#(he looks more like a worm to me)

[hinamie]

there's an art in the dark that took years to refine

[sergle]

Ah fuck ah shit we found a kitten again

dude screaming his LUNGS out in front of some random building in lawton. literally just screaming as loud as possible. his plan to cry for help worked flawlessly.

[hellboundhimbo]

i need them to spontaneously combust into a ball of fire but also have a big fat gay wedding and live happily ever after it’s all very complicated

[onehundredfallenpetals]

A change of trains, an unexpected companion on the way home

[sangpires]

astarion does the talking in my party...

[kev-smell-my-fart]

i wanted this to be part of a full doodle page but I’m currently experiencing symptoms!!! so here’s this idiot again

[cable-salamdr]

Maybe some garmacondrai?

Average old man haunted by (and haunting) the narrative. I hope he explodes

[guess-i-do-art]

Behold:

the Goobers

[dw-flagler]

In this post, I will attempt to calmly, reasonably, and in-a-good-faith-manner argue all the points raised by tumblr user @library-bat-girl in the following posts. I am starting a new thread so as not to further destroy the original poster, @skitterenjoyer's, tumblr notifications. Worm (+MHA) spoilers ahead. This will be a long post.

Firstly, I would like to apologize on the worm fandom's behalf. We will not engage in ableism of any kind. I sincerely hope that this was a singular incident and @skittersdrippygirlcock will be better about this in the future.

"MHA has better characters,"

My Hero Academia's primary achievement, I think, is managing to make many decently well rounded characters in a fairly short time-span. It certainly has very good visual character design, with easily memorable character designs, like Mina Ashido or Tsuyu Asui. Most of Class 1A is shown to be more than single-note gimmick characters. For a story with such a tight schedule, and only so much page real-estate, that's impressive! For instance, a character decidedly outside of the main cast, Fumikage Tokoyami, is shown to have more to his personality than "is an edgelord," showing a humility and friendliness that is highly against-type. This is very different than a lot of its peers, especially in Shonen manga, where side characters (and sometimes even main characters) are never more than their tropes (see Fairy Tale, One Punch Man*, The Seven Deadly Sins, or Black Clover). My Hero Academia does clear that bar, by making side characters little more than their tropes. This is to say nothing of the primary cast, who, again, is largely defined by tropes and easily slotted into standardized interchangeable Shonen roles. Rival, Love Interest, Rival but Nice About It. Additionally, MHA has an uncomfortably sexualized main cast, for one composed primarily of minors.

This is compared to Worm, in which many characters are fully realized and could have been the protagonist (and often were in older drafts of the story, due to Worm's 10-year development hell). Every character that gets an interlude, and most that don't, all have fully realized interiority, traumas, and wants. In fact, this is one of the major themes of Worm. Every character, from the protagonist Taylor, to characters so minor they're seen only once (see Damsel of Distress, Dauntless), to major antagonists and monsters (see Jack Slash, Bonesaw) all have their own story, even if this is never shown on-screen. There are no "side characters" in the same manner as in My Hero Academia, because every character is a protagonist of their own story, and not in a trite "life is so beautiful" way.

Taylor isn't the center of the universe, there's an entire world outside of her 3-block bubble. The mechanism by which all characters get their superpowers means that the mere fact of having powers implies this about them. Even the seeming exceptions, aren't (see Alexandria, Garotte). Taylor is a good character. I don't even know how to elaborate on that. She just is. Worm does not have the character Minoru Mineta.

"a better plot,"

What... what is the plot of My Hero Academia? For the life of me, I can't seem to recall. I can tell you the general formula of most of the arcs for the first ~2/3rds of the story. Class 1A goes to do a hero high school thing, like do rescue training, or on-the-job training, or on-the-job-training, or on-the-job-training (they do it like 4 times for some reason), the League Of Villains shows up (even when it's seemingly not the league of villains it actually is the league of villains) they fight about it, the class beats all the villains, and Deku beats up strongest bad guy and also breaks his bones. Repeat step 1. But like. What's... the plot? The League of Villains is evil and wants to kill people and do bad stuff. They explicitly do not have greater motivations. There's generally themes of passing-on-to-the-new-generation, so there's Tomura Shigaraki as the arch nemesis to Izuku Midoriya, just as All Might's Nemesis is All For One. Eventually they fight a big fight about it and I stop reading because I find out about Worm. From what I understand (I have not read the conclusion) the series ends without addressing any long-running questions, wrapping up any character arcs, or concluding anything in a narratively satisfying manner. As if severely rushed.

