#‘the stakes are literally an end to life as we know it but actually the most important thing for you to focus on is

[mabaris]

yknow, the plot structure of veilguard feels very mass effect 2

[boogiewoogieweeb]

#he's good at his job! #crozier likes him! crozier chose him! #and any enabling of crozier happens because he lives and works in one of the most strictly hierarchical systems to ever exist #where dissidence can be a hanging offence! #and he's so! fucking! angry! about it #also having to deal with a spirit bear on top of everything #that makes you question the very fabric of the assumptions you once had about the world #also his cabin door is stuck!! #we talk a lot about jopson finally snapping and beginning to bite and kick #i really think he should invite edward to the inevitable breakdown - @maedhrus

listen i don't think edward little was actually a bad first lieutenant. when we see him in the first episode he's calm and confident. he does not say much but he's amiable enough. crozier likes him, and i don't think crozier would like anyone he doesn't think capable in some way. generally he's dependable and knows what he's doing. however unfortunately for edward he has these qualities because he has a major case of eldest daughter syndrome, which means he both wants to please his mum (crozier) and has an overdeveloped sense of responsibility for his younger siblings (crew), so when they get stuck in the ice and crozier starts going (more) alcoholic, he enables his mum bc he doesn't want to disappoint her even if he doesn't agree with her, and he has to pick up the tasks and care for his siblings she's not doing, but he can't let his siblings know about their mum's situation because they'll get worried and restless. and like a true eldest daughter he has to bear the brunt of mummy's anger for being a disappointment but he also doesn't want to seek refuge with the man she divorced (fitzjames) because that feels like a betrayal. also while this is going on there is a giant bear who hunts his siblings for sport so they're dying left and right and also a changeling master manipulator who's making his siblings mad at their mum and who wants to fuck said mum before eating her like some sort of praying mantis. anyway i think i would start being miserable and anxious too.

[secretmellowblog]

People who try to analyze what happened on Tumblr on November 5th, 2020, often really overstate how much it was actually “about” Supernatural. As someone who has never been in the supernatural fandom ever but dID join in on the hysterical destielposting—it was really more about the stress of the pandemic and the 2020 presidential election.

The two biggest Youtubers I’ve seen try to dissect “what happened that November 5th” in video essays both weren’t American—- and I think that explains why they both tried to explain the hysteria primarily via analyzing the Supernatural fandom/the original show, rather than through the lens of the election. And while those videos are cool, valid, informational, and make lots of really well-considered interesting points— I can tell you that me and almost all my mutuals had literally no knowledge or interest in the fact that “oh supernatural had made nods at the ship in the past but the creators were adamant that I wouldn’t be canon” or etc etc etc etc. the first time I learned about any of that context was way later, watching videos where people claimed that fandom history context (that I did not know anything about) was the actual reason for the hysteria.

But the reality is that people latched on to the Destiel stuff because it was a piece of big useless inane zero-stakes fandom news in a time when we were desperately waiting for serious high stakes election news. We were latching onto a “positive “ piece of inane stupid fandom news in a time of great stress, with all the desperation of a drowning man who latches onto whatever piece of wood will keep him afloat.

The core of the hysteria was that Americans (who make up a huge chunk of tumblr’s userbase) were currently glued to their laptops watching the live presidential election vote counts come in. These vote counts were taking an extended amount of time due to the pandemic causing high numbers of mail-in ballots, resulting in a constant state of Election Day Stress for multiple days straight.

This was also during the height of the Pandemic. People had predicted Trump’s presidency would be bad; no one had predicted it would be this apocalyptically bad. No one had predicted pandemics and lockdowns and hospitals overflowing with bodybags. remember Trump spreading Covid lies and conspiracies?? There were so many Qanon conspiracies about democrats being Satanic child traffickers who had to be put to death, and coup threats were mounting from the right wing side. It seemed like this election was a choice between ‘centrist democrat’ and “apocalyptic right wing conspiracy theory authoritarianism,” in the midst of pandemic conditions that people feared would never ever improve— and it seemed like a close election.

Another major point was that Trump voters were more likely to be antimaskers/Covid deniers, while Biden voters were more likely to take the pandemic seriously— so Biden voters were more likely to send in mail-in ballots instead of risking the in-person voting crowds, which meant their ballots would take much longer to count. And so, in many state electoral vote counts, it would initially seem like Trump was very far in the lead— only for Biden to slooooowly build up an agonizingly small lead as the mail in ballots came in, and then defeat Trump at the very end.

So you’re just watching these news sites giving live election updates, refreshing the page every 2 minutes to see if you’re going to live under a spineless centrist democrat or a literal Qanon Dictatorship. And then you go on tumblr to distract yourself, and there’s more election posting, and more agonizing over the votes, and more stress and despair—-

And then it’s been days and we’re right at the crucial tipping point where it’s anyone’s game and the next few hours will determine whether Trump will win, so you need to keep your eye on the vote count, because the next hours will determine the future of the pandemic and your country and your plans for your entire life—

And then stupid Destiel becomes canon! And it becomes canon in the silliest way possible!

If Destiel had become canon at any other time, it would have been a big goofy tumblr celebration? But we wouldn’t have gotten the insane explosion of hysterical interaction.

The entire core of it was the contrast between the inane meaningless stupidity of fandom news vs the actual stressful election news you wanted to hear! It really is best conveyed in that meme where Castiel says “I love you” and Dean indifferently responds with a piece of important election news.

It’s about the contrast between the low-stakes inanity of fandom and the massive life-destroying stakes of a terrifying election. There really was no reason it had be Supernatural specifically, except that Supernatural was a thing everyone knew basic things about from dashboard osmosis— it could’ve been any other equally huge silly fandom ship news about a ship everyone *knew of* but might not necessarily be invested in (ex. Stucky becoming canon, Johnlock becoming canon, Kirk/Spock becoming more canon somehow, etc etc etc.)

I think it’s true that people who weren’t paying agonizingly close attention to the American election news got swept up in it, and that non American Supernatural fans also were extremely excited for purely fandom reasons — but the entire reason it blew up to an unprecedented degree was because of that core of stressed out terrified Americans glued to their computers watching election results and suddenly receiving stupid fandom news instead, and deciding to just hysterically parodically hyper-celebrate this absurd useless zero-stakes news.

I think it was also all elevated by the fact that, as I said before, this happened at the crucial “tipping point” of the election where the next few hours would determine the winner. The fact that Biden began to slowly develop a lead in the hours after made it feel, hysterically, as if the hours after Destiel became canon was somehow the turning point where he began to win; so celebrating Destiel felt like celebrating that slow turn towards victory.

The tl,dr is that it’s so important to Remember the Fifth of November …..in preparation the inevitable hysteria that will happen in the presidential election on November 5th of next year. XD. Personally I’m rooting for Johnlock or Frodo/Sam to somehow become canon in the eleventh hour right before the democrats win

[bloodrvvvsh]

I Have No Shame. | Spencer Reid x GN!Reader

Synopsis: Spencer joins the Mile High Club with your help.

Pairing: Spencer Reid x GN!Reader

Warnings: Handjobs, semi-public sex, they get caught (sort of?), soft sub!Spencer, soft dom!Reader, Spencer being a whimpering whining mess, facials, cum eating, established relationship, pet names (baby, sweetheart, angel, honey, good boy), literally so much praise, a little bit of crying from Spencer, like one (1) use of Y/N, slight dumbification, begging

Word count: 1.5K

Notes: My first Spencer fic wow!!!! It’s been so long since I’ve written an actual fic, I missed it so much. Anyways I hope you all enjoy! For this I imagined like s1-s4 Spence but could technically be interpreted as any season

Cross-posted on A03.

Spencer Reid was not a bold man.

In fact, he would go as far to say he was the total opposite. At least, in his personal life he certainly was. He never made the first move, always waiting for that perfect time that never came.

He didn’t like taking risks. Even calculated ones were too much for him sometimes. So he stayed in his little bubble of comfort and safety. He liked it there. Sure, it might make him the subject of a bit of teasing and he missed out on a few things, but at the end of the day he still liked it there.

Until he met you.

You were everything he wasn’t. Outgoing, daring, bold. In some ways, you could even be described as a bit of an adrenaline junkie. It’s actually partly what led you to joining the FBI. You liked the thrill, the high stakes, the way it got your blood pumping when you had to chase down a criminal on the loose. 

You lived for taking risks. The idea of never truly knowing what might happen made your spine tingle, every one of your hairs stand on. There wasn’t a better feeling than feeling a little sick to your stomach with nerves and excitement for you.

It's an interesting dynamic you and Spencer had - he was all for playing it safe and keeping to himself, while you could be a wildcard. Spencer learned that very quickly after you two started dating. And while it wasn’t that you were trying to change him (you would never!), you were simply opening him up to things he wouldn’t have thought twice about.

Everyone else on the jet was fast asleep. Slumped over and curled up in positions that would certainly give them a knot in their neck later. Spencer had his head laid over your lap, curls sprawled across your thighs while you mindlessly twirled the strands around your fingers. 

You were still wide awake. The rush of the case just closed still ran hot through your veins. You’d most definitely crash later once in the sanctity of your apartment, but for now you were full of energy. You tried to distract yourself by staring out the jet window, watching the world go by, but it wasn’t working.

You glanced down at the pretty boy sprawled across you like a sleeping angel and a little thought popped into your head. You shifted in your seat, sitting up straighter, before you gently threaded your fingers into Spencer’s hair. Your nails scraped across his scalp and you almost swore you could have heard a little purr rumble in his chest.

You leaned over him, breathing slowly in vain attempt to settle your already racing heart. “Spence,” you crooned softly. “Spencer, wake up, baby.” Once Spencer actually fell asleep, he was a fairly light sleeper. It didn’t take much before he was stirring awake with a quiet groan.

“What is it?” he asked, voice thick with sleep. His hands raised to rub at his eyes and you could only smile. “Did we land?”

“No,” you said a little too quickly, “No, I just..” You trailed off a little as your teeth sunk down on your bottom lip. “I had an idea.” You stood to your feet and offered your hand out to him. He quirked an eyebrow, glancing between your face and outstretched hand, before slowly placing his in your grasp.

There was a little bit of a bounce in your steps as you led him in the direction of the bathroom and in that moment, Spencer regretted agreeing to whatever you were about to do. He squeezed your hand and you tossed  him a smile that reeked of mischief over your shoulder.

