. I love the tug-of-war to save Wrecker from the sea monster. Yes, we do have moments... it's just that comparatively it feels pretty skewed in Omega's direction.

So, as a VERY long-winded way of answering your question, I think we need to fix the above in order to tackle Crosshair's redemption in season two. Now that we've had a full season focused on Omega, we need to strike a better balance among the rest of the squad moving forward. We need to re-established the "obvious" conclusion that the rest of the Batch loves Crosshair and that's done (in part) by establishing their love for one another too. To my mind, both goals go hand-in-hand, especially since you can develop their relationship with Crosshair and their relationships with each other simultaneously. Imagine if instead of just having Wrecker somewhat comically admit that he misses Crosshair (like he's dead and they can't go get him??), he and Tech had a serious conversation about why they can't get him back yet, despite very much wanting to. Imagine if Echo, the one who was rescued against all odds, got to scream at Hunter to go get Crosshair like Omega screamed at them to go back for Hunter. Imagine if we'd gotten more than a tiny arc in TCW to establish the Batch's dynamic with each other, providing a foundation for how they would each react to Crosshair's absence. Instead, what little we've got in TBB about Crosshair's relationship with his brothers is filtered through Omega: Omega's embarrassment that she knocked over Crosshair's case, Omega treating Crosshair's comm link like a toy, Omega's quest to save Hunter that just happened to involve Crosshair along the way.

Obviously, at this point we can't fix how the first season did things, but I think we can start patching over these issues in season two. It would be jarring—we'd still be 100% correct to ask where this "Brothers love you, support you, and will endlessly fight for you" theme was for Crosshair's entire time under the Empire's thumb... but I'd take an about-face into something better than not getting any improvement at all. It is frustrating though, especially for a show that I otherwise really, really enjoyed. For me, the issue isn't so much that the show made a mistake (since no show is perfect), but that the mistake is attached to such a foundational part of the franchise. Not just in terms of "SW is about hope and forgiveness" but the specific relationship most clones have with each other: a willingness to go above and beyond for their brothers. The focus on Omega aside, it's hard to believe in the family dynamic when one member of the family was so quickly and easily dismissed. I couldn't get invested in Hunter's rescue as much as I should have because rather than going, "Yes!! Save your brother!!!" my brain just kept going, "Lol where was this energy for Crosshair?" It messes with your reading of the whole story, so in order to fix that mistake going forward, we need to start seeing the bonds that only sometimes exist in season one. Show the guys expressing love for one another more consistently (in whatever way that might be—as you say, soldiers don't have to be all touchy-feely. Give us more moments like Wrecker supporting his brothers' bad habits) and then extend that to Crosshair. Which brother is going to demand that they fight for him? Which brother is going to acknowledge that they never tried to save him? Which brother is going to question this iffy statement about the chip? In order to buy into the family theme, Omega can't be the only one doing that emotional work.

Ideally, I wouldn't want Crosshair to go out of his way to prove that he's a good guy now. I mean, I obviously want him to stop helping the Empire and such, duh lol, but I'm personally not looking for a bunch of Extra Good Things directed at the Batch as a requirement for forgiveness. Simply because that would reinforce the idea that they're 100% Crosshair's victims, Crosshair is 100% the bad guy, and he's the only one who needs to do any work to fix this situation. Crosshair needs to stop doing bad things (working for Empire). But the Batch needs to start doing good things too (reaching out to him). Especially since Crosshair made a good play already, only to be met with glares and distrust. He saved Omega! And AZI! And none of them cared. So am I (is Crosshair) supposed to believe that saving one of their lives again will result in a different reaction? That doesn't make much sense. And no, his own life wasn't at risk when he did that, but does every antagonist need to die/nearly die to prove they're worth fighting for? As you say, he's already shown that he loves them, far more than they've shown the reverse. Every time Crosshair hurt them (attacking) it was while he was under the chip's influence. In contrast, the group has no "I was being controlled" excuse for when they hurt him (abandonment). Season two needs to acknowledge the Batch's responsibility in all this—and acknowledge that they're all victims of the Empire—in order to figure out an appropriate arc for Crosshair's redemption.