Worm, there are maybe 15 main stories going on simultaneously, which are all tied into the final confrontation with Scion. The most obvious is Taylor's and the Undersiders' story, about taking over Brockton Bay and defeating Coil, which is a smaller part of Coil's story about taking over the bay, until their confrontation with him in arc 17, when it supersedes Coil's story, and then intersects with Cauldron's story, the Traveler's story, the Case 53s' stories, the Wards' story, all of it, in arcs 18-19. This is one example. A great deal of attention is spent making sure the reader knows that Taylor, the Undersiders, Coil, all of them, are bit players in a very large game. Despite this, it's never hard to follow, because Wildbow, while lacking some of the more flowery prose, manages extremely well at making his stories easy to understand.

"I feel like even people who like Worm can agree that Worm is not the most consistent piece of fiction ever written. The disjointed way it was written meant that emphasis was primarily put on 'What Wildbow thought was cool in the moment', [sic] and the story RADICALLY shifts gears every time a new arc starts."

What? Huh? Worm is extremely consistent. Like. 1.1 to E.x. It's, like. Not disjointed? Oh my god, are you talking about interludes? Is that what you mean? The interludes shift gears? Because that makes sense. It's one of the hardest things about worm, yeah. It's gripping! The interludes are a great idea to expand the world of worm, but the problem is that taylor's story is so intriguing that stepping away from it to focus on something else is hard, no matter how individually interesting. I want to read about taylor's escalation spiral, not the travelers! (As opposed to My Hero Academia having random escalation and de-escalation between arcs with no real explanation. We're reading about lives-on-the-line battles with child-slavers and then move to playing on a playground with little kids? Best I can think of is that this whiplash is intentional, but this is never communicated to the reader. Worm does not do this. Any de-escalation is met with the explicit understanding that this is merely a period of calm before things get even worse). Taylor's story wraps up in an extremely narratively satisfying fashion, following her story to its logical conclusion. There were so many ways it could have been avoided, but there was really only one way that it could have ended.

"better worldbuilding,"

This actually offends me. MHA could have had great world-building. It doesn't. Every potentially interesting bit of world-building is backpedaled out of or stopped before it could get anywhere. Or it's just never elaborated or expanded upon. Everyone having a superpower could have been cool, but the implications of this are nonexistent. The reasons for this having no real implications, that being the banning of quirks, also has implications that are also immediately backpedaled out of. It's been hundreds of years since our time, yet life is exactly the same. Nothing ever happens. Endeavor is a cool concept. I like Endeavor. his existence implies such interesting things about the world, how important hero ranking is to these people's lives, that he would create this horrific system of domestic abuse to try and get to the #1 spot. What does this say about this system of heroes that operates like a popularity contest? It could have said a lot. It says nothing. What does the League of Villains, a league of people who call themselves out-and-out villains, who base their ideology in opposing this system of heroes, say about society? Nothing. On purpose. Worm does something with this. One Punch Man does something with this. My Hero Academia puts it in the story, and lets it sit, unused, for a decade.

Worm has... unique world-building. Because it's both good and bad at the same time. Worm's #1 feature is its world. It's brilliant, full stop. Triggers, The Birdcage, the PRT, Exclusion Zones! Why does the status quo exist? what does it say about that society? What does it say about our society? Why hasn't society radically changed from how it is in our world? This is explained. This plays into the themes. The story wants to say something about this world, and so it does. There are characters whose stories explicitly delve into these themes that are set up in the worldbuilding, like Armsmaster, or Battery, or Bonesaw, or Coil, or Piggot or Alexandria or Taylor herself or Brian or Lisa or ANY OF THEM THEY ALL DO THIS. Sorry.