It was a tight squeeze once inside. Because, like most airplane bathrooms, it was meant to only fit one person at a time. That didn’t stop a lot of people, though. And you were one of them.

You crashed your lips against his the minute the door locked behind the two of you. It was hot, full of passion and lust as your hands roamed over his body. He whimpered softly against your lips before relaxing into the kiss. His hands were warm and broad against your body, sending shivers down your spine.

You didn’t waste time when you wanted something, and you wanted him right here and now. Your hands drifted until they hit their target - his belt. You broke for air, panting heavy and hard, as you tried to make quick work of shedding the layers between you and his dick.

“Y/N-” he gasped. “Wait, wait-” He took hold of your wrists, halting your movements. His eyebrows pinched together and his bottom lip jutted out ever so slightly. “What if we get caught?”

You grinned at him. “Well, I guess you’ll just have to be quiet so we won’t.” You knew just how much of a struggle it was for Spencer to keep himself under control when he was feeling good. The noise complaints from your neighbors were proof enough. 

Your hand dipped into his pants and underwear and you tried to suppress the smirk that threatened to spread over your face when you wrapped your fingers for his half-hard cock. He gasped, but quickly slapped a hand over his mouth when you shot him a look.

His eyes rolled back as you began to stroke along his length. Your thumb brushed over the tip, smearing the pre-cum gathering and Spencer’s knees buckled. Your pace was slow, almost languid, teasing.

“Please,” Spencer whined. You grinned once more.

“Please what?” you murmured. You leaned even closer to him, somehow, hovering over his lips. You were both breathing heavily and practically sharing breaths. You took a moment to look over his adorably flushed face. “You’re so pretty, Spence..”

“Please.” He wasn’t even sure what he was begging for, pleasure clouding his usually bright mind. “Please, please, pl-ease.” His voice cracked when you sped up, his head lulling back. “F-feels so good, oh god.”

You cooed at the state of him. “What’s wrong, sweetheart?” Faux pity coated your words, making Spencer whine again. “Come on, use your words, honey. I can’t read minds.” You snickered.

His hand jumped to grab your wrist, not to stop you, no. He was too far gone to stop you now. He simply held it there, keeping a tight grip on you as you jerked his cock. 

He looked like a total mess. An absolutely stunning mess, but a mess nonetheless. Curls sticking to his forehead and cheeks, plush lips parted in soft moans, eyes squeezed tight, face flushed shades of red. His hips arched into your touch, cock twitching in your hold.

“Are you gonna cum?” you asked and he nodded frantically. His lips twitched into a soft frown as tears began to well in his big brown eyes. God, he always the prettiest he was all dumb and fucked out. “Good boy,” you crooned at him.

You dropped down to your knees. You finally freed his dick from the confines of his underwear and he hissed at the feeling of the cold air. You didn’t waste a moment to resume your ministrations.

“Look at me, Spencer,” you commanded and he immediately followed the order. He nearly lost it at the sight of you on your knees before him. “Good boy, that’s it..” You picked up the pace even further, hand almost a blur stroking him.

“I’m- I’m gonna-” he stumbled over his words, unable to even form proper words as the pleasure grew. You shook your head.

“Do it, Spence,” you commanded again. “You can do it. Cum all over my face, pretty boy.” And that’s all it took for Spencer to tumble right over the edge. He tightened his grip on your wrist, back arching as he spilled over your face in thick spurts.

You worked him through his orgasm, stroking slow and gently, until he began to whine from overstimulation. You slowly rose to your feet and Spencer was already offering you paper towels to clean yourself. You ran a finger through one of the streaks of cum on your face and brought it to your lips, eyes fluttering shut and soft groans escaping you as you tasted him.

When you opened your eyes again, he was beet-red and looking oh-so shy and cute. You giggled. You gladly took the paper towels and began to wipe away the remnants of his cum.

You connected your lips in a chaste kiss when you were finished, making him blush even more. “You did such a good job, angel,” you praised before pressing another kiss to his lips. He tucked himself back into his jeans and buckled them back up. You entangled your fingers together, leading him out of the bathroom.

You made your way back to your seats, a sense of satisfaction settled in your chest. “Reid?” The call of your boyfriend’s name had you both glancing back to see Hotch awake in one of the jet chairs. “Don’t do that again”

Heat washed over both of your cheeks and you had to slap a hand over your mouth to hide the growing smile on your lips. “Yes, sir,” Spencer said with a nod of his head.

At least you had fun.

[callahanisms]

a fair trade

pairing: miguel o’hara x gender neutral! reader

word count: 1,010 words

ao3 link: 🕷️🕷️🕷️

summary: your help is needed to defeat a multiversal entity, one that you’ve defeated before. but what can miguel offer in return for your service?

notes: kind of mishmashing the movies and comics together. do not fret if you haven’t read any of them! it’s mostly just referenced (much like how it was referenced in the last post). the fic on ao3 is also locked to registered ao3 users only. it’s a precaution i’m taking in response to ai using ao3 fics to be trained.

“(Y/N), we need your help.”

“Miguel, I’m in the middle of eating lunch. Because, you know, I didn’t have breakfast.”

“That’s on you.”

“Some of us don’t like breakfast.”

“Okay that’s not the point! The point is that we need your help!”

You were just sitting at your table, peacefully. After a mission earlier today, you thought you enjoyed a nice break. All you’ve been doing is going on missions across the multiverse, at the expense of your personal life back home. Your friends missed you and were constantly wondering why you would dip all of a sudden. After all, it wasn’t like you to just...cancel last minute. You loved your friends. You always made sure to be there. What you didn’t expect when accepting Miguel’s invitation was to be worked constantly. There was always a multiversal threat at stake, even for something small.

You were literally the local expert on the multiverse. Small things wouldn’t cause catastrophe. But Miguel believed they would. He believed in a domino effect. You believed that it was necessary to stay vigilant but not every small thing required attention. Sometimes the multiverse acted weird. It was a multiverse. It acted on its own accords.

“Miguel, is it actually something to worry about? Or is it something like the Vulture ended up in the wrong reality which can be cleaned up without my help?” You took a sip of your drink.

“It’s someone by the name of Verna. And she’s brought with her an army.”

“Verna? Never heard of her.” You shake your head.

“Really? She claims she’s fought you before.”

“If I saw a picture, then maybe I would recognize her.”

Miguel doesn’t hesitate. “Lyla.”

Part of you wondered what it would be like if your name was always on the tip of his tongue, ready to speak on a moment’s notice. You always wanted someone who could say your name with such ease, who thought of you constantly.

“Already on it.” Lyla pulls up a video. “This is live footage of the whole thing. We’re lucky she hasn’t spread her destruction further.”

As you were taking a sip of your drink, you choked on the liquid. Thankfully, you did not die. “We need you alive (Y/N).” Miguel says.

“I thought I banished her to the ends of the Multiverse!” You exclaimed.

“So you have fought her?” Lyla questions. “Was this the multiversal being you battled before?”

“She’s the reason I have no magic!” You crush the metal cup in your hand. “It took everything for me to banish her! And she just comes...comes back like nothing happened?” You squint a little. “She also looks a lot different than I remember. You said her name was Verna?” Lyla and Miguel look at each other before nodding. “She went by a different name. Called herself the Matriarch of...something. I don’t remember.”

“All the more reason for you to finish up and join us.” He crosses his arms over his chest.

“I lost my appetite.” You picked up the dishes and cleaned out the plates, dropping them off with the conveyor belt of dirty dishes. “You owe me Miguel.”

“Owe you what?”

“A break. Like a real break. My body needs to properly recuperate, you know.”

He inputs the numbers and opens the portal. “I can do that. You’ve done good work so far.”

“Exactly. Not getting paid here.”

“None of us get paid.”

“It was a joke. You know, Peter was right. You’re like the only one of us that isn’t funny.”

“That’s hilarious.” His voice did not change in tone and his facial expressions did not give away that he was humored.

“Lighten up a little. If I didn’t know better, I’d say you’re extra stoic because you want to kiss me.”

“I do not want to kiss you.”

“Everyone wants to kiss me.”

He looks at you, eyebrow slightly raised. “You should pay me in kisses actually. Think that’d be a fair deal. I help you guys stop Verna, again, and I get a kiss. It’d be the perfect reward.”

You feel his gaze on you. “It’s a joke, I promise. You don’t have to actually.” Even if you did want to kiss him.

He takes a step towards you, much to your surprise. His hand reaches up, fingers curled slightly, and his knuckles graze the skin of your cheeks. It’s reassuring in a way and his touch is gentle. It reminds you of when you first joined, how his fingers gently wiped away the crumbs at your face. His hand uncurls and cups your face. “How badly do you want a kiss?” He asks.

His voice made your legs shake. “If I answered that I think you’d make fun of me.”

“I mean...it’s a simple yes or no question.”

“Yes?”

You weren’t expecting his lips to crash against yours. The sheer force almost causes you to fall over and your hands fumble to grip onto his body. You could feel his muscles flex beneath his suit. You kiss him back, but most certainly not with the same amount of force he does. Miguel even goes as far to nip your bottom lip, causing a small gasp to emerge from your throat. It was a little embarrassing and your cheeks grew warm. He pulls away, satisfied and with that cocky smirk on his face.

“Make it back alive and I’ll give you another.” He puts his mask on. “Maybe even more.”

“You...have a lot of confidence that I will.” You were out of breath. Very much out of breath.

“You’ve beaten the odds before. It’s part of who we are.”

Miguel walks through the portal and you clench your hands for a few seconds. You were nervous. It wasn’t just the kiss that made you nervous (though your heart certainly was pumping for that reason primarily). Lyla looked at you with a smile. “You better come back. Or else I’ll lose the primary thing I make fun of him for.”

“I’ll try Lyla. For you.”

“Sure, sure. Now get going before people die.”

[cy-cyborg]

Disability Tropes: The Miracle Cure

The miracle cure is a trope with a pretty negative reputation in disability circles, especially online. It describes a scenario in which, a disabled character, through either magic, advanced technology, divine intervention or some combination of the three, has their disability cured throughout the course of the story. Sometimes this is literally, as in the disability is completely and entirely cured with no strings attached. Other times, it looks like giving an amputee character a prosthetic so advanced that it's basically the same as "the real thing" and that they never take off or have any issue with, or giving the character with a spinal injury an implant that bypasses the physical spine's break, or connects to an exoskeleton that allows them to walk again. Sometimes, it can even look like giving a character some kind of magic item or power that negates the effects of the disability, like what I talked about in my post about "the super-crip" trope. Either way though, the effect is the same: The disability is functionally cured and is no longer an "issue" the author or character has to worry about.

