#(while still being left at the whims of these fucking agencies actually getting the story straight)

[soysaucevictim]

Yeah... just needed to make vent art.

[popanalysis99]

Toxic Men in TV Series who are the absolute worst.

(TW: R*pe and Sexual Assault)

While there are some men who seem to be interesting, let’s not deny the fact that there are most male characters who act like their “toxicity” is cool but honestly, it’s horrible and something not to root for. So here are the toxic male characters who are the absolute worst, excuse my misandry:

Kevin McRoberts - Kevin Can F**k Himself

We had to start somewhere from the bottom of the underworld. A recent entry on this list, Kevin is the lead character Allison’s husband who...let’s just say has the brain of a dumb frat bro who is extremely high on pot and hasn’t recovered since then. While most of the sitcoms in the past would portray these so-called goofy and dim-witted husbands as “big fun” and lovable, Kevin is not like that, at all. In this anti-sitcom nightmare, Kevin literally believes that the whole world revolves around him. He plans such stupid unrealistic schemes to seize the day, recklessly spends the savings on stupid irrelevant sports merchandises and doesn’t even let Allison have her own agency outside of his life. Plus he is so petty and spiteful to the point he destroys one good thing that any of the women in the series have, like Allison’s dream job and Patty’s love life. And that latter was because she didn’t bring him a burger! All of this makes him look less funny and more tyrannical. No wonder poor Allison got spurred into wanting to kill him.

Ross Geller - Friends

Ross may seemed like a “nice guy”, but let’s just agree it was a facade. Ross believes that he knows what’s best for the women he dates in the series and thinks he is superior and is always right about everything. He is seems extremely disturbed over the fact that his ex-wife, Carol is a lesbian and is jilted towards her current wife, Susan and snarks at the latter for it. And then there is her extreme control and jealousy towards Rachel, especially in her career. While Rachel is no saint either, Ross jumps to the conclusion that the man who got her a perfect job wants to sleep with her, then goes out of his way to humiliate and mark his territory on her and even if it’s revealed that the said guy has a girlfriend of his own, Ross still doesn’t abandon his theory, unless he believes that the guy is cheating on his girlfriend with Rachel. And then there is the fact that he joined his student girlfriend on a spring break just to have her all to himself, not caring about the fact that what if one of his students or colleagues would’ve seen him on TV with her and that could’ve put him in a huge scrutiny.

Joe Goldberg - You

The show is basically built around how toxic Joe is, but this didn’t stop him from having his own fanbase apparently, with most of them glossing over his actions. But Joe is not a dream boyfriend at all. Once he sees a woman in front of him, he immediately gets obsessed with her and believes she belongs to him and him only. And to achieve that, he stalks her, he checks everything about her, kills people he believes are harmful to her when he himself is the same and when the woman finds out about him and rejects him, he kidnaps and kills her and the cycle begins again.

Chuck Bass - Gossip Girl

What is it with the teen drama industry’s obsession with the “Bad Boy who can be redeemed with love” trope? Chuck Bass is “the bad boy” of Gossip Girl. If his attempted rape of Serena and Jenny didn’t give fans an indication that how deranged he is, his violent and emotional abuse of his girlfriend Blair cements him as this. He slut-shamed women around him, hit Blair once and even traded her for a hotel ownership and somehow he gets a happy ending with her at the end! What?

Nate Jacobs - Euphoria

Nate is a star quarterback of his high school football team and seems like he has it all, but underneath, he is fucking deranged. His untamed manly rage causes him to physically and emotionally abuse his girlfriend Maddy and blackmail Jules, who didn’t do anything wrong but just sleep with his father, which makes me think that Nate is blackmailing her into lying to the cops about his assault on Maddy when she wasn’t even there when it happened just because it’s fun for him. Honestly, I’d like to see the imagine Rue and Jules had of killing him become a reality someday.

Dawson Leery - Dawson’s Creek

Just because the show is named after him since he is the protagonist, doesn’t justify his actions. Dawson sees himself as some sort of a Nice Guy hero who believes he is entitled to everything. He has this extreme view on women and how they should fulfil his fantasies of his Rom-Com world. He is extremely critical of Jen when he finds out about her promiscuous past and tells her that she should be ashamed of herself for it, and gets jealous when his two best friends Joey and Pacey begin dating. And when he was briefly in the movie business, he was a rookie but was already a primadonna with the director and crew of the movie was working on and insulted a film critic for criticising his movie which was actually bad.