Anyway, the bad part is that the actual world is not well built (and is kind of racist). What's going on in Europe? There's a 3 blasphemies! a 3 what? never explained. What's going on in Asia, aside from Japan? China is a monarchy for some reason. Why? It's never elaborated on. India gets a little bit of elaboration, we're told its different but not how it's different. Wildbow uses machine translation wrong and names some guy caliph of dogs. This is like worm's #2 problem honestly (#1 is Amy). Wildbow tries to make the implication of a well thought out globe without actually making a well thought out globe.

"stronger themes,"

It really doesn't. As I said in the worldbuilding section, MHA makes a point out of not saying or doing anything. I don't know if editors made Horikoshi walk back the more ambitious story beats or what, but there are multiple points in the story where the author pretty much looks you directly in the eye and goes "This Story Isn't Saying Anything At All Even Though It Looked Like It Would. Lmao."

Worm has lots of themes. I think Armsmaster/Defiant's story is my favorite. His entire character arc (which is fully realized despite him being a background character for nearly the entire story) has a point to it. It says something. It's misanthropic and uplifting simultaneously, and manages to feel like it earns both. It's a shared theme with Bonesaw/Riley's story, explored in two different ways.

"Meanwhile MHA establishes an actual overall theme/message right from the start that expands and develops throughout the story. The worldbuilding is informed by the message, which informs the characters arcs and the people they become by the end of the story."

I notice that you never actually say what that message is. What is it? Like, for real. I'm not being confrontational or anything, like what is the message? Cuz' I can't think of one. My Hero Academia, at its very core, is a defense of the status quo. Much like its world-building, but much less forgivable, because it does do something new and unique with its world-building. MHA could have done some extremely interesting stuff with its early implicit critique of heroic society as shown with characters like Bakugo, or Shigaraki, or Endeavor, or Overhaul, or Midoriya himself! It just doesn't! It doesn't do stuff that Worm does do!

Worm does have a message. It has a lot of messages, actually, some that the author disagrees with somehow. Prison abolition, for one. We know Wildbow loves prison. Anyway, the big one is in the subtitle: doing the wrong things for the right reasons. Taylor's constant spiral of escalation, her dwindling attachments to her friends and greater focus on treating herself like a soldier is prevalent, and it is to be avoided. Taylor isn't a sin-eater. They don't exist. From what I remember, this is sort of explored in Deku's character arc for a short period of time, but much like everything else in MHA, it is backpedaled out of.

The funniest is "don't text and drive" though.

"Just on a basic level the way that the audience is meant to feel about Taylor oscillates wildly between being directed to think of her as a misunderstood victim of circumstance, or history's greatest monster."

That's kind of the point. Like. the audience isn't meant to look at Taylor the same way throughout the entire story. It's meant to change as she changes. Taylor's opinion of Taylor changes. The mistake here is saying it "oscillates wildly." it doesn't. It's a slow and steady change for the worse, as Taylor gets more violent and starts throwing away greater and greater parts of herself to become more like a robot and less like a person.

"But a bigger issue in general is tone. It's very focused on being dark and gritty and edgy, and it makes the mistake a lot of consciously edgy media does. IE: it thinks that all it has to do to be smart is be bleak and/or graphic. It doesn't really try to say anything, in fact it contradicts itself throughout the book as I mentioned before, it just throws in extremely graphic scenes and content periodically to remind the audience how fucked everything is."

Did you read the boys and think it was worm? What? It's not being smart when it's bleak or graphic? I actually personally like the endbringers or the slaughterhouse 9, and not because I like watching people suffer. These things exist for a reason. It's not being dark for the sake of being dark. The heroes could stop the slaughterhouse 9. We see that, when they almost stop the slaughterhouse 9 (it's explicitly shown that they are stopped from destroying the slaughterhouse 9). The question then becomes why don't they? It's a grim, brutal calculus, and one that wasn't worth it. That's the point. The Endbringers are different. It's not until arc 27 that they're really explained. You could either read them as a criticism of Eidolon or of ableism, honestly. I mean, it wasn't intentional, he didn't create them on purpose, he needed something to fight, because without that he's nothing. His powers are all he has.