Right now, the issue is not Crosshair loving his brothers, the issue is how Crosshair chooses to express that love: trying to keep them safe and giving them a purpose in life by joining the organization that's clearly going to dominate the galaxy. The only way to fix that, now that his offer has been rejected, is for him to realize that a life on the run from the Empire, together, is a better option for everyone. And the only way for that to happen is for the Batch to seriously offer him a place with them again. They need to make the first move here. They need to fight for him. And yeah, I totally get that a lot of people don't like that because it's not "fair." He's the bad guy. He's with the fascist allegory. He's killed people and has therefore lost any right to compassion and effort from the good guys... but if that's the case, then we just have to accept that (within the story-world, not from a writing perspective) Crosshair is unlikely to ever come back from this. When people reach that kind of low, they rarely pull themselves out on their own. They need other people to help them do that. Help them a lot. But with the exception of Omega's reminder—which Crosshair can't believe due to how everyone else has treated him—they leave him alone and seem to expect him to fix himself first, then he gets their support. It needs to be the other way around. Support is what would allow him to become a good guy again, not "Well, you'll get our love when you're good again, not before." That's unlikely to occur and, as discussed, it doesn't take into account things like this bad guy life being forced on Crosshair at the start. If the story really wanted this to be a matter of ideological differences... then make it about ideological differences. Let Crosshair leave of his own free will, right at the start. Don't enslave him for half the season, have him realize he was abandoned, imply all that brainwashing, give him no realistic way out, and then punish him for not doing the right thing. This isn't a situation where someone went bad for the hell of it—the story isn't asking us to feel compassion for, say, the Admiral—it's a situation where Crosshair was controlled and now can't see a way out. That context allows for the Batch, the good guys, to fight for him without the audience thinking the show is just excusing that behavior. They should have been fighting from the start, but since they didn't, I hope we at least start seeing that in season two.

Ultimately though... I don't really expect all of the above. The more balanced dynamics and having the Batch fight for Crosshair rather than Crosshair going it alone... I wouldn't want to bet any money on us getting it, just because these are things that should have been established in season one and would have been more easy to pull off in season one. (If the Batch wouldn't fight for Crosshair while he was literally under the Empire's control, why would they fight now when he's supposedly acting of his own free will? It's backwards in terms of the emotional effort involved.) But again, it could happen! I'd be very pleased if it did happen, despite the jarring change. I don't want to make it sound like I think they're going to write off Crosshair entirely. Far from it, I think there are too many details like his sad looks for that, to say nothing of Omega's compassion. But the execution of getting him on Team Good Guys again might be preeeetty bumpy. I expect it to revolve around Crosshair's sins and Crosshair's redemption, even if what I would like is balancing that with Crosshair's loss of agency, the Batch's mistakes, and their own redemption towards him.

Honestly though, I just hope that whatever happens happens soon. It's a personal preference, absolutely, but after a season of Crosshair as the antagonist, I'm ready for him to be back with the group, making the Empire (and bounty hunters) the primary enemy. Whether his return happens through a mutual acknowledgement of mistakes, or through Crosshair being depicted as the only one in the wrong who has to do something big to be forgiven... just get him back with the squad lol. Because if the writing isn't going to delve into that nuance, then the longer he remains unforgiven, the longer some of us have to watch a series while going, "Wait, wait, wait, I really don't agree with how you're painting this picture."

[dr-gloom]

Some thoughts/analysis on the new episode, because the video itself and people's reactions were bugging me

Disclaimers: I don't hate Patton or Roman, I'm not calling Patton abusive or manipulative, as those terms insinuate knowing what you're doing and I don't think Patton does know how he's coming across

- First I wanna just point out, as a few others have, that Thomas is once again wearing black and white while discussing a grey-area issue. I love the attention to detail

- The recap only really highlights that Thomas admitted to wanting something that contradicted Patton's statement of why he's a good person (or more specifically "perfect", which, as nice and friendly and lovely as that sounds, is a toxic mindset and I like that Thomas touched on that at the end), which is an interesting point to cover honestly, especially since later Thomas challenges Patton to call him a good person

- "Now kiddo, if you're gonna dish out Fs, why don't we make them friendly hugs?" I understand Patton was trying to lighten the mood and joke a little and all that, but he's not letting Thomas just... Be angry/upset. He's trying to control how he feels and steer away from negative emotions, which I thought he learned not to do??