But why would this be a bad thing? In a world with magic or super-advanced tech, if you can cure a character's disability, why wouldn't you?

[ID: a screenshot of Roy mustang from Full metal alchemist Brotherhood, a white man with short black hair in a hospital gown. In the corner of the screen is the hand of another person holding a small red gemstone. /End ID]

Well there's a few reasons. First, lets talk about the purely writing related ones. If you've been around the writing or even media critique communities for a bit, you've likely heard people voicing their frustrations with tropes like "The fake-out death" where a character is either implied to have died, but comes back later, or is explicitly shown to be dead and then resurrected. Often when this happens in media, it leaves the audience feeling cheated and like a character's actions and choices don't really matter if even the worst mistakes and consequences can be undone. In the case of the latter situation, where they die and are brought back, it can make the stakes of the whole story feel a lot lower, since even something like death is shown to be reversible, so the audience doesn't really have to worry about anything bad happening to their favourite character, and once you've used this trope one time, people will constantly wonder why you wouldn't use it every time it comes up.

The same is true for "fixing" a character's disability. It sets a precedent that even things as big and life-changing as disability aren't permanent in this setting. We don't have to worry about anything major happening to the characters, there's no risks associated with their actions if it can all be undone, and it will lower the stakes of the story for your audience. Personally, I also feel like it's often used as a cop-out. Like writers wanted to include a major injury the leads to something big like disability for shock value, but weren't sure how to actually deal with it afterwards, so they just made it go away. Even in cases where the character start the story with a disability and are cured, this can still cause issues with your story's stakes, because again, once we've seen you do it once, we know its possible, so we won't feel the need to worry about anything being permanent.

Ok, so that's the purely writing related reasons, but what if that situation doesn't apply to the story you're writing? What if they're "fixed" right at the end, or the way they're cured is really rare, so it can't be used multiple times?

I'm glad you asked, because no, this is far from the only reason to avoid the trope! In my opinion, the more important reason to avoid it is because of how the a lot of the disabled community feels about the miracle cure trope, and the ideas about disability it can perpetuate if you're not very, very careful.

You might have noticed that throughout this post, I've put words like "cured" and "fixed" in quotes, and that's because not every disabled person wants a cure or feels like their ideal to strive for is able-bodied and neurotypical. For many of us, we have come to see our disabilities as part of us, as part of our identities and our sense of self, the same way I, as a queer person might see my queerness as a part of my identity. This is an especially common view among people who were born with their disability or who had them from a young age, since this is all they've ever really known, or who's disability impacts the way they think, perceive and process the world around them, how they communicate with people or in communities who have a long history of forced conformity and erasure such as the autism and deaf communities. Many disabilities have such massive impacts on our lives that we literally wouldn't be who we are today if they were taken away. So often though, when non-disabled people write disabled characters, they assume we'd all take a "cure" in a heart-beat. They assumed we all desire to be just like them again, and this simply isn't the case. Some people absolutely would, and there's nothing wrong with that, but it's not as universal as media representation makes it out to be.

Another reason it's so heavily disliked is because this trope is often used in conjunction with other ableist and harmful tropes or it's used in ways that perpetuate misinformation about living with a disability and it can have ableist implications, even if that's not what the author necessarily intended.

If the miracle cure is used right at the end of the story for example, as a way to give characters a happy ending it can imply that the only way for a disabled character to be happy in the long run, is for them to be "fixed", especially if they were miserable all the way up until that point. If it's used earlier in the story as a way to get said character back into the action, it can also be read as the author thinking that disabled people can't be of use to the plot, and so the only way to keep them around is to "fix" them.

Of course, there's also the fact that some authors and writers will also play up how bad being disabled is in order to show why a cure is justified, playing into the "sad disabled person" trope in the process, which is pretty much what it says on the tin. Don't get me wrong, this isn't to say that being disabled is all easy-breezy, there are never any hard days and you should never show your character struggling, not at all, the "sad disabled person" trope has it's place (even if I personally am not a fan on it), but when both the "sad disabled person" trope and the miracle cure trope are used together, it's not a great look.

This is especially bad when the very thing that cures the disability, or perhaps the quest the heroes need to go on to get it, is shown to be harmful to others or the disabled person themselves. Portraying living with a disability as something so bad that it justifies hurting others, putting others at risk, loosing yourself or killing yourself in order to achieve this cure perpetuates the already harmful idea that disability is a fate worse than death, and anything is justified to avoid it.

I've also noticed the reasons the authors and writers give for wanting to cure their characters are very frequently based on stereotypes, a lack of research in to the actual limits of a person's disability and a lack of understanding. One story I recall reading years ago made sure to tell you how miserable it's main character, a former cyclist, was because he'd been in a car accident where he'd lost his arm, and now couldn't ride bikes anymore, seemingly unaware of the fact arm amputees can, in fact, ride bikes. There are several whole sports centred around it, and even entire companies dedicated to making prosthetic hands specifically for riding bikes. but no, the only way for this to resolve and for him to be happy was to give him his arm back as a magical Christmas miracle! It would be one thing if the story had acknowledged that he'd tried cycling again but just had difficulties with it, or something was stopping him from being able to do it like not being able to wear the required prosthetic or something, but it really did seem as though the author was entirely unaware it was even possible, which is an issue when it's the whole point of your story existing. This happens a lot more often than you'd think, and it's very clear when an author hasn't even bothered to google search if their character would be able to do something before deciding the only solution is to take the disability away.

There's also the frustration that comes from being part of an underrepresented minority, finally seeing a character like you on screen or in a book, only for that representation to be taken away. Disabled people make up roughly 16% of the population (though many estimate these numbers are actually much higher), but only about 2.8% of American TV shows and 4.1% of Australian TV shows feature explicitly disabled characters. In 2019, around 2.3% of films featured disabled characters in a speaking roll, and while it's slowly getting better as time goes on, progress on that front is very slow, which is why its so frustrating when we do see characters like ourselves and so much of their stories focus on wishing to be, trying to become or actually being "cured".

An finally, there's the fact this is just a really common trope. Even if we ignore the issues it can cause with your story's tone and stakes, the harm it can do to the community when not handled with care, the negative perceptions it can perpetuate and everything else. It's just a plain-old overdone trope. It shows up so often that I, and a lot of disabled people, are just getting tired of seeing it. Despite everything I've said, there are valid reasons for people to not want to be disabled, and just like how I made sure to emphasise that not everyone wants a cure, it's important to recognise that not everyone would refuse it either. So long as it's not done in a way that implies it's universal, in theory, depicting someone who would want and accept a cure is totally fine. The issue is though that this trope is so common and so overdone that it's starting to feel like it's all we ever see, especially in genres like sci-fi and fantasy (and also Christmas movies for some reason).

[ID: A Gif of a white man in a top hat nodding his head with the caption "Merry Christmas" down the bottom. /end ID]

Personally, because it's so common, I find even the few examples of the trope used well frustrating, and I honestly feel that it's at the point where it should be avoided entirely where possible.

Ok but Cy, you mentioned there are ways to use this trope well, what are they?

So, like I said, I'm of the opinion that this trope is better off not being in your work at all, but if, for whatever reason, you can't avoid it, or it's use is really that important to the story you want to tell, there are less harmful ways to implement it.

Don't have your only disabled character take the cure

If you really must cure your disabled character's disability, don't make them the only disabled person in the story. Show us another character who, when offered the same cure, chooses not to take it. This at least helps push back a little against the assumption of "of course everyone would want this" that these kinds of stories often imply and doesn't contribute (as much) to disability erasure in the media.

Don't make it a total cure

In real life, there are cures for some disabilities, but they rarely leave no trace. For example, an amputee's limb can sometimes be reattached if it was severed and they received medical treatment fast enough, but it usually results in at least a little nerve damage and difficulties with muscle strength, blood flow or co-ordination in that limb. Often times, these "cures" will fix one issue, but create another. You might not be an amputee anymore, but you're still disabled, just in a different way. You can reflect this in your fictional cures to avoid it feeling like you just wanted to avoid doing the work to write good disabled representation.

Do something interesting with it

I got a comment on my old tumblr or possibly Tik Tok account ages ago talking about their planned use for the miracle cure trope, where their character accepts the cure at the cost of the things that made her life enjoyable post-disability. Prior to accepting the cure, she had found other ways to be independent to some extent and her community and friends helped her bridge the gaps, but they were all taken from her when she was "cured" forcing her into isolation. Kind of like a "be careful what you wish for" sort of thing. The story was meant to be a critique on how society ignores alternative ways of getting the same result and how conforming to other people's ideas of "normal" isn't always what you need to bring you happiness. This was a genuinely interesting way to use the trope I think, and it's a perfect example of taking this trope and twisting it to make an interesting point. If you must use a trope like this, at least use it to say something other than "disability makes me sad so I don't want to think about it too much". Alternatively, on a less serious note, I'm also not entirely opposed to the miracle cure being used for comedy if it fits the tone. The Orville has some issues with it's use of the Miracle Cure trope, but I'd be lying if I said Isaac amputating Gordan's leg as a prank, knowing it could be reversed in a few hours did get a chuckle out of me.

If your villain's motivation is finding a cure for themselves, don't use it as justification for hurting people

Disabled villains need a post all their own honestly, but when a villain's motivation for doing all the terrible things they do is so they don't have to be disabled anymore, it's especially frustrating. Doubly so if the writer's are implying that they're justified in their actions, or at least that their actions are understandable because "who would want to live like that?" Honestly, as a general rule of thumb, avoid making your villains disabled if you aren't disabled yourself (especially if they're your only disabled character), but if they are disabled, don't use the disability as a justification for them hurting people while finding a cure.

So are there any examples currently out there to look at where the trope is used, if not well, at least tolerably?

Yeah, I'd say so, but they're few and far between. Two examples come to mind for me though.