"Worm spends so much time trying to be edgy that as with a lot of edgy media the edginess loses all impact quite quickly and becomes sort of cringe."

I don't really think so, but like. Okay. I don't think this is a reconcilable viewpoint (none of this is really but this especially), so like we're probably gonna have to agree to disagree. The only thing I can really think of as edgy for the sake of edginess is Amy's arc. But even that's not really true. It's meant to be an utterly avoidable tragedy that could never have been stopped because of the people involved. Much like Taylor, actually. Amy could have stepped back from the brink, but she didn't, because Amy could never have done that, and nobody else was willing/able to help. It's supposed to be a thing where you sit back and think of all the tiny ways this could have easily been avoided, but wasn't.

"When body horror happens it still has impact because it's not happening constantly."

I mean, I guess. But like. I never got desensitized to the body horror in Worm. It hit pretty consistently for me throughout. As opposed to MHA, where it was usually walked back by the end of every arc. I never felt much tension or suspense because it felt as if there weren't actual consequences. In Worm, when Brian was strung up on his nerves, it felt disgusting because I was fully aware Worm would explore the ripple effects of this. It felt entirely possible he would die there, or never recover, because Worm didn't pull its punches. MHA did. This is a matter of opinion. We'll just have to agree to disagree about it.

"But most importantly - you root for the heroes because the world actually seems like it's worth saving."

that's just, um. sorry. I'm really trying here. That's just. Uh. Dumb. Do you root for Batman cause Gotham is a nice city? Everything's worth saving, that's, like, at its most basic what the concept of a superhero is about.

"Not only that but MHA simply does villain protagonists objectively better than Worm."

um. No? There straight up aren't villain protagonists in MHA. The villains are the POV characters for, like, one arc? You know what, here's a good spot for it. It's stated throughout the story that Shigaraki and the League of Villains have a goal, beyond just death and destruction. They're here to stop the corrupt society of heroes (that MHA hints at the existence of before backpedaling away from), and bring about a fairer society. But then, and this part pissed me off, one of the characters, I think Bakugo, says: "you're just using that as cover! you just want to kill people, you have no noble goal!" and shigaraki's like "dang you caught me." and then it happens again with Deku! Because My Hero Academia is allergic to saying something. Nope! They're villains! No moral depth here! They're Villains, We're Heroes, Go Put Them In Jail.

This is opposed to Worm, where- "The characters of the villains and their origins are used to highlight the flaws in the Superhuman society"

"Most of the villains are only villains because society failed them in some way, and the specific ways in which that happened become big plot points that then play into the future arc of our heroic characters."

I had to walk away from my computer for this one. It's hard to be civil. It's really hard. Polite and reasonable.

So Worm is about this. To even say this without a shred of irony makes me thing you've never once read a single word of Worm and are doing this purely as bait. Or you've read all of Worm and are doing this purely as bait.

"They're actually extremely complex in a way that ends up being fundamentally important to the overall story - where in Worm the villains are either based heroes fighting a corrupt system or they're histories [sic] greatest monsters... until they're presented as heroes again."

I think I get it now. I really think I do. You're not supposed to agree with all the characters. Like. Worm is inconsistent, in that it follows the perspectives of inconsistent people. Of course Triumph and Armsmaster don't agree on what is right! They're different people, they have different perspectives!

"See. Worm fans keep saying "This is Bait." It's not Bait, you all are simply ridiculous and obsessed with this series to such a degree that you feel compelled to say "This is Bait" instead of just... ignoring it, because you have no actual counterargument."

Perhaps worm fans are inclined to believe you posted rage bait because you brazenly walked into another fandom's post and wholeheartedly proclaimed that the thing they liked was Stupid Idiot Bullshit For Fucking Morons, and refused to elaborate until prompted, at which point you said several things that are demonstrably false about Worm.

"Your only response to anything I've said is pedantry, bigotry, and deflection. If it was obviously just bait why are you engaging?"

Well, I'm engaging because I've been in a foul mood since I woke up this morning. Also because you, again, said some very rude and patently false statements about a story that I really enjoy and find narratively rich, even in its faults.