- I love that Patton heard what he was saying and stopped. Good on him. But what he replaced it with is called guilt tripping and that's not much better. "I'm surprised you would say something like that about your friends. I always thought that when it came to your pals, that sort of language would be... Ineffable?" It may sound gentle and sweet, but he's still saying "you can't talk about your friends like that" (and I get it, we all know that's not how Thomas really feels, but again he needs to be allowed to express himself). You can tell from Thomas's face while Patton's talking that the guilt tripping worked, at least for a moment.

- Anyone else notice a little Logan shining through in Thomas's words/actions the first portion of the video?

- "If our goals aligned with his what would that say?" Uhmmm gee lemme think Roman... Maybe that you care about Thomas's mental health and desires???

- I think it's very telling that during the rap Thomas cuts Patton off right before he's about to say something that, judging from the graphics, was going to make him sound heroic and said "I made this choice", while looking very... Upset.

- Okay so when Thomas was all "why didn't I just talk to them???" I felt hella vindicated but the second time I watched I finally heard Roman say "I mean I kinda brought that up before but it got shut down faster than an Antarctic icepop shop". Like... Fuck, they seriously do not appreciate or listen to Roman at all

- Patton brushing them off with "Eh well hindsight is 20/20" pissed me off so much. No empathy whatsoever. Jesus Christ.

- Roman's reaction when Thomas said no to the whole future vision thing made me laugh and no one is talking about it

- But yeah Thomas talking about using foresight has a total Logan Vibe

- Patton's reaction when Thomas says "I made a decision with a blindfold on" is... Interesting...

- Seriously that cat analogy was so specific.....

- One should never base their decisions on "well they've helped me before so I owe them" like. No. Patton, Roman, stop. He should have decided to go because he wanted to, not because he owed it to them or you made him feel like shit

- "Those baby-making Catholics" lmfaooooo

- "You, thinking about giving their wedding a pass all because of a callback that, really, might not work out". That bugged me too, because it can just as easily be argued he gave up his big break for a wedding he barely participated during. If we're being completely logical here (and borrowing from a later concept of how our time is better used), his time would have been better-spent at the callback since he wasn't even mentally present at the wedding

- "Maybe they understand, and maybe they still want you to go to the wedding but feel too guilty to say so. Or, maybe you end up going to the wedding, and they feel guilty seeing you there because they feel like they took a big opportunity away from you". First off, they did (or would have, had the conversation taken place and they insisted he come). Secondly I personally feel like he owed it to them (and yes, I'm aware how that sounds but I can't think of better phrasing) to talk about it with 100% honesty on both sides, because now he's angry that he went to their wedding and they have no idea. Sure, the vid ends with them coming over to catch up, but if it hadn't? That's the kind of shit that festers very easily. I feel like he'd have been more satisfied if he had still decided to go after talking with them. I think Thomas realizes this too when he responds to Roman's question with a very sure, very adamant "No."

- "This was our chance to be there for them when it counted". I know this is me reading into things but it felt like he was saying anything else he may have done for them doesn't matter or isn't good enough

- "Why does their complexion matter" LMFAOOOOOO omg roman

- "... We can all agree that you're a good fellow-" "Can we? All agree on that?" Like fuck, Thomas still isn't sure what Patton thinks of him? That cuts deep. And... Patton still hasn't apologized. He conceeded that he's "been a bit much", which is far from the same thing

- pfffft what the fuck was Roman trying to do???

- "Well that's a relief... I think". Meaning Thomas still isn't fucking sure where Patton stands. I have to admit his dialogue did sound a bit circuitous

- he almost said GameStop lmfao

- why is he fixating so much on frogger

- "At least 16 graphics!" I died laughing

- "By the liquid lipstick of William Shakespeare" wut the fue? Lmao

- "just like you don't have to get him a hotdog" "I feel like you kinda do... Maybe". I know Janus says it later on but he was right when he said peppering in a few "I don't know"s and "maybe"s does not a conversationally-conscious person make. Like, he didn't even add the maybe until Roman reacted negatively to what he was saying

- I'm surprised Logan said it'd be wrong for Thomas to keep his money to himself tbh

- Roman mouthing "behoove". Like, c'mon dude, stop being such a dick to Logan when he's just trying to help

- Logan's so done he's not even trying to hide it. Like you can see the annoyance clear on his little pixelated face

- Also did anyone notice that Logan kept getting cut off so the next time he "spoke" he made them read it aloud so they'd actually fucking listen

- "Yeah! As long as that's not the main reason you're doing it!" Honestly though, most people do good things for their own benefit; tax benefits, That Good Feeling, compliments from others etc. It doesn't diminish the effect of the good act, so who cares?????