Kilgrave - Jessica Jones

Kilgrave is the main villain of the Marvel-Netflix series Jessica Jones. He becomes obsessed with the titular heroine when she breaks off from his mind-control. Before that, he spent years treating her as his sex slave and raping her constantly, which left her traumatised. He begins to stalker and believe it will be a “lover’s reunion” when he will see her again someday. He manipulates and brainwashes everyone around him to his whim and treats most women as objects but despite all that, sees himself as the good guy of the situation. Even after Jessica finally gives him his just desserts, he still haunts her everyday.

Fernando Vera - Mr. Robot

This spawn of satan is the reason why I decided to write this list in the first place. Where do I even start? He is first introduced into the series when he forces Shayla to go on a date with her and later rape her. This is what causes the misandrist vigilante Elliot to sell him out to the FBI and this apparently turns on Vera and moves his unhealthy obsession to Elliot. He has Shayla killed when he tricks Elliot into breaking him out of prison, then returns to have him all to himself by kidnapping his therapist Krista and forcing information out of her about Elliot so that he could “break him and build him back up”, like a fucked up version of The Taming Of The Shrew. He psychologically abuses Elliot into remembering being sexually abused by his father as a child and proceeds to gaslight him into thinking that he was just helping him. The huge problem with Vera is that he sees himself as some sort of Christian Grey who believes that his abuse towards both Shayla and Elliot is charming. Whenever someone failed his desires, he immediately gets bored of them and moves onto someone else, like when he got Shayla killed and moved onto Elliot. That’s why it felt so cathartic when Krista killed him.

Tate Langdon - American Horror Story

Apparently, he is Tate Langdon and he is...hot?? While most of the AHS fans glorified him due to his emo bad boy nature, let’s not forget the fact that he was a school shooter who murdered innocent students and staff and was in general possessive and toxic towards Violet. So no way he is boyfriend material!

Don Draper - Mad Men

Don Draper was the main protagonist of Mad Men. He was an advertisement and marketing executive who had a lot of vices and did a lot of horrible things such as cheat on his wife and treat almost every women and colleagues like crap.

Dexter Morgan - Dexter

While Dexter might seem like the serial-killer killer, there are a lot of things about him which are unadmirable. He gaslights those he is close to so that they could get off his back, obstructs evidence pointing out to him, captures those who didn’t even fit his victims like Doakes and caused the deaths of LaGuerta, Rita and finally his sister Debra. Yeah I think you should stay away from him.

Walter White - Breaking Bad

Aaah..the worst of the worst. Walter White is the protagonist of the series Breaking Bad. He first starts off as a pushover high school teacher who isn’t respected by anyone. When he gets diagnosed with Lung Cancer, he gets into the meth business so that he could support his family, but we all know that it’s not true. He relishes on the power and glory from being a drug dealer and then kingpin and because of that he ends up abusing both Jesse and Skyler, emotionally abusing and selling out the former to the sadistic Nazis and raping the latter several times. He is so petty and spiteful that he kills anyone insulting his ego, just ask Mike. And even after all this, he still claims that it’s all for his family. Like what?

[stormbornbastard]

The Potential In Philoise

gif credit: @vakariaan​

tw/ sexual assault, abuse, depression, suicide, julia quinn’s writing 

AN: Okay, so I said awhile ago I would explain why Phillip and Eloise are my favorite couple in the series so get ready...it’s a bit of a long one. 

I read four Bridgerton books immediately after the show ended. Skipping over The Duke and I because I wasn’t comfortable with the assault scene between Simon and Daphne and also because I had already seen the romance play out onscreen. I fell in love with each romance I encountered, mainly because I didn’t read them as they were but as the show would make them out to be. I romanticized a romance series as weird as that sounds. Yet, none of the romances struck me the way To Sir Phillip, With Love did.

It’s not a perfect book. In fact, it's incredibly problematic. Phillip rapes his depressed wife, Marina (although given Julia’s history with crossing the lines of consent I doubt this is the way she wanted us to interpret the scene. Actually, the way it was written made it seem like we were meant to sympathize with Phillip and his loveless marriage. Hence the way he immediately grows ill afterward.) Marina attempts suicide and dies due to disease later on. Given her storyline in the show and the fact that a young biracial woman is playing her was disheartening, to say the least.