"MHA's characters do fall into archetypal shounen character roles - but they are all given a solid amount of focus explaining why they are like that and developing them into something bigger."

Again, as I said, it's a genuinely impressive feat to have an ensemble cast like what My Hero Academia has, and give so many of the characters a degree of depth, with such little manga to work with. I think worm does it better, but worm doesn't have to be economical about it. MHA does. The problem I have with this statement is that it becomes a question of scale. How much bigger? They're no longer defined by their tropes, instead defined by their opposition to their tropes. It's still a one-note character, you've merely changed the note from C to C sharp.

"so almost every member of the cast has an arc that either develops them past the person they initially seemed to be or explains why they're like that."

This is probably my favorite part about MHA. They do have arcs! I love ensemble casts! it does a much better job in this than all of its contemporaries, even One Piece. However, they are comparatively simplistic arcs that all follow a similar formula.

"I've heard people say MHA is neocon or pro-establishment but the story literally concludes by showing that society HAS TO FUNDAMENTALLY CHANGE or the same problems that created the villains in the first place will keep happening. The entire time skip specifically focuses on the fact that for eight years the main characters have been forcing change in the world and addressing the issues the villains brought up."

Now, I'm going to be clear. I stopped reading My Hero Academia around chapter 275. I don't know the exact number, but it was the latest chapter in ~mid 2020. I would occasionally attempt to reread, in an attempt to catch up, but give up around chapter 200 out of boredom. I don't know exactly how the story ends, but I have read ~2/3rds of the story. I feel this gives me a pretty good understanding of the general tone of the story, unless it wildly changes tone at the 3/4ths mark, which you have explicitly said it does not, as it is extremely coherent and consistent. Therefore, I believe I can state with some degree of confidence that MHA does not do that.

I would certainly believe that it tries (and fails) to SFP it, but SFP does not promote a fundamental societal change. That's the problem. Strong Female Protagonist was willing to come up and say that Alison lived in a fundamentally unjust world, even if it was never willing or able to offer real change. And hey. You do what you can. I sincerely doubt My Hero Academia is even willing to call its world fundamentally unjust, from the 200+ chapters that I did read.

"In the case of the actual main characters, they have extremely comprehensive character arcs."

Adding this behind the last point just so that I don't have to reiterate I haven't finished the book. I am, however, very much not inclined to believe the actual main characters had extremely comprehensive character arcs.

Which plays back into the initial theory that ANYONE CAN BE A HERO.

man, spider-man did that better (not a real argument, but like, spider-man totally did that better). Not least because midoriya specifically could not become a hero were it not for all might giving him a power.

No, the Villains don't get happy endings,

Why not? Why do they go to jail, even the ones who changed and wanted to redeem themselves? Endeavor never goes to jail. He did some horrible stuff. He's redeemed himself in the eyes of the story, right? Anyone can be a hero, right? So why not them? Why haven't they redeemed themselves in the eyes of the story?

You may wish to turn this back on me and ask why doesn't Armsmaster go to prison? Because he's similar in some respects. But worm never calls prison justice. (for some reason, even though wildbow totally loves prison). Prison is punitive, a tool for those in charge to control those it manages to capture. Maybe some deserve life in the birdcage. Many don't. It doesn't matter. Because the birdcage isn't a tool of justice. It's not meant to be. it's a box to put the uncontrollable capes in, until they can be used as meat shields. So Armsmaster doesn't go to prison because the story says explicitly there is no point to it. But MHA? MHA says there is a point to it. Endeavor needs to go to prison if he wants to atone. He's escaping justice every second he's outside.

I have actually read Worm, and for the first half to two thirds I loved it.

Weird. That's exactly how long I really enjoyed MHA. Not, like relevant, to anything. Just odd. I mean, I don't actually dislike MHA. I think it's fine, actually. It feels like Indiana Jones and the Last Crusade to me. Funny (when Mineta isn't around), bombastic, and a good time, even if I don't think it's super thematically rich.