- "You shouldn't do a good thing just because it makes you feel good... I-I think." He's trying so hard but he's just not understanding how this works is he. Also it's interesting that he preaches holding to your values and not nitpicking situations yet he's literally doing it right now because last time he just... Needed to counter Janus and couldn't admit he'd had a fair point

- "Deceit said you'd be doing the right thing for a selfish reason if you did it for your own emotional gain". You can tell by his tone he's trying to make Thomas see Deceit as wrong and bad but like literally two seconds later he audibly confirms he feels the same way

"Definitely! Maybe... I think so... What do you think?" Tbh I'm proud of him for asking someone else's opinion, esp cause he's screwing this up so horrendously

- man if Roman being scared to share his opinion after Patton visibly disagrees isn't a huge red flag idk what is

- the world of the video game is called AU I'm screaming

- I'll always be salty that Roman once again shoved a "dark side" into the villain roll without asking

- I don't agree with Patton automatically assuming that just because the hero wants a reward, it means he doesn't care about the people he saves getting it. People can have multiple motives and wanting recognition isn't bad or evil or selfish

- I'm so fucking glad Thomas snapped and asked "am I not allowed to feel good if I do something good" because that's basically what Patton's saying and no one was addressing it. And Patton saying that can't be a valid motive is honestly fucked up

- during the trolley problem the options toggle the most between morality, anxiety, and denial. Idk, it's just interesting

- it's also interesting that Patton views moving the trolley as worse than letting it stay, meaning he thinks small active murder is worse than larger, passive murder. Not bad or good or anything, just interesting

- I hate hate hate that Patton silences Logan when he's the one who asked him to say something, especially since he follows that with "oh you can't really learn good morality from a book hahahaha". Like dude just acknowledge that you don't agree but there are other valid points of view, my god

- also you can tell from the color that Janus totally put that skip button in, meaning Logan really, really wanted to continue but Janus could see it wasn't going to get them where they needed to go

- "stu-ooper dooper unique mustache" lmfaooooo

- Thomas keeps coming back with something along the lines of "I need the answer to X so I can meet your expectations". He even says "I don't understand what I need to change so I can meet your standard". Last time I did a post like this, back when SvS came out, I said Patton has too much sway/control over Thomas, and he still does. Thomas doesn't try nearly as hard to "meet the standards" of his other sides, but in this instance he's desperate to know how he can appease Patton. I don't think that's necessarily a good thing, given that it's likely because he wants Patton to say without hesitation that he's a good person

- Roman thinks he's the problem I wanna cry

- "And I'm an awful driver" I laughed so hard

- "I only mean well when I say that that is the stupidest thing you have ever said" I can't stop laughing XD

- "You're just blowing smoke" seriously someone help me

- Roman's reaction when Thomas says he feels guilty just killed me. They all just acknowledged that Roman is his motivator and Thomas comes out and says his motives make him feel guilty? Ouch

- "Doing nothing is even worse!" Patton honey I'm begging you to please stop talking omg this is going so poorly

- "doing nothing is worse than doing a good thing for the wrong reasons" first off, who's to say what a wrong reason is, and secondly, that's an interesting take from the man who refused to move the trolley 👀

- oooof Thomas's relief when Logan cuts in though

- "Huuuuuhhhh I do need help" fuck, I wanna cry, poor Thomas

- "Logan, like you said this isn't your area of expertise" ITS NOT YOURS EITHER ROMAN OMG

- "Every point you've made in today's discussion has contradicted that sentiment" YES LOGAN JANUS SLAY. Also anyone else notice Patton looking to the others for validation because I Sure Did

- oh man though I thought Logan was finally getting the chance to lay into Patton and take him down a peg and it turned out to be Janus

- "Oh, is it not? Please, correct me if I'm wrong." yeah paTTON CORRECT HIM IF HES WRONG (notice how he doesn't even have an argument to that, all he can say is "you're wrong!")