(AN: I don’t consider the character to be Black representation, she’s biracial. As a black woman who enjoyed her character and arc, no part of me felt seen and represented through her because she was half black. She's Biracial rep, not Black rep and that’s okay. Just putting that out there. )

Phillip seeks a woman to take care of his children, fuck and do the shit he doesn’t want to do. His mental illness is handled in such a shitty way. The independent nature Eloise once has is almost stifled by Phillip and what he wants for some reason. He’s neglectful, erratic and he does dismiss potential negative feelings Eloise could have in their relationship because of his past relationship.

It's fucked up. The entire book.

And yet, imagining how this problematic romance would play out on screen once properly adapted for modern audiences makes me fucking giddy. All because of one, simple thing that remains the reason I am so fucking excited to see this pairing onscreen.

The unrealized potential the pairing and Phillip as a character have in the novel.

Let me explain.

Their romance is unique. Phillip and Eloise are not strangers when they meet. They’ve been writing to each other for months, picking each other’s brains every week or so. Getting to know each other in a way that other couples in the series don’t at first. Intellectually. They’re able to keep such a steady, enthralling dialogue through letters, and it's a friendship that they both enjoy. Phillip stimulates Eloise’s mind, something the show has emphasized her wanting, for months. He’s her intellectual equal, or at least...he has the potential to be. Of course, he slaves over the letters (which is cute as fuck because he really just wants her to like him) but it's still his words. It’s his voice. It is Phillip, at his best.

I hope the show can play this up. Phillip is a botanist and a scholar before he inherits his family’s estate. Eloise has a desire to learn and further her knowledge of the world around her. Bonding over their shared love of education, fun banter based around teasing the other and their individual studies, taking an interest in what the other desires to learn.  Reading books together in the greenhouse, etc. The show could easily play up the fact that Phillip was not only a gardener but a literal man of science, something Julia neglects in their book despite it having the possibility of playing a major factor in their love story.

The possibilities of it just...makes me swoon.

Moving on, Eloise choosing to pursue a possible future with this man is a big fucking deal. Running away from home to go after a future for herself IS her displaying her OWN agency. Sure, Phillip poses the question of it but she’s the one who chooses it. Phillip doesn’t demand her to come to him, he simply suggests it and she’s the one who acts. The one who pursues. And if they hadn’t been bombarded by her brothers, it would’ve remained her choice of whether or she wanted to be a part of this man’s life permanently.

Phillip wouldn’t have forced her, he could’ve easily tried to. By going to the Bridgerton house and discussing with Anthony the possibility of marrying her but no, he asks her. HE ASKS HER AND SHE CHOOSES. I fucking love that. It's like the bare minimum but given the time period and the number of couples where the man has the final say on the marriage, this just makes me giddy. The show could change this and give Eloise more time with Phillip to the point where she chooses him and isn’t forced into the marriage which I hope they do.

Also, their first meeting where neither one of them is what the other expects sounds amazing ngl. The initial confusion, shock, unease, and undeniable attraction, it's gonna serve why lie?

Despite how much it affects him, the subject of Phillip’s abuse is handled so...wrong. As someone who shares an experience with abusive parents, I understand the fear of becoming like them. Of hurting the ones you love and being angry and feeling guilty. Yet, Phillip never confronts these fears. Not really. Sure, we get the scene in the nursery but thinking of how the show could handle it and his relationship with his children makes me excited. Having him being neglectful of his children was the wrong move, especially if his fear is hurting them in an attempt to discipline them. It's clear he loves them and ultimately wants the best for them which is why he’s searching for someone to better take care of them despite the shitty bitch he already has hired. I hope the show capitalizes on that.

Have Phillip be involved but not a disciplinary figure. Yeah, I get that he’s the man or whatever but it's clear that Phillip finds no enjoyment in the act or even pondering it. But he does love his kids. Have him be overwhelmed but still involved. It just felt weird that Phillip didn’t want anything to do with his kids despite one of his main reasons to look for a wife was so that they could be properly taken care of. Have him try but struggle. A lot.

It’d be funny to see Oliver and Amanda running the house and Phillip struggling to keep up. They’re supposed to be mischievous, they should play that up in the show. Having the kids be little gremlins but instead of him ignoring them completely, he could just give in to their whims. And when his anger does get the best of him, then he could run. Be distant, wrestle with his internal struggle with abuse but also knowing he can’t let his kids run his household like this and go about as reckless as they do.