I'm not coming at this from the perspective of someone who has never seen any of the merits of Worm, I'm coming at it from the perspective of someone who really liked it, gave it a fair shot, and was eventually disappointed when it ended up not tying together right.

See, this makes me more inclined to think it's bait, actually. since you said "Oh yeah. MHA is published. MHA's been an ongoing publication with a large following for ten years, in a notoriously competitive industry. Now this might seem kind of unimpressive, it's a very low bar to clear I know. But it's one Worm hasn't, so. I dunno, I'd say that's fairly objective. Now you may think "Yeah, but Trash fiction gets published all the time." And that's true but again - Worm hasn't. The worst piece of fiction you can think of got published and Worm didn't. You wanna be an asshole about this? The thing you love is so mid that it was self published in 2013, couldn't get picked up for professional publishing until 2019 and as far as I can see has stayed in development hell since then." in your previous post. Sure, perhaps we can say you were pissed at the time, but "the thing you love is worse than trash fiction, an altogether nothing piece of literature that isn't even worth the paper it would hypothetically be printed on" does not strike me as the words of someone who "really liked it, gave it a fair shot, and was eventually disappointed when it ended up not tying together right." In fact, going back through your other statements on the story, you seem to have genuinely disliked it from the very beginning, on grounds of being too edgy (which I can fully understand the logic of): "IE: it thinks that all it has to do to be smart is be bleak and/or graphic," thematically incoherent: "It doesn't really try to say anything, in fact it contradicts itself throughout the book as I mentioned before, it just throws in extremely graphic scenes and content periodically to remind the audience how fucked everything is," and utterly devoid of purpose or meaning. "When it does introduce new lore that new lore is almost always overly convoluted and acts as a catalyst for things happening, but not really things happening that play into a wider theme or message. It's just "Oh and here's this team of god-level serial killers who are gonna string a dude up by his nervous system." Like yeah, cool visual, but what is any of this actually saying?" This does not sound like a ringing endorsement of the first half of Worm to me. In fact, this sounds like you hated every second of it.

"And frankly given the number of comments that are just people saying "Bait" - I don't think any of y'all have engaged with this in a fair or honest way"

I'm going to reiterate on my previous statement. I like my hero academia. Capeshit is my favorite genre, it probably always will be. They're my favorite genre of story. While I find the themes—or lack thereof—extremely frustrating, I still think of it as fun. I gave it a fair shake. I would probably really enjoy the ending if I didn't have a reading list that was 300 books long.

[theswedishpajas]

The man truly can’t take a genuine compliment 🙄

[wormedrabidnerd]

Anyways, Prince Gumball be upon ye!

I prefer him like this

A neurotic, incompetent nerdy loser <3

[rivilu]

One side effect of the autistic sense of justice for me is going insane over justice and vengeance as concepts in themselves whenever applicable in media.

Which unfortunately means that thinking about justice dragon age for too long (especially with the post inq takes on spirits) makes me want to rip my hair out.

[longagoitwastuesday]

Every day I am haunted by the fact JJK could be amazing but it will be just idk Bleach or something

[gottagobackintime]

I liked that we only got to see Trent look at Colin this episode. Having him observe Colin and then deciding what to do feels like a very Trent thing to do. Yes, Colin kissing Michael where anyone could see is bad if he wants to keep it a secret. And that's a conversation that I'm not getting into now. BUT, what does Trent actually know about Colin in terms of being out or not. He knows that Colin isn't out to the public, obviously, because it would have made headlines. But he doesn't know if Colin is out to his teammates and leaders. We know he isn't but Trent doesn't. He saw Colin and Michael kiss and he heard what Colin said in the latest episode. Yes, Colin brought Michael to Sam's restaurant and introduced him as his pal, his wingman. Trent could have heard that, he was sitting close by, but did he? I mean every shot we got of him he was clearly deep into his own conversation with various people at his table. Would he have picked up what Colin said, and remembered it? I don't think so.