- honestly the way he goes from 0 to 60 should've tipped us off that that was Janus

- I wanna know if Patton turned into a muscular frog irl

- idk Patton feels like a villain when he's all "Thomas you choose!"

- "What have you done with Logan?!" "Nothing at all and I resent the question" weeeeeelp there goes loceit

- even Janus admits Patton is misleading unintentionally can we all calm down now

- I find it interesting that Thomas willingly stays behind Janus

- "Sure if he's in that kind of situation then of course he should focus on himself. But does he deserve it? I don't know." *Record scratch* excuse me wHAT?????? And like, you can't ignore the obvious symbolism behind that attack missing Janus and hitting Thomas. Thomas is knocked out and Patton just ... Keeps talking? Jesus fucking christ

- and Roman so adamantly attacking Janus has a very pre-AA vibe to it

- "Not that any of you care, but I am unharmed, and I don't want to talk about it." Thomas looks like the only one genuinely concerned when he says this and that hurts

- Janus looks so happy that Logan's backing him I wanna cry my baby aaaaaaa

- SOMEONE FINALLY ACKNOWLEDGED THE CHOICE ROMAN MADE AAAAAAA THANK YOU THANK YOU THANK YOU can we stop acting like Janus is evil now please

- "Well when is it enough?!" ".... Trees?" I'm STILL LAUGHING SOMEONE HELP ME

- I'm so fucking happy Thomas doesn't agree with Roman about trusting Janus

- Roman laughing and saying Janus's name is stupid and Janus's jab about him and Remus just... Gutted me y'all. Thems some hurt boys. And he looks to Thomas and Patton and they just... Can't side with him, cause they know that was hella fucking rude of Roman.

- I genuinely believe that Janus's nod meant Thomas was telling the truth. Based on his facial expression (which was slight but idk I notice more stuff than most people apparently???) He was trying to reassure Roman. And Roman just... Took it the completely wrong way, because he still thinks all Janus does is lie. When Roman says "wow, I can't believe this" you can actually see Janus's smile disappearing, because he realizes Roman took the nod the wrong way

- aaaaand then he immediately goes into attacking Janus. *Sigh*

- "Everything's gonna be okay, kiddo. We love you." "*Scoff* Right." I truly believe the next video is gonna be about Roman, because there's no way in hell they could ignore the obvious hurt and self-deprecation coming off of Roman

- "Janus? Is there a limit to how many times a person can say sorry before you have to admit that they're just bad for you?" Patton was talking about himself. Whether Janus was trying too hard to be witty and missed that or what, his reply hurt Patton, and you can see that Janus realizes his mistake with Patton's reaction. We have to remember that this isn't a side who's used to how the others communicate, though. He doesn't spend time with them outside of the few videos he's shown up in because of how they treat him. It's gonna take him time to get the little things like this and until then there's gonna be a lot of hurt feelings and (hopefully) apologies

- Janus immediately backtracks once he realizes what the real question was and says "... it depends... How many things have they had to apologize for? How frequently do they have to apologize for things? How terrible were the things that they did? One of the biggest factors in my very humble opinion is whether or not they seem to be making an honest effort to do better" this is Janus trying to tell Patton "you aren't bad for Thomas. I see how hard you're trying. It's okay"

- you can totally see Janus realizing why Patton fights him so hard while Patton is explaining how hard shit's gotten as Thomas grows up

- "Janus?" "I'll take care of him" y'all I need the tissues

- Janus trying to lighten the mood with the whole push-someone-down-the-stairs thing just... Made me die laughing. Y'all know he's hella good at April fool's pranks okay? Okay

- "You're not stuck with an evil snake boy, you're just stuck with a snake boy" HES SUCH A DORK I LOVE HIM

- I reacted the exact same way to Thomas saying Janus was right omg

Again, I'm not saying I hate any of the characters, this is just a stream-of-consciousness analysis-and-commentary-type post on the new episode