Speaking of abuse, I hope they scrap the nursery lady altogether. I know it’s supposed to show him stepping into dad mode but it just felt like unnecessary and triggering of his own child abuse. He could easily step into this role by learning to deal with his anger, learning to control it. Eloise could suggest journaling the way she does (another bonding moment that could be less cute and more intimate if done right.) Having him put his anger into gardening, I interpreted it as it being a safe place and coping mechanism for him in the book and that would be nice to see.

Having to finally put an end to his kids' tirade once he learns to trust himself and realize that he’s nothing like his father. Actual healing from childhood trauma and Eloise helping him do so. She could also suggest boxing with her brothers like...it just makes sense. As someone with a temper, boxing helped me sort through that and the opportunity to see Phillip and Simon bonding, while boxing, over their shitty dads, sounds pretty fucking cathartic (and hot).

I would just like the show to truly show that just because you’ve dealt with abuse doesn’t mean you have to be defined and like your abuser. Phillip is a pretty great candidate for it because the guy is...scarred, to say the least.

I love the physical side of Phillip and Eloise’s relationship. Like really love, it's said that they try different things and are comfortable in that regard with each other and it just...yeah, that makes me happy. Besides that, I hope they play up the intellectual side of their relationship. Two nerds in love are adorable and imagining Phillip ranting about plants and Eloise just being completely enthralled at this man and his passion sounds like the cutest fucking shit.

Speaking of intellectual, it's implied Phillip cares little about high society. Meaning, wouldn’t he care even less about societal expectations and norms? Meaning Eloise would literally find freedom with this man to just...do her. Despite the book showing how Phillip wants a wife, it never really says that he cares exactly how that wife maintains herself or their household. Eloise wants to fuck around and wear trousers? He doesn’t care. Eloise wants a private tutor and a study for herself? Cool. Eloise wants to take Amanda riding in the forest and then teach her how to shoot? All good. The man was literally proud to watch her beat her brothers in a traditionally masculine sport. He wants his wife to run his house and his entire life how she sees fit.

Julia really neglected how much agency and power that could give Eloise. She could be his equal, like really be his equal. Of course, Phillip becoming more involved in his and his children’s lives is a part of his arc but nothing leads me to believe he would want to control Eloise. The two of them being more than just lovers, but partners who allow the other their freedoms when needed sounds epic as shit.

Now some things that could easily be left out, the rape scene. It’s there to showcase that Phillip has lost his wife and there is no chance of reigniting whatever they may have had in the past. Yet, there are so many other ways to show that. Phillip could try and speak with her with no response. Hold her hand and she pulls away? He’s a smart man, it doesn’t take much to get the hint so that could’ve easily been written out and replaced with something else.

Second of all, I like the possibility of Marina and Phillip finding happiness at first. Of them trying to love each other after George and succeeding. The way Marina is written in the show, I doubt she’s quick to give up. So to see the two of them having an agreeable marriage and getting along would be nice. They could showcase her mental illness in a different form, it's clear she suffers from postpartum depression. She withdraws into herself, distances herself from her children. She’s depressed but it's not as stereotypical and easily spotted as Julia makes it out to be. Marina just gives up on her children and life without any fight? Absolutely not.

As someone who suffers from depression, the way Julia wrote it is so...??? The truth is, I would like Phillip and their family to not even realize she’s suicidal. To not see it coming when she jumps in the lake and attempts to end her own life because that's exactly how suicide impacts so many people and their loved ones. They don’t see it coming. Phillip struggling with the guilt of that rather than the anger of being trapped in a loveless marriage sounds...a lot more interesting to me. Me, personally. Considering how much buzz the show has, it would spark up a dialogue and a good one if handled properly. I’ve thought a lot about Marina but this is just how I would prefer to see it handled if they go through with her canon death (which I am not actively rooting for by the way.)

Another reason I like the potential of Philloise is Oliver and Amanda, they just add some extra spice. If fully realized characters, watching them grow closer to their dad and form a relationship with Eloise would be so rewarding for two kids who have lost a lot. Also, the amount of comedic gold in their pranks with Eloise and dynamic with each other would give the season even more humor on top of Eloise herself.

And as much as I love the line, “this-us-is heaven.” They could easily modify the love speech. Like very easily.