So he observes Colin, because now he knows something new but not enough. And I know that a lot of you feel like Trent should warn him, tell him that he saw them kissing. But honestly, Colin is an adult who knows that there are no out players. He knows that it would make headlines, he knows he's not out to the team, and he still chose to kiss his boyfriend in an alley. Sure he could have been drunk or just wanted to kiss his boyfriend, consequences be damned. But he still chose to do it. So Trent has two choices, act like Colin doesn't have a clue what it's like being gay, telling him he needs to be careful because people can see him if he's kissing his boyfriend in public (which would honestly be condescending) or he doesn't say anything, he waits and sees how Colin acts, to see if he should mention anything to him. Trent has clearly chosen the latter option for now and we'll see where this goes.

There's also the "is Trent gay or not" aspect, I say he is. And if we're going with that assumption we also have to think about, is Trent himself out? Or rather, is he out to people at work. Because coming out isn't a singular event, you'll always come out. Every time you meet someone who doesn't know who you are, you'll have to decide if you're going to come out to them or not. I'm leaning towards him, not being in the closet, but rather him keeping his private life to himself and being open with friends and family. He's not hiding it and he's not ashamed, he just doesn't tell anyone, because it's not relevant when he's at work. And I say that as someone who loves reading fanfics where he is an openly gay sports journalist.

Where am I going with this? I don't know, I never know what my point is. BUT, I do think that we'll see similar scenes of Trent just observing Colin until perhaps the Amsterdam episode. And that's where he tells Colin that he knows and/or that he's gay himself. And then we might see Colin confiding in him and Trent might help him with a statement for when he's ready to tell the world. Because I do believe that he will tell the public. I don't know if it will be because he's been outed or he's doing it of his own free will. I don't really mind, I think they'll give us something that will rip our hearts out either way. But I am a believer in "gay mentor" Trent Crimm, giving Colin someone "in the business" to confide in.

[stuck-in-the-ghost-zone]

HIII I KNOW. A LITTLE BIT ABOUT ANNIHILATION. PERIPHERALLY. ive seen like part of it but i do NOT remember much. except that its one of the prettiest movies ive ever seen. that being said im so eyes emoji abt ur au..... r there any specific scenes frm the movie ur thinking about?? how would the character dynamics differ from either canon?? etc etc etc!!!

GOD I FUCKING LOOOOOVE ANNIHILATION. ONE OF MY TOP 5 FAVORITE MOVIES OF ALL TIME EVER. yes yes yes yes yes OK. so this is. all encompassing crossover jrwi au which means I'm pulling characters from different campaigns. which. usually im not a huge fan of but i think i pulled it off rlly well in a limited sense here bc i have very specific reasoning behind why i put each character where. u will know at least two of them and they WILL cause you psychic damage so trust me when i say the other ones will too. putting this under a cut bc im gonna ramble

BASICALLYYYYY it's gonna follow the plot of the movie pretty closely just with slightly altered character dynamics + each of their reasons for going into the shimmer. so each person on the Current Team has lost someone on a previous expedition, and basically all of them are trying to find answers for what happened to their loved ones.

im gonna talk mainly about the ones you know because youll understand where I'm coming from the best with them but just know I am OBSESSED w the roles I have put gillion and chip in here. god I miss riptide every day .

DAKOTA COLE AS ANYA. Anya is the retired paramedic !! she's the one that. hold everything. gets killed by the fucked up bear. smile. that was just a fun little coincidence for me . ORIGINALLY I was dead set on having the pd representative be william bc im biased and I love him but after rewatching the movie I just think dakota fits in anyas place so perfectly. she's the most outgoing of the group, she's the one that initially invites Lena to join their team (also side note there is a pre-existing dynamic between dakota and chip because they've had MULTIPLE interactions in various what if crossover episodes and their dynamic is one of my favorite things ever). she's also the most aggressive. she's the first one to snap into action mode after finding the body in the pool, she's the one to take josie away from it and has a very protective stance over josie for the rest of the time after that (this is going to be relevant i am gonna talk about josie next) . once the group starts arguing about whether they want to continue further into the shimmer, anya shifts into a VERY black and white mentality, pinning ventress as The Bad Guy immediately for wanting to continue. and then when Lena shows some hesitancy over what she wants to do, anya snaps into a "youre either with me or against me" mindset. she also has this growing sense of paranoia ever since they find the tape of what appears to be the previous crew killing each other, and after she learns Lena is lying to them about her connection with Kane she goes way overboard with tying them to chairs and threatening to kill them. while i don't think dakota would necessarily go that far I DID say this to jonesy when we were rewatching the movie together so. bfu connecting two dots meme