The Dragon Prince:

[ID: A Gif of Ava the Wolf from the Dragon Prince, a light brown, fluffy wolf who is missing her front right leg. /End ID]

The Dragon Prince on Netflix uses the miracle cure twice, but I still really enjoyed the show (at least I did, up until my Netflix subscription ran out, so I've only seen up to season 4). The first time the trope is used in the series, it's actually a fake-out. Two of the main characters, while looking for someone to help them heal the dragon egg they're carrying, encounter a young girl named Ellis and her pet wolf Ava. The two explain their egg is not looking good and they need to find someone to help it, but no one they've found had the knowledge or ability to do anything to help. Ellis says she knows a healer who can help them, and tells them that this healer even restored Ava's amputated leg when she was a pup. When we actually reach this "miracle healer" however, she is revealed to be simply an illusionist. She explains that Ava is still missing her leg, she simply made it look as though she had restored it because Ellis's parents were planning to throw the puppy out, believing it would not survive with its disability and would only be a drain on supplies. This was not actually true and Ava adapted to her amputation very well, she simply needed more time, and hiding her disability and making her appear abled gave her the time she needed to fully recover and adjust. When they return to the healer with the main characters, she removes the illusion and explains why she did it, emphasising that the real problem was never with Ava, but with how people made assumptions about her.

While I do feel it was drawn out a bit too long, I do appreciate the use of the trope as the set up to an overall positive twist. Disability does come with down-sides, it's part of the deal and it would have been nice to see a bit more of that, but for disabilities like amputation in particular, the worst of our problems often come from a lack of adequate support and people's pre-conceived ideas about us, and it was nice to see this reflected, even if it is a little overly simplified.

The second time this trope comes up in the series is when one of the antagonists, Soren, is injured during a fight with a dragon, becoming paralysed from the neck down. His sister, Claudia is absolutely beside herself, believing it was her fault this even happened in the first place, but Soren actually takes his new disability very, very well, explaining that he understands there are things he can't do now, but that there's a lot of things he can still try, that his previous job as a soldier just didn't allow time for. It's possible this reaction was him being in denial but it came across to me as genuine acceptance. He is adamant that he doesn't want a cure right from the beginning because he knows that a cure would come at a cost that he doesn't want his sister to pay, and that he is content and happy with this new direction his life will be going in. Claudia, however, is not content. It had been shown that she was already using dark magic, but this event is what starts her down the path of using it in earnest, disregarding the harm it will cause to those around her. She ignores Soren's wishes, kills several animals in order to fuel the healing spell that will "fix" him, and Soren is pretty clearly shown to be horrified by her actions. What I like about this use of the miracle cure trope is that it touches on something I've seen happen a lot to disabled people in real-life, but that rarely shows up in media - the fact that just because we accept ourselves, our disabilities and our new limits, doesn't mean our friends and family will, unfortunately. In my own life, my mum and dad were always accepting of my disability when I was younger, but as I got older and my support needs changed, my body took longer to heal and I stopped being able to do a lot of things I could when I was little, they had a very hard time coming to terms with it and accepting it. I'm not alone in this either, a lot of disabled people end up cutting contact with friends and family members who refuse to accept the reality of our situations and insist "if we just try harder maybe we won't be so disabled" or "Maybe you will get better if you just do [xyz]". Unfortunately however, some disable people's wishes are ignored completely, like Soren's were. You see this a lot in autistic children who's parents are so desperate to find a cure that they hurt their kids through toxic and dangerous "treatments" or by putting them through abusive therapies that do more harm than good. Claudia has good intentions, but her complete disregard for Soren's decision still harm them both in the long run, leading to the deterioration of their relationship and causing her to spiral down a very dark path.

Full Metal Alchemist: Brotherhood

[ID: A Gif of Ed from full metal alchemist, a white boy with blond hair, staring angrily at a jar of milk on the table. His brother Al, a sentiant suit of armour, is in the background looking directly at the camera. The caption, spoken by Ed, says "So we meet again you little bastard" /end ID.]

The show does begin with Ed and Al looking for a way to cure their disabilities (which they gave themselves when trying to resurrect their mother as children went horribly wrong). However, when the boys discover that the object needed to do that - a philosopher's stone, can only by made through absolutely abhorrent and despicable means, and using one, likewise, comes at the cost of potentially hundreds or thousands of people's souls, they immediately stop, and shift their focus on finding the stones that had already been made so it can't fall into the wrong hands, and preventing the creation of new ones. The core theme of the show is that everything has a cost, and sometimes the cost is simply too great.

However, right at the end of the show, several characters are healed in a variety of ways. Ed gives up his ability to do alchemy to get his brother's body back, as well as his arm so he can save his friends in the final battle, but neither of the boys come away from this completely "healed". Al's body has not been used since he was a child, and so it is shown he has experienced severe muscular atrophy that will take a long time and a lot of work to recover from, acknowledging that he has a pretty tough road ahead of him. When we see him in the epilogue, he is still on crutches despite this being several months after getting his body back. Likewise Ed is not fully healed, and is still missing one of his legs even if he got his arm back.

The more... interesting use of the trope, however, is in the form of Colonel Mustang who was blinded in the final season. Mustang is shown to take to his blindness pretty well given the circumstances, finding a variety of ways to continue doing his job and reaching his goals. When other characters offer to let him use the philosopher's stone to heal himself however, he takes it, acknowledging that this is a horrible thing to do and that Ed and Al would be extremely disappointed in him if they ever found out. He uses it both to cure his own disability, and to cure another character who was injured earlier in the show. While I'll admit, I did not like this ending, I can at least appreciate that the show made sure to emphasis that a) Mustang was doing fine without the cure, and b) that this was not morally justified. The show spent a very long time drilling into the viewer how morally reprehensible using the stone was, and it didn't try to make an exception for Mustang - you weren't supposed to like that he did that.

When I talk about these tropes, I do try to give them a fair chance and discuss the ways it can potentially work, but I really do want to reiterate that this particular trope really is best avoided. There are ways to make it work, but they will still leave a bad taste in many of your viewer's or reader's mouths and you have to be exceptionally careful with your wording and framing, not just in the scenes where this trope is used, but in the lead up. If you really must use it, I highly recommend getting a few disability sensitivity readers and/or consultants (yes, even if you are disabled yourself) to help you avoid some of the often overlooked pitfalls.

[fuckyeahisawthat]

If you see Good Omens s2 as a bridge between the end of s1 and a s3 plot that, it seems, will revolve around [spoilers below]

Aziraphale and the second coming (in a parallel to s1 being about Crowley and the Antichrist) then a lot of things make sense, and actually I think this is one of the only routes they could have taken that would seem remotely plausible.

Because how the fuck do you get Aziraphale back in Heaven after the events of s1? Both you (a writer who wrote s1 as a self-contained adaptation of an existing work, having no idea if there would be future seasons) and you (Heaven within the world of the story).

In the book verse, I could see this playing out as a sort of “you thought you were happily retired and then they pulled you back in for one last job” situation, and I think that could have worked. Because book Heaven and Hell seem to end the story basically agreeing to forget Aziraphale and Crowley’s numbers out of sheer embarrassment, and that works in the world of the book because Heaven, in particular, seems to forget Aziraphale exists at least 80% of the time anyway. Book Heaven is mostly notable for its absence. We recognize their hypocrisy in claiming to be the good guys while mostly doing the exact same shit as Hell with better PR, but in the book Hell seems like the side that’s more dangerous and actively intrusive in Crowley’s life.

But TV Heaven and Hell are terrifyingly, oppressively present in Aziraphale and Crowley’s lives, and both of them very recently (in immortal being terms) tried to execute their respective agents for treason, and still don’t understand why they failed. This raises the stakes and the threat to their relationship enormously, which works great in a television drama where their relationship is much more of a focus than it is in the book. But it also makes it much more difficult to imagine either of them going back to their respective sides after the events of s1. They made that choice already.

So what do you (writer now trying to solve this problem for s2 and potentially s3) and you (Heaven, trying to come up with a way that Aziraphale would walk back into his former prison willingly) do?

You offer Aziraphale the one thing he can’t refuse, the thing he still doesn’t have, even now after Armageddidn’t and surviving the trials and 4 (?) years of living more or less openly with Crowley around. You offer him safety. Safety for himself and Crowley, together.

We know it’s a trap. We know what Heaven is offering is not safety, but control. But Aziraphale hasn’t gotten there yet. We understand why Crowley sees it as a rejection and an insult. But to Aziraphale it’s an offer better than he ever thought was possible to receive.

He thought, all of s1, that he would have to choose between following Heaven’s orders and saving the world and his relationship with Crowley. And he made his choice. Now someone is telling him he can have both? Love and acceptance from Heaven for him and Crowley, and the power to make things better? And when he realizes Crowley won’t come with him…well, maybe at least from Heaven he will still be able to protect him, even if he’s not by his side.

And you know what? I bet, in the short term, this is going to only make him double down on his “it was just a few bad angels” justification for the way Heaven behaved. Because this offer is coming from the literal voice of God. Maybe it even reinforces the idea that God didn’t want Armageddon to happen at all, that Aziraphale and Crowley and Adam and the Them actually were doing her will by stopping it. Because now Aziraphale is being invited back in, with more authority than he ever had before. And they invited Crowley (who he always believed was Good) back in too.

He doesn’t get it yet, that Crowley is right. That you can’t reform Heaven from the inside, because it is not and never was the good side. Because there is no good side.

Aziraphale hasn’t figured that out yet. But he will.

[lime-bloods]

I decided to take the plunge and look for responses to this update on Twitter, and was disappointed to find a lot of people expressing that they thought this episode was pointless trauma for trauma's sake, when I thought it communicated its point very effectively.

One of its main points of course is the truism that "recovery isn't linear". Vriska's echeladder at the end of the chapter symbolises this; not only does it include "regression roast" among its rungs, but it's the first echeladder thus far that Vriska has actually failed to complete by the end of the episode; Scratch expresses this point literally by shrinking Vriska down, reversing the literal growth Vriska has experienced over the course of page 666. Consequentially, the Doc Scratch chapter lacks any kind of catharsis at its conclusion, and as a result it does feel really awful to read, but the deliberate choice behind this is clear to see.

While cliches about the intricacies of recovery from trauma do not, in and of themselves, make for a particularly profound message, this chapter also more importantly gave us a clear vision of what Vriska needs to work on next in order to move on from this obstacle: her compulsion to constantly be acting, always moving forward, is in fact part of what holds her back.