My point is, I think their potential outweighs the problematic factors in their story and I doubt the show will fail on realizing it and ridding itself of the problematic aspects. One could even say they already started, I mean look at the way the show made a point to show Eloise’s disgust with fathers and husbands who abandon their family, and then comes Phillip, doing the absolute most to protect his remaining family. I mean, Bridgerton did turn the weakest romance in the series into a whole pop culture phenomenon. My hopes are high. Okay, that’s all.

[redrabbitspod]

This is in no way meant to be rude or disrespectful and I am fully aware that you can do whatever you please but I feel like Neil is getting so out of character. He clearly started to develop more of an own personality but he definitely has been through so much and he is just so..cheery and happy and clingy all the time(which if you’re like that is in no way wrong or bad) and now he reminds me so much of Nicky in AFTG. It’s really hard for me to still see Neil.

OOC: This is very long, and while we think everything leading up to it is super important to our thought process (and yes this is something we’ve thought about) the bit in bold is the heart of the point we try to make. (Please read the whole thing though!)

Hey, I’m actually really happy that you sent this in because I’ve been wanting to talk about it. I know that there’s a post going around that we both wholeheartedly agree with about Neil reaching far past ooc and becoming very ‘fem’. Jeni and I had a really long talk about this because we were worried that our Neil would be perceived or mistaken to fit in that trope. And while I think your concern is EXTREMELY valid (note: people can write the characters however they want. It’s fanfiction, they can do as they please, like you said, we just did not want to go that direction), I have a few points as to why I disagree. 

On surface I definitely get that. Idk if you’ve read the entirety of RRP, but I know for those of you that just read the asks (Im sure there are a lot), it DEFINITELY seems that way. But we went into RRP right off the bat letting people know that these characters will fundamentally be different. In Andrew’s case, we know he’s extremely soft now and we bring that up a LOT in the fic. Both himself acknowledging it and all the other characters around him. But we went in knowing he was going to be very different from canon - mainly because we took out the plotline that he was ever put on meds. In Wish You Were Here, the story we are writing post-season 2, we will be mentioning that and how we twisted it. Because in canon, that shaped his entire character. The medication changed the physiology of his brain and we hated the fact that something so abhorrent was forced upon him by the courts that we didn’t do it. And as a result, Andrew’s character is completely different because he’s able to tap into emotions that were blocked in canon. He’s able to grow in ways that he was not able to before and besides the fact that this is set a good while after college and especially his sophomore year that we saw in canon, he was going to change. We definitely know that them admitting that they love each other, making strides in their relationship both physical and mental, opening up, expressing, for his character may seem extremely ooc for some, but we had to take into account what would’ve happened if we took the thing that shaped his character in canon away. I hope we’ve done him justice. 

Now onto Neil. Neil we work over a LOT. And when Jeni brought this up to me because of the post, there were glaring things in my mind that automatically said no. This doesnt apply to our Neil even though to some it may seem that way. Here’s what we’ve done at least very consciously to make sure that our Neil holds integrity to his canon character, that he holds merit and a backbone to back up how he’s grown throughout our series. 

From day one, we knew that they knew each other. We knew that an event from the past not only shaped how Andrew approaches life, but how Neil does as well. Childish sentiment and nostalgia kept Neil in Arizona for so long, which we imply throughout season 1 and start the ball rolling in the first chapter. For the both of them, they held onto the boy they met at the Grand Canyon through everything they’d been through. When shit got tough, it was each other they thought of. And on some wild whim, Neil hoped one day Andrew would walk through the Book Nook’s doors and he’d see him again. Not because Neil had a crush, because he didn’t. But because Andrew was the embodiment of strength for him. 

New York was really important to us. Neil standing his ground and letting Andrew know exactly what he’d done to him, was what the entirety of Season 1 and EVEN season 2 culminated and came back to. Neil being able to say no, fuck you asshole, and always express exactly how he was feeling, was so vitally important to us. ESPECIALLY when it came to Andrew. Those few weeks of New York we wanted to build a bridge if you will. Andrew’s intentions were always genuine and well-meaning and Neil knew that, but survival instincts and what’s been ingrained in him stuck. They started to have a little give when he came to realize that he felt something for the man before him. But he never lost that fight for himself. That HE has to ALSO be okay. And I think we see a lot in that trope of Neil that he loses the fight, the backbone, the integrity that makes his canon character so compelling (even if he is a martyr). 