anyway i think dakota is in the shimmer looking for william AND vyncent. parallels to the "dakota leaves for 10 months without telling them" which is why the three of them would be separated in the first place. william somehow finds out about the southern reach and his draw toward a mystery is what causes him to join the first expedition. vyncent goes with him because he can sense it's dangerous (and basically a suicide mission) and doesn't want william to go alone. I have. ideas. for what happens to them in the shimmer but they are vague at best right now and even then. dakota never finds out what happens to them before he's killed by the bear. the bear uses their voices to draw him out btw. smile. he dies protecting thr rest of the group even immediately after his paranoid breakdown.

OK THAT GOT LONG. OOPS. ONTO THE SECOND ONE

SHILO AS JOSIE. ohhhhh josie radek one of my favorite characters in media of all time. God I love her so much. anyway she's the only one of the current expedition with no previous combat training, so she's often seen by the rest of them as someone who needs to be protected. if I'm remembering correctly she's also the youngest. (in this. au. dakota would be older than shilo. feels better in my mind. none of them would be Kids they'd all be adults at this point but I'd put shilo in early 20s and dakota maybe in mid 20s. so . still young.) shilo is in the shimmer looking for his twin brother who went missing. somehow he was able to track down the southern reach and find out emizel was part of a previous expedition, and desperately wants to get him back. he's the one with the LEAST amount of knowledge going into the shimmer. he doesn't realize it's a suicide mission. he just wants his brother back. anyway when they get to the first outpost they find the remnants of the first team's base of operations, with names on a guard patrol rotation and leftover weapons and. a video camera. with a tape in a plastic bag labeled "for those who follow". josie is the one holding the camera when they watch it. the tape shows members of the previous party in the abandoned pool, one guy tied to a chair while the others cut open his abdomen to show his intestines moving around like snakes or worms. in the movie, the guy who cuts him open is Kane, Lena's husband. the rest of the party doesn't know her connection to kane, and she knows now if she tells them they won't trust her (and is proven correct by this when anya eventually finds out her connection) ANYWAY I'm going off track. sorry this is my favorite scene in the whole movie I get distracted. ANYWAY so when they see this, josie is the most immediately horrified by it because she's the only one who hasn't seen anything as gruesome as that before. for shilo. well. he gets to see the one being cut open is emizel. and then later when they get to the pool and find the body still there (again. josie is the one to find this. she's also the one who reaches down into the old dirty water and accidentally picks up the knife. which was still left in the same place they saw it be dropped in the tape) corpse plastered to the wall by all kinds of multicolored fungus and lichen, I think shilo doesn't immediately break down, he doesn't really. process it right away. I mean it's completely unrecognizable. it's not until he accidentally picks up the knife that it all clicks into place in his mind and he realizes "that thing right there used to be my fucking brother" and completely shuts down. runs out of the complex, dakota has to chase him down because they all know its dangerous to go anywhere alone, etc. after this he loses any sense of purpose, the only reason he came into the shimmer in the first place was to get emizel back and now seeing what happened I think he just gets. hopeless. which is the beginning of the end for him . i haven't decided if his exact death is the same as josies but i want it to be peaceful in the same sort of way. "imagine dying frightened and in pain and having that be the only part of you which survives... i wouldnt like that at all" "ventress wants to face it.. you want to fight it... im not sure i want either of those things...." josie radek i am in love with you. anyway. annihilation pool scene for you because I love this image more than anything

[ghostiezone]

ART REQ!! how’s about. tim and jay. just chillin. takin a break from the Horrors. maybe they r eating ice cream or watchin a movie or havin a sleepover & painting each other’s nails. the possibilities r endless!! anything can hadplen……

nothin fun to do in motel rooms except get drunk and fall asleep watching movies...