This manifests itself most glaringly in Doc Scratch, who positions himself as an impulse that Vriska cannot ignore - echoing Hussie's commentary that "He's always there at the right moment to nudge people in the direction of doing the nasty thing [...] they already know they want to do." - with English removed from the picture, the threat Scratch poses is now simply the fleas he's left in Vriska's mind. No matter what she tries to "do over" within the Plot Point, the decisions she made in the past are still part of her life, and there's always the possibility that she will make decisions like those again. (there is nothing new in Paradox Space.) But from the beginning, Vriska's brash decisionmaking is also exactly what leads her into Scratch's parlor in the first place: she has an eternity in front of her to just spend time with the friends she's made amends with, if she wants to; but even when the challenge facing her is literally just growing and maturing as a person she tries to blaze ahead and take the quickest path through it. And Aradia foreshadows this in the first chapter when she warns that Vriska's attitude is defined by "direct acti0ns"; so long as she obsesses over cause and effect, the repeating patterns that shape her world and her life will always be in her blind spot. (Perhaps that's why she wears an infinity loop on her missing eye?)

This chapter also shakes things up in an important way by turning our understanding of Vriska's echeladder candle on its head. We've had the vague sense that it's been "burning down" to something since the first chapter, but with Gcatavros advising Vriska this week that she needs to slow down "sO YOU DON'T BURN OUT," it suddenly seems like the candle burning down isn't necessarily all a good thing. Her interaction with Scratch is filled with allusions to this; there's a "convenient timer" keeping track of Vriska's life in the Plot Point that she's not paying attention to because she's too busy looking forward, and he sees her off with a coded warning that her "Light" may soon run out just as it did when she was a child. Ultimately what this latest chapter has brought to the table is stakes; by demonstrating that it's still possible for Vriska to face losses on her journey through the inferno, we can no longer be so confident that the "Hell Tiers" have to be a straightforward "upgrade".

[ballad-of-the-lamb]

I've been bingeing your art in this blog for, like, the last hour. Sooo much good stuff!

Can we hear more about notable members of the Cult? Cheese Parm's s/o and such

cult info below cut b/c i'm gonna be typing a lot;

Everyone listed here are basically the main runners/cast when it comes to plot relevance in the story in itself. there are plenty of cast & characters that aren't- but they wont pop up for anything other than background characters perhaps staring on in horror at god antics or one another's antics.

we'll start from the top;

GALLOWS [ girlyed cheese ]

the most recent member of the cult to be saved specifically by the lamb themself from sacrifice within Darkwood.

a lot of cult conflict will begin with the uninitiated, the unknowing. and the influence of the twin gods will be seen on her in real time as the story progresses.

she is generally a very generic playful-but-tricky fox character, but there's a lot she hides; much like the rest of the cult members. her past is not happily talked about, or seldom is.

she was a native to Darkwood. She is chaotic because of it.

she was meant to be burned at the stake.

EKPYROSIS [ asbestos ]

This word derives from a Greek word for a great fire. It represents a belief held by some scholars of Stoicism, that says that the universe has no beginning or end, and instead is destroyed and remade in a great conflagration in a cyclic manner. Just as life & death ever are.

Her name stands out among the rest of the cult because it was the name that the Lamb bestowed upon her upon being given the title of disciple. Just as Narinder took Baal & Aym to learn from him, the Lamb took her.

Her previous name is not known to anyone mind the Lamb themself, Narinder, and cheese parm.

She is more inclined to using and being influenced by the eldritch artifacts & relics the Lamb or Narinder tend to return with.

She leaves an uneasy and terrible 'uncanny valley' feeling tenfold within her vicinity, which makes her hard to be around. It is not just being outright creepy- but it's a lot more akin to literally feeling reality dip and bow around you into something not quite right.

She does not move like a normal person. The way she walks, runs, jumps- it's all too impossible to replicate without someone shattering every bone in their body.

When she speaks, her voice is delayed from her mouth. And it doesn't always line up perfectly.

most notably; cheese parm hates her. for good reason.

OTHERA [ bong water ]

An average cult member on the surface. They are a caretaker, they are matronly, they work as the local therapist. Generally just likes taking care of people.

When the Lamb, Disciples, & Narinder aren't around to listen to confessionals in the booth they are typically who does.

It's an unspoken rule to not make them angry or let them get to '1' when they start counting down from 5.

He is typically known for the reason morale is good. A good shoulder to rely on.

He is the third oldest member of the cult, resurrected multiple times over to serve his purpose, next to cheese parm & his sister. they are also the only one that asbestos seems to actively fear besides cheese parm.

EUNOMIA [ they/theminem ]

Eunomia was a minor goddess of law and legislation, whose name means "Good Laws", and is specifically a goddess of order according to good governance.

The second disciple. Known for learning the use of the Lamb's personally created curses specifically, though does know the ones Narinder passed on. They do not deem themselves worthy enough to use those.

Generally a very angry & spiteful person for a multitude of reasons. It mostly comes down to 'bearer of the curse' and the curse being knowledge.

They are the only one really permitted to 'backtalk' due to how much they actually do know their place.

they are very heavily disciplined under the rule of self-flagellation, and know the tenants and rites better than anyone else in the cult. even the head ritualist.

as said on paper. cheese parm's s/o. the significantly scarier one. they have not had a reason to be scary in a good couple hundred years! don't make them start now.

has 2 adopted kids w/ cheese parm they raise.

PANKRATIAST [ cheese parm ]

The Pankration is a sport of unarmed combat that featured in the ancient Olympic Games in Greece. This specific association fits as he's specifically an unarmed fighter first and foremost.

While not a disciple, is considered one generally in 'importance' to the higher ups of the cult. While he is no more important than Gallows, Othera, Minced Meat, or any other average member- he has the veteran's respect.

Was given a name by the Lamb, and since he does not speak, it's not like he can correct anyone otherwise.

well. doesn't talk. only ever communicates in vague grunts and noises that voice displeasure or a neutral 'ok'

Generally considered stoic, he does not feel strongly about most things.

The village executioner. The head missionary. Bartender. Does all the jobs no one else wants to do, and even others when no one else does it.

Smells of gore & wet dog constantly.

Knows. Remembers. Knows why death is broken, knows how it broke, will not tell Lamb or Narinder. He is a Witness.

Knows all the weaponry the Lamb uses & can use it just as effectively on a physical level.

The first of the flock. Will be there even when there is no more flock to have. As it will ever be, pinkie promised back in the Silk Cradle back where he was first found.

ILONA [ taco bell qsdea ]

a specialist in alchemy, cooking, & plants. Tends to the farms, gardens, & warding stones.

The first of the cult members Narinder warmed up to directly after descension. They brought him food every day, they gave him supplies, and other than the Lamb- they were the first to not be terrified of him.

They are very blind and often need a guide when they are not allowed to use their clicks and noises to find the way.

They are immune to Gallows' tricks and run off of the 'fae logic' of most things.

Their name means 'joy'. A name they decided on after speaking to Narinder for a time.

The first cult members recruited directly after Narinder's descension.

Immune to the horrors Somehow. There is something hiding behind those big ol eyes

Can fly. They have wings attached to their arms, and for it, require special clothes.

will be involved a lot in narinder plots

MINCED MEAT [ childbirth gambino ]

head cook but kind of as a threat. the lamb put them there for a reason. they are pretty mid.

constantly paranoid and in a state of fear or unease. Does not sleep because of it, and instead compulsively cooks almost all day and night.

most random screeches or noises in the cult come from this little guy

absolutely scared shitless of the Lamb.

The first Dissenter since the Lamb's ascension. They were made an example of. Now they will never. They have seen god's wrath, and would rather die.

narinder likes to bully this thing by hissing at him in the night

attached to beansnesed'd bsbisebies hip when in the chapel or out and about.

the prime example of 'the lamb is not a good person.'

ALOPE [ deep dish pizza ]

cheese parm's little sister. and borderline clone. she copies everything he's done up until adulthood when she started to become her own person. though it's been hundreds, if not thousands of years, she's still trying to figure out who she is.

made a pinkie promise to the lamb, just like cheese parm, to always be there. and she has!

ripped as fuck. like, more than cheese parm. huge. absolute beast thing.

the lamb prevented a fated death in her, the first time he ever did so, and for it her title is technically 'Saint Alope' within the cult for being the act of a miracle.

like her brother, never speaks vocally, never shows her face. gets across feelings through vague grunts. uses sign language where cheese parm does not.

the fastest in the cult. rivals narinder in base speed without using necklaces or unnatural abilities.

uses two ritual dirks or daggers at any given point, throwing knives, things of that sort. protects the village next to cheese parm, and you'll never hear her coming. totally, absolutely silent.

[chordsykat]

How I write action/fight scenes

From a prompt posted by a friend on Discord last night. :3 Just thought I would ramble a bit before getting to work, this morning. If you're a writer and want to know what goes through my head as I come up with combat scenes in my stories, then read on. In this way, I hope we both learn a lot. Because I honestly don't think I've ever laid out my "formula" before...

First, know who you're dealing with.

This tutorial is going to stick mostly to the actual writing aspects, but if you're going to do an action series, you should factor in the combat abilities of your characters as you develop them. This doesn't have to be anything fancy. Keep it to the natural human responses at least. In other words, during a conflict, how will your character react:

Fight: Push back

Flight: Run away

Freeze: Do nothing

Knowing just that will give you enough to start thinking these dances through. And indeed, that's what they are - a dance. If you know more, like, specifically what kind of fighting they do, what their strengths in combat are, etc -- all the better, but know that what I list below goes in order from most to least important, and that stuff won't be on the list until the end.

Second, (and always) make the audience care about the action.

This sounds dumb and counterintuitive but people won't find an action scene compelling just because it's an action scene. Not to knock it, because it was brilliant for a different reason and a lot of the writing staff's hands were tied... BUT... During my time as a fan of, all the way into my employment with, Archie-Sonic, I can't tell you how many action scenes happened just because some executive at Sega was like "I think X and Y need to fight." So they would, and for reasons that were muddy at best. I think at one point, we had Sonic and Knuckles literally exchanging this dialogue:

Sonic: Yo dude, be cool. Last time we met, we left on good terms! Knuckles: Maybe, but you're still an intruder and just because you did me that favor on the day my daughter was to be married does not mean I owe you anything in the way of kindness.

IDK, my memory may be foggy, but that was the gist of it. Point is, don't do that - and first make sure your audience understands the motives behind the action, the potential stakes, and why it's all taking place to begin with. Else, you can make it as cool as you want and people are going to walk away with a sense of "that was cool" instead of "holy shit I was freaking out through that whole scene." If there's any question as to what you should be striving for as a writer, it's the latter.

Third, plot it out like it's a mini-story.

To the point - figure out the end first, and work backwards, just like so many writing tutorials have said before. Again, keep it simple: Who wins? Does the conflict result in a casualty of some kind? Does a character learn something?

Before you show how it goes down, you need to establish what goes down as the action happens, and what happens afterwards. Keeping the ending in mind as yo write a scene is always a good way of making it feel tighter. And throwing littlte twists for interest (maybe a character has the upper-hand for all but the end of the fight - maybe a character is losing until a specific turning point, etc) is made much easier, too.

Fourth, mind the rhythm.

A little weird to explain this, but the back-and-forth nature of the scene needs to flow well. Generally, conflict follows a pattern of:

Character acts

Opposition reacts

Opposition acts

Character reacts

If this pattern looks familiar to you, it should. This is the basic pattern of human dialogue as seen in stories and, YES, real life. Consider your scene like a dialogue all its own (even if the characters are talking throughout). The twists and turns I spoke about in the last point should be "off beat" because there's an unexpected nature to them. When a twist happens, consider breaking the above pattern.

Fifth, showcase character traits and skills (again, always).

Some characters have a high sense of honor and would put down their weapons if their opponent was unarmed. Some of them would fight dirty and hit someone with a chair when their back was turned. Some characters are scrappy and will jump into a conflict even when they're sorely outmatched. Some are straight up cowards who might run away even when there's a good chance they could win. Some are smart enough to bow out and will not engage -- hiding at the first sign of trouble. Some will throw snowballs at the oppressor and be surprised when they pull aggro and the dude comes after them.

You get the idea -- fights, conflicts and action scenes are great ways to show your characters' strengths, weaknesses, traits, and personality. Times of struggle are going to lay emotional responses raw, and it's a great way of showing "who someone really is" as it were.

Sixth, showcase unique defensive behavior.

Some characters have specific training: military, martial arts, street-fighting, etc... which, if you're aware of those, should come out during combat or conflict. Some characters have access to weapons. Some characters' bodies are the weapon. Etc, etc etc...

Whatever you do, about the only time you're going to show off the fact that your character knows Muay Thai is during an action scene. If you yourself do not practice this martial art, then research what you need to incorporate to make it believable when you write. Watch videos and write down the ways you would describe the movement. If you're doing a comic, then sketch the movement. Use that in your story.

Last, create more interest by tying in and highlighting story themes or disparities between protagonist characters, antagonist characters, and/or the conflict as a whole.

A little trickier, but if your story has a central theme or moral, try showing pieces of it shining through the action. Just as one wild example, if you have a theme of "love conquers all" this might mean your fight will end with the two people falling in love, instead of fighting. Think like a dungeon master. If you rolled a natural 20 on "try to woo the orc" in a combat situation (remember that comic?) what do you think would happen?

Too, if your combatants have something in common, or especially something that they are diametrically opposed on, feel free to show that off in these scenes. It'll leave the audience knowing them better (and set them up for further head-butting... or romance(?) down the line. And that's always fun).

Anywho, that's just a few of my thoughts on action sequences in fiction. If this helped you, or you want me to talk about this even more -- send me a message or a note or something. Always up for discussing this kind of thing.

And your reward for reading this far is an invite to join my discord if you wanna hear me ramble on about this sort of thing, in perpetuity. :)

[carlyraejepsans]

Hey, if you don’t mind the question. What’s your opinion on Undertale Yellow?

8/10 game. pretty good at being a game, not so much at being an undertale story. the gameplay itself was fun, the area/puzzle designs too, the soundtrack was untouchable it literally gave me the same rush i felt hearing sburb initiation for the first time. minor NPCs designs were fun but the primary cast was too monotonous, tbh. (all the main characters have tall gangly very detailed designs save for like, axis). its attempts at landing Undertale's humor were quite often successful, but it held back on exaggeration and caricaturing its original characters which took away that oomph from the canon game. the character writing was... lacking. which is a pity.

i love fucked up women so i was really disappointed that every single one of ceroba's actions/ideas/influences on the story were nothing but an extension of her dead husband. when you take chujin away she's just... A Good Wife and Mother. or starlo's past love interest ig. i mean both dalv and martlet's backstory were tied to her family and we never see them interact at all. but they do have an established dynamic.... with the dead husband. again. UGH. she's just really wasted as a character (she and chujin should've BOTH been scientists and she should've continued the project AGAINST his wishes after he died. she's the main cast character, she should be the driving force in the narrative, not him—even if chujin sets the plot in montion by inventing the serum first).

I'm not a huge asgore fan—not that i dislike him, he's just not a character i care about all that much—so congrats to this game for making me say "he would NOT fucking say that". the "fuck the royals" subplot thing was really unnecessary. actually, that was a bit of a recurring thing in the game. suddenly introducing these Huge Social Dilemmas like labor exploitation, anti-monarchic sentiments, misogyny (bro who on earth "needs to take a wife" this is Undertale) everyone realizing that clover is a child, over exaggerating the violence at stake... while also attempting to maintain Undertale's careless, bouncy treatment of the situation. that's... not how things work. undertale is able to maintain its light tone BECAUSE it doesn't let you take those topics seriously, they're not meant to be. the fairytale-like king, the battles, the child protagonist, they're all set dressings for the REAL story and REAL power imbalance it wants to highlight: that between player and game characters. everything is in function of that. you take that layer of separation and make everyone aware that theyre violently attacking and killing a literal child... that's not. a good thing dude. if it's not gonna impact the tone of the story, why acknowledge it in the first place? it's just unnecessary

anyway flowey neutral run was really, really fun. his dialogue writing all throughout the game was very solid and i had a blast having him around. however, they shouldn't have tried to anticipate his character development. this game is a prequel, you can't do that without undermining his arc in the canon events. pacifist should've had him doubling down on his frustration from the neutral ending. i do all this work for you keeping you alive and you make the same mistake i did sacrifice yourself for them??? are you BRAINDEAD???? what I'm saying is he basically should've thrown the biggest tantrum of his LIFE. oh and in the NM run he should've been terrified when he lost control of the SAVE file. this is the first time it's ever happened to him and now he's gonna die for good. he wouldn't have gloated like he did.

if you want to hear more criticism along the lines of what i said then this post by the fantastic @andreabandrea covers a lot of what i also felt during the game. i know this might sound like a lot of negativity, but the fact remains that UTY was an absolutely phenomenal work of fan creativity the likes of which we have never seen before in the fandom. considering the quality and polish, i thought it only fair to approach it as the piece of art it is and give it my genuine thoughts on the matter.

overall, still a really fun way to spend the afternoon with a pal. so. thumbs up

[cynthiav06]

This might be a genuine Controversial opinion of mine. Really because I Always see The Black Percy fanart or POC Percy and I love them, even though i still love the book version...it had me thinking...

But I highly think that if Percy were Black or Any minority I Doubt he would Take Annabeth's Bs or let her treat him the way she does

What do you think?

I have mixed opinions on this. I think it's a bit controversial but not for the reasons you are going for. Bear with me.

I think all this diversity propaganda has warped our perspectives on characters and their roles. Rick is shit at diversity roles cause he is trying explicitly to write them as diversity characters. I mean yes coming from a certain race, culture or ethnic group does play a large part of who you are but most authors make that the entire point or personality of their character.

In a world like Percy Jackson, where far greater things are at stake, I don't think a character's race or ethnic group should be prioritized so much. In fact, their motivations, how they choose to cope with their trauma and insecurities, how they love, how they fight is what makes a character.

In contrast to Rick, Leigh Bardugo writes tons of diverse characters who are just that, characters in her eyes. It's not because she needs to meet some quota or write diversity for the sake of it. She writes as it comes to her, and I think anyone would appreciate that far more.

Now, coming to your point, I don't think Percy being a minority or person of color would have changed him much. Because the points that you are trying to make should already be valid for Percy as he is.

He had an abusive stepfather who not only physically and mentally abused him but also always harassed him for money. Percy has grown up in that environment, he knows abuse well.

Percy can't stand bullies or people who impose their will, which is a fundamental part of his character which we are actually introduced to very. early on

Not to mention, Percy grew up in the streets of NYC all on his own, also moving from one boarding school to another. He is seasoned player when it comes to cops or law enforcement.

Plus I headcanon that all demigods have issues with any kind of normal organization or law enforcement cause what explanation are they supposed to give for their actions when the person across from them can't fathom it, see it or let alone imagine it. So they are all kind of in similar situations despite whatever culture or ethnic group they are from.

Percy's actions are also a reflection of his self-esteem. That's the thing driving his behavior. Percy wouldn't stand for this from a stranger, but Annabeth is his best friend. The first person he got close to in Camp. She represents his demigod life in a way. To him, the fact that someone like her wants to date him seems unbelievable. He goes in that relationship or any relationship feeling inferior. Then he begins dating her, and he desperately wants to meet her expectations cause Percy Jackson can't take her walking out on him, not because he disappointed her. Cause what sort of shit boyfriend is he if he can't even stand and accept Annabeth as she is. So he takes it as it is. He takes her demands, her violent way of expressing her emotions and her need to be in control. She wants to go to University and study, she wants to be involved in the demigod business, wants to be the heart of it and Percy isn't about to leave her to be on her own. He is Percy, he would go to the ends of earth and beyond for people he loves and cares for. So he goes along with that too.

The question shouldn't be what it would take Percy to be done with Annabeth's bullshit or what would finally make him snap. That shouldn't be the focus.

The focus should be at what point will Annabeth realize that she is stifling Percy, leashing him. (Before you snap, percabeth stans hear me out, not my words. Literally a bloody conversation from Mark of Athena, in which Piper word to word says and agrees with Annabeth that someone needs to leash him and Annabeth can do it.)

And I love how the fandom just glossed over it. What the hell??? Are you people blind? How is that a healthy relationship??

Annabeth should realize how badly she is hurting Percy or how badly she has misunderstood him. How awful her actions have been and how her actions are enabling his lack of self esteem. (For confused people who think Annabeth can do no wrong, please check other posts. There's nothing wrong with admitting that your favorite character is flawed and can make mistakes. )

And then if she truly loves him they should separate, go their ways, still be friends but not romantic partners. Or they should go on a long break in which Annabeth needs to sort out her behavioral issues, come back to Percy, apologize to him earnestly, then to Rachel and even Reyna. And then if Percy (after he too understands the problems in their relationship and how disastrous his lack of self esteem and self deprecation is) is willing to give her a chance or even willing to be in any romantic relationship then and only then should they get back together.

It might not be the answer you were hoping for anon but I had to give my honest thoughts on this. Feel free to comment your own opinions on this as well.

[muninnhuginn]

In Defence of Qiao Ling

I've been musing on several threads relating to Qiao Ling in the last few weeks and have seen a few posts going around that have pushed me to actually try and put all my Qiao Ling thoughts into words and in one place.

Despite the title, I don't fully agree with the show's handling of Qiao Ling, but I do think she has been provided with a clear ongoing arc and so that's what I'm going to be focusing on here.

This got quite long so most of it is under the cut, but shout-out to @lizzieonka and @oceaniche for their previous posts on Qiao Ling, which definitely ended up inspiring some parts of this.

So, let's start with: what do we actually know about Qiao Ling?

Qiao Ling's Background

She's first introduced as the "landlady", for all it quickly becomes apparent that her relationship with Cheng Xiaoshi isn't quite that simple. Her family "took Cheng Xiaoshi in" but there's always been some distance and that's reinforced by the whole "rent" deal. (The fact that Cheng Xiaoshi is still adamant his parents will return likely also factors in to this.) Still, Qiao Ling herself clearly sees Cheng Xiaoshi as her younger brother and is willing to stake her claim on him as family to near-strangers (we've seen it both when she met Lu Guang and Li Tianxi).

Qiao Ling's social life is clearly contrasted with that of Cheng Xiaoshi. Where Cheng Xiaoshi's first "proper" friend was Lu Guang, Qiao Ling has her own circle of friends and is fairly sociable in general (she literally found a client by befriending a stranger when she came to learn martial arts). Xu Shanshan, for instance, is very much Qiao Ling's friend despite hanging out with the collective group at uni. Qiao Ling also spoke of Cheng Xiaoshi's childhood as something that happened to him specifically, implying that she herself was spared the bullying (which makes sense considering the fact that she wasn't the one with missing parents) and so had a more "normal" upbringing. Whether she spoke up back then or stayed quiet isn't fully clarified (not speaking up against adults is one thing but what about classmates?), but Cheng Xiaoshi doesn't seem to hold it against her either way.

Nowadays, Qiao Ling's role in managing the photo shop's side-business has her interacting directly with most clients. She's the most customer-facing of the three, relaying information between clients and shiguang. This is despite her not actually knowing the full details behind shiguang's diving process until season two, which in retrospect makes it more impressive. Qiao Ling taking on the managerial role (and what is also implied to be social media advertising) also has the (unintended?) effect of obscuring shiguang's roles in the business from the public, as it's Qiao Ling who earns the nickname of "witch". It took until Xiao Li saw Cheng Xiaoshi in the CCTV footage during the Doudou case for anyone to see through this.

Key Character Moments

In terms of Qiao Ling's key moments, we have four main ones.

In Doudou arc, Qiao Ling admits she saw Doudou being taken three years ago;

In season two, at the hospital, Qiao Ling asks for some trust and to not be shut out anymore;

Qiao Ling bonding with Li Tianxi and using their shared aspects to bring her out of her shell so she would help the investigation;

The revelation that Qiao Ling did, in fact, receive some form of Lu Guang's memories from Tianxi and her dismissal of their implications.

The main thread behind all of these scenes is that they are about information and what you choose to do with it.

My thoughts are two-fold here. First, how these scenes connect with Qiao Ling's arc specifically, and secondly, how they connect with the broader themes of the series.

Qiao Ling's Arc

Doudou

Let's begin with Doudou arc. In this arc, Qiao Ling reveals that she saw the kidnapping of a child several years ago. She hadn't told anyone about this for three years and likely would have continued to have kept it to herself if not for Doudou's father approaching the photo studio. In this arc, there is the following exchange:

Qiao Ling's main regret is that she didn't do something or say something as she saw Doudou being taken away. That her inaction may have ensured that Doudou's kidnapper was able to get away with him. And she specifically says "I didn't even have the courage to step forward and provide any information." (Tangent: Funnily enough, Lu Guang is the "star of courage" in the Star Warriors later in the episode, not Qiao Ling. Qiao Ling is "star of wisdom" who is meant to "light the way". Still fitting, but in a less straightforward way.)

Now, to me, this is clearly setting up an arc, not resolving one. Qiao Ling wouldn't have offered the information if not for the circumstances. And it tells us that for all Qiao Ling has friends and is sociable, she still holds certain cards close to her chest. She doesn't want to confront the past so instead she will hold her guilt tight and not say a word. Though, as this exchange shows, she does want to have that courage. And I'll get onto this later, but this ties in very clearly with the information she later holds regarding Lu Guang.

Hospital confrontation

Throughout this entire scene, even before it becomes a "confrontation" Qiao Ling is clearly feeling guilty. She runs after Cheng Xiaoshi when he tries to leave to help the police so that she can *do something*, make up for it the best she can. Guilt and avoidance are key traits for her and they both manifest here. They're still holding her back.

And, of course, there's her statement to Cheng Xiaoshi: "You're always trying to protect me. I really appreciate it. But what I need more is your trust." Qiao Ling knows what it's like to be locked out of the loop. She didn't know the specifics of diving for months (possibly years?) and it didn't really seem to bother her (or at least she didn't give the impression it bothered her when "Xu Shanshan" asked her about it). But she has her limits. And being locked out when the situation is actively dangerous? That's clearly past those limits.

Li Tianxi

Grouping together the final two scenes, because the first Li Tianxi scene is more a demonstration of character traits as well as digging in those sibling parallels between LTC-LTX and CXS-QL. Anyway, the first scene adds more evidence to the idea that Qiao Ling is more sociable and a people person. That she could could get Li Tianxi to open up by taking a more understanding approach and showing that she gets it to some extent. She's in the same boat.

Which means when we get to the final scene, this is what ties it all together. Qiao Ling has inherited the memories Li Tianxi saw from Lu Guang. She has seen Cheng Xiaoshi's "death". She has information now. But her first instinct is to dismiss it. To avoid it and refuse to confront it because the implications are too much.

But, see, she's been in this situation before with Doudou. She's had information and done nothing with it and regretted. She wanted to have the courage to do better. This is her goal.

And the implications of these memories? Do they mean Cheng Xiaoshi is in danger? Wasn't danger her red line in the sand? Didn't she tell him that "protecting" people and "trusting" them aren't mutually exclusive?

And finally, Lu Guang isn't Li Tianxi, but isn't the scenario here at least somewhat similar? Isn't Qiao Ling in the same boat as him here, wanting to keep Cheng Xiaoshi safe? Hasn't Qiao Ling shown she can connect with people through their shared experiences?

Qiao Ling isn't a confrontational character. She's avoidant. She will wallow in her guilt and not let on until it gets too much. But she wants to do better and isn't this her chance to do something? Say something? To not just be a passive observer and be left with regrets? I don't think it will be immediate by any means, but I think for her arc to conclude properly, she will have to conclude for herself that she needs to be open with the information she has and share it. If she's pushed into it, then it's just Doudou again. But if she chooses to share the information, then that's the pay-off set up back in season one.

Broader Themes in the Show

Broader themes regarding information and withholding of it. We see time and again in this series, that characters withhold information from others.

Liu Xiao and Lu Guang with Li Tianchen and Cheng Xiaoshi respectively, both holding more information than their "partner". Refusing to share it so that they can control them. Their reasons may differ, but the dynamics mirror each other in that respect. Unhealthy dynamic number one.

Li Tianchen and Li Tianxi, never addressing what Li Tianchen is doing with their powers. It allows Li Tianchen to pretend to himself that he is protecting Li Tianxi and carrying out justice. Li Tianxi is heavily implied in her telling of their backstory to know more than she lets on with regards to Li Tianchen's actions. But the refusal of both siblings to broach the topic eventually leads to Li Tianchen going where Li Tianxi cannot follow in his pursuit of vengeance and puts Li Tianxi in the very danger Li Tianchen wanted to avoid. Unhealthy dynamic number two. (There are more than this but I'm just sticking to these to keep this from getting any longer)

To go back to the hospital confrontation, when Qiao Ling says: "You're always trying to protect me. I really appreciate it. But what I need more is your trust." When she says this? It's a direct hit against the idea that protection should involve keeping people out. And in this case, Cheng Xiaoshi does start to let her in. They do manage to have healthy communication here now that Qiao Ling has been let in on the dives and is allowed to do something to help. She doesn't want to be passive.

She knows what it's like to be locked out, to be "protected" without having her own agency respected. But now, as of end of season two, she's on the other side. She has the information and Cheng Xiaoshi is locked out.

When Qiao Ling was assigned as the "Star of Wisdom, to light the way" in the Doudou arc, that's because it's her role in the show overall. Lu Guang certainly isn't going to push forward with healthy communication; he's too committed to his path for that. Cheng Xiaoshi meanwhile doesn't have the information needed to even start a confrontation. Qiao Ling is the only one in the position to lead the way with her knowledge. To provide the route to healthy communication once more.

She is the catalyst.

[robitherat]

Thinking about the fact that most of Tims character arch is based around him actually dealing with the things from his past

Like a major part of tims character is his denial of the things that happened to him-- his repression of memories, chalking things up to hallucinations, suffering in silence, brushing off any concern from those around him ("Tim what's that?" "Just some medicine I need to take" "Are you sick, do you need to go home?" "No I'm fine.") The fact that he never mentioned his medical history or his time at the hospital to Jay until he was basically forced to.

And what was it that finally made him tell Jay about the hospital? The operator directly attacking him and making him relive scenes from his past. It wasn't until he was forced to realize what was at stake, forced to essentially confront the danger he was in by bottling up his past, that he willingly (at least somewhat) shared that information with someone. I do like to think that maybe Tim opened up to Brian in college, but as far as cannon evidence, we only really see Tim willingly talking to Jay about it. Brian knew, sure, but it's just as easy to assume he found that after the fact-- that he caught Tim in the lie, rather than Tim telling him outright.

And Tim really isn't a great liar, either. Like I know we talk about Jay being a little bit of an idiot (rightfully so) but Tim's main course of lying is. The most obvious deflection in the world. When Jay mentions the tape in his house, Tim's response is to immediately deflect ("I'm a little more worried about my house right now.") which would be a smaller thing if Tim wasn't intimately aware of how important it was to find and watch any tapes they possibly could. Tim's only method to coping with things that happen to him and the people around him is through denial, even in times when it would be infinitely more beneficial to acknowledge the issue at hand.

What's even more interesting to me is that Tim is seemingly the only character that makes any genuine progress in fighting against the operator. But that comes with the caveat that Tim is only able to do so when he actually confronts the operator, and by association, the issues of his past.

The only way he and Jay are able to make amends and move on is by Tim telling Jay about the hospital, which was only spurred on by Tim being forced to relive his trauma. Right after Tim tells Jay to stay out his life, he (by force of tta) has a relapse and ends up paired with Jay anyways. The only way he's able to get Jay and himself away from Alex's house in one piece is by literally physically standing up to the operator. In the fight against Alex, the whole time he's being ported around, he is monologuing about his past-- he's finally acknowledging the things that happened to him, that they weren't his fault, that they affect other people, and that violence isn't the answer to dealing with them-- that isolating yourself and denying the truth of what's happening isn't the answer.

And of course this is all tied back to the metaphor of mental illness: the fact that you cannot deny the things that have happened to you if you have any hope of moving on from them. you can't lash out or harm others because of your trauma if you have any hope of moving past it. The reason Jay, Brian, and ultimately Alex all died is because they were incapable of facing their issues head on; they all turned to anger, isolation, violence, and otherwise feeding into what the operator wanted, or alternatively, feeding into the misery spiral of their mental illness, rather than finding healthy coping mechanisms to heal from and move on from it.

God I need to write a full analysis essay about him OKAY I'm ending it here these aren't all my thoughts this doesn't make sense but I'm ending it here thank you for watching goodbye

[campbenji]

jwct s2 thoughts after first watch (spoilers under the cut!!!):

ok.... look, i'm just gonna say it: i put my expectations too high for this season and i ended up slightly disappointed. it's not a bad season or anything of the sort, but i guess i just didn't enjoy it as much as i did s1.

individual thoughts now, starting with the good:

-brooklynn. she's always been the camper i ignore most because i've never been able to connect with her but HOLY SHIT they really changed that this season. i desperately need to know what's going through her head, i'm so glad we got to see a good part of her pov from before and after the attack, and how she's adapting to losing her arm. i can't wait to see where she's going after that finale, the stakes went off the roof fr

-THE ANIMATION??? THE WET HAIR, THE RAIN, THE DINOSAURS LOOKED MAJESTIC, THE WAY YOU CAN ACTUALLY SEE THE CHARACTERS TREMBLING NOW IT'S SO BEAUTIFUL

-ben's arc. the amount of stress i felt for him he was going through it </3. the moment i realized he always wanted to tell them broke my heart, he knew it was a huge thing and tried to be careful with how he revealed it but never got the chance. i really wanted them to address other things about him but this will have to do

-episode 7 seems to be the best episode in every season now. yaz getting a solo adventure was something i didn't expect, and it was interesting to see how another one of their own going missing affected the group.

-kenji being reckless and putting himself in danger for other i dreamed and feared of times like these i shit you not. this was his entire arc in a jwcc s4 rewrite i made, i've been waiting for this for so long. it didn't go exactly like i wanted but i still found it interesting

-BEN AND KENJI SCENES BEN AND KENJI HEART TO HEART I'M QUITE LITERALLY SHAKING. that was the best part of the season actually (heavy /hj btw). them finally getting to open up to each other, the gyrosphere callback, them bickering around in the last few episodes, and the fight?? i really hope they're setting up a good continuation for that next season, i need more moments with them

-kenji taking care of speckles (bumpy's egg) so much throughout the season was lovely, he's such a proud father omg. the day that egg hatches is gonna be the happiest day of his life

-loved to see more of ronnie, it was kind of obvious that it was her who saved brooklynn and talked to her through dark jurassic but it was nice to have it confirmed

-it's still so weird to me to have a recurring cast who isn't just the villains, but i'm growing quite fond of them

-the blind baryonyx from episode 9 sent chills down my spine, my sister and i were fucking terrified. i would've loved to see more of it

-THAT FINALE HAS ME DEVASTATED. brooklynn giving them the egg, i hate that everyone was right about "i'm not the same brooklynn you knew", i have no idea if they're coming back from this one because what the fuck

now to the not so good stuff...

-darius felt, and oh my god i hate to say it, sidelined. again. so much of the season was centered around others that even crucial moments like him realizing brooklynn is alive were underwhelming. there was barely any followup to his issues from s1, it felt like he didn't even have an arc this season, he was just there.

-they dragged a lot of stuff in the middle of the season. i can't pinpoint it exactly but everything from the a plot in episodes 4 to 7 is a blur in my head.

-there was nothing about sammy either. it's still heavily implied that she's on bad terms with her family (her crying when aminata hugs her and her almost sibling-like bond with zayna), but she just doesn't get to talk?? about anything??? i'm so tired

-although i really liked her character, i feel like they could've done so much with zayna?? they had this girl joining them on the adventure who's around the same age as them when they got stranded, and did... nothing about it. sammy mentioned her age, but that was it. with how much they doubted her knowledge sometimes, it would've been interesting to see darius approaching her and making sure she's heard, with him being the youngest in jwcc and whatnot. the group making sure zayna didn't have as bad of an experience as they did could've been a great subplot.

-i DESPISED the dinostar flashback scene and everything they added to it. i needed to be convinced on dinostar, not completely drawn away from the ship! the implication that brooklynn was with darius ONE WEEK and darius was already head over heels when he wasn't before is insane; of course she wasn't ready for a relationship, SHE BROKE UP WITH KENJI LESS THAN A MONTH BEFORE WTF. anyways canon unrequited dinostar is out long live fanon qpr dinostar

-atp i hope they don't make dinostar canon or set brookenji back together, they should all be single for a while after everything that's gone down, although i can't help but be a little mad because then why make darius go through that, the grief was strong enough as purely platonic

-where was the handler. i'm not even obsessed with her and i missed her

-i think it was slightly obvious that soyona was going to be the broker so i'm a little confused as to why the promo made such a fuss about it, but anyway

-dr. sarr was wasted potential, those creations were insane and admitting to having fed the rest of the crew to the baryonyx felt straight out of a horror novel. that was some good horror stuff and then it got all thrown away in one episode.

-something i noticed a lot is that, even if there were barely no clips, they still revealed a lot about the season from just the trailer. half the trailer came from the last three episodes and there was a lot of spotlight to things that in the end didn't amount much to the plot (*cough* the DLN *cough*). i feel like that may be one of the reasons i didn't enjoy this season as much

that's pretty much it, sorry for being a hater about it but I had a lot of mixed feelings that i needed to get out. it's still not the worst season ever, it would take something truly awful to defeat s4 in my heart, but it's definitely in the lower middle.

[pacificwaternymph]

I. ADORED. S2 of Arcane.

Final thoughts on the season below the cut

Season two was incredibly emotionally fulfilling. The climax was amazing. I loved the constant butterfly effect throughout the entire show, starting with Jayce as a child in the snow and Vi and Powder pulling off a heist leading up to all of this. All of it felt like a natural progression, so many threads of fate being woven together into one.

But there is a part of me that almost wishes they hadn't raised the stakes quite so high.

I know it's literally the namesake of the show and therefore this was probably always the plan, but there's a part of me that wishes they had left the Arcane out of it and just focused on the class war that got kind of... brushed over in Act 2?

It feels like they had to brush aside the themes of classism and oppression for the sake of making room for this bigger climax. And I think a big part of the reason I feel like this is because season 1 chose to focus so much on that part rather than the Arcane plot. So maybe I would have felt this way no matter what they did. But in their defense, they didn't forget about it entirely.

The shot with Sevika joining the council and several councilors giving her disgusted or mistrustful looks is a wonderful way to show that while they may have temporarily joined forces to defeat a bigger threat, the tensions between Piltover and Zaun are not automatically resolved. And I do like how Sevika is still the only councilor from Zaun. Everyone else is still topside. It's a good way to show that while a little progress has been made, it's only the beginning, and Sevika will likely have to fight tooth and nail for any reform.

Jinx's death... well I suppose I should have seen it coming. It was a good conclusion to her arc. But I still wish it hadn't happened. I am of the personal opinion that it didn't need to happen, and now I'm just left wondering how the hell Warwick/Vander was still alive when every other construct or whatever the hell they were had already died.

Vi... my darling. Even at the very end, couldn't catch a break. She really did lose everything. I'm glad she has Cait. I'm glad we got the sesbian lex scene. I just wish she could have ended the show genuinely happy, after having suffered so much throughout her entire life. I know for Arcane it's kind of a long shot for anyone to end up truly happy, but... I still really wanted it for her.

And on a lighter note: just when I thought I couldn't be any more attracted to Mel, the character designers decided to take that as a personal challenge.

I LOVE that they gave Mel more attention this season. The whole witch plotline and Mel having magic came kind of totally out of left field, but I still really enjoyed it. It gave Mel an actual role in this season which was less focused on internal politics, which I am glad for. It meant that she wasn't pushed to the side when the final climax came up. And I liked how her being a black rose put her in direct opposition to Ambessa, as opposed to the subtlety both of them had been employing up until that point. I liked the juxtaposition between the two of them, and I liked how she became the leader of Noxus following everything. Returning home after a long exile.

The completion of Viktor and Jayce's arc together was so fulfilling. I wasn't even sad about their deaths, I was glad that they were together, and that they could finish what they started together, just as both of them had always wanted.

I know everyone ships them but honestly I don't. I don't think their bond needs to be romantic. It transcends the need for those kind of labels. What's important isn't the exact nature of the relationship, it's the depth of it. It's the fact that their destinies, their souls have always been and always will be intertwined. And honestly the fact that they weren't explicitly romantic is almost better to me, because it defies the idea that relationships that deep always have to be romantic.

Ekko, as always, was perfect. My only complaint about him at all this season is that we didn't get more of him. I so adore him, I loved his episode in arc 3, it felt so perfect for him. To see what could have been, having just briefly everything he could ever want, and then knowing he had to leave it behind in order to keep moving forward.

And gosh, what a way of tying his time travel abilities into the story. It does make me kind of question what was going on with his fight with Jinx in season 1, if it wasn't actually time travel, though? Maybe we were just seeing another timeline, and he wasn't? Idk.

I'm so glad that at the end of the day, it was him that managed to save everyone. It wasn't perfect. He didn't bring anyone back to life. He didn't reset any timelines (which I am immensely grateful for, I would not have wanted everything that happened to be erased, it would have been such lazy writing), but he turned back time just enough to let Jayce snap out of his trance and free Viktor from the emotionless shell he'd surrounded himself with. He gave them one last moment together. And that's all they needed.

I don't know how I'm ever going to be the same after this. I am so glad for Arcane's existence.