One thing we worried people would misinterpret was how fast we pushed their characters together. We definitely get that. In our world we didnt really have the luxury of really stretching it out like some may have, just because we were working with real-time. And honestly? As we wrote, the drive to push them together because they were so connected and intertwined just fell genuinely and organically. For us, it only made sense and not because of canon, but because of the story we’d written already. It made sense to us for Andrew to be the one to hold himself back and Neil be the one reaching out - Neil be the one exploring and beginning to recognize what want and really, agency over himself AND his wants, was. Neil was the one to ask for their first kiss here, Neil was the one to initiate them all afterwards, Neil was the one that asked Andrew to touch him, Neil was the one that asked what they were in Arizona, Neil was the one to bring up sex. And in return, Andrew was peeling away layers of himself, feeling accepted, and wanted, and understood in ways he’d never been before. And honestly? Feeling honored that they were both experiencing emotions in ways that they both never felt before. We see their relationship has an equal give and take, a push and pull. And I’m saying all of this because it’s honestly and truly really important for why we’ve made Neil’s character the way that he is. 

Going into season 2, we knew that happiness could not last long. They both had things to sort out, they both had hurdles to hop over, bridges to cross, whole fucking oceans to swim. Before season 2 started, before we had anything written or really even solidly planned, we knew they had to break up. Jeni even had the scene written back in either july or august. We knew that in order to continue trying to give integrity to their characters and relationship, how far they’d grown but also that growth is not a linear path, we needed to break them up. And in the lead up to that, we made sure that Neil was not only looking out for Andrew or trying to, but that he was looking out for HIMSELF. Unlike in canon, he didnt automatically have the foxes - not in his head at least. Of course he knew he had a home there, he knew that he had friends, but they weren’t like canon because he didnt grow WITH them like he did in canon. In his mind, he really only had Andrew and if there was no Andrew, why stay? And when their fight happened we made sure that Neil had value enough in himself, care for himself, love for himself AND for Andrew that they couldn’t let this go on any longer. Neil left because he knew he deserved better. He knew Andrew needed help and he couldn’t provide it. And he held onto that. In fact, Andrew even held onto it himself: 

“Is there no hope, then?” Andrew asked, unable to help himself.

Neil sighed and Andrew was grateful that he at least didn’t pretend that he didn’t know what Andrew meant.

“I don’t know, Dr- Andrew.” Was it possible for his chest to hurt even more? He wanted to curl in on himself, but settled instead for clenching the sharp corners of the pack of cigarettes in his pocket into the palm of his hand. He watched as Neil bit the inside of his lip and that little indent appeared. Maybe he feels it, too . “Part of me wants to say fuck it all and let’s just go home. I hate this... But I hate what you’ve been putting me through these last couple of weeks even more. I can’t do that again,” he stopped talking once more and inhaled a shuddering breath. “You broke my heart, Andrew. I know I sound dramatic and stupid, but I don’t know how else to say it and - I don’t know how to do this, for fucks sake.” He finally turned to him, but the eye contact was brief and before it was even there, it was gone. “I came into this knowing nothing about relationships and I know even less about breakups. I don’t know how to navigate this.”

“You think I do?” Andrew asked. He didn’t mean  for it to sound so bitter, but there it was.

“I don’t know with you,” Neil shrugged. “I feel like you keep everything so close to your chest, that there are whole sections of you I’m missing. And listen, I don’t blame you. You should be able to choose what you want to share. But I can’t help that it makes things hard when you’re falling apart and I don’t know why...”

Andrew let go of the box and put both of his hands in his lap. Grinding his teeth together, he heard the beginning hum of Bee’s buzz , but took a deep breath to try and keep her at bay. Clearing his throat, he looked back to the stadium and that stupid orange fox paw, before he murmured, “What if I offer you a piece?” - suddenly and quickly said, it was as if his mouth was trying to outrun his mind, despite the second he took to contain it. He’d known this would eventually come - that he would have to do this. And besides, Neil deserved an explanation, even if they never got back together.

“Andrew-”

“I’m not offering with hopes that we’ll get back together right now, Neil. I’m working through shit the best I can. Therapy is helping, but I know it’s a process. I just know you deserve an explanation. And I haven’t wanted to tell you because it’s fucking horrific, but I was also afraid that it would send me even further down the spiral if I talked about it. Now that I have a space to vent through, I don’t think I’m so afraid of the fall.”

This part was so important to us for both Andrew and Neil’s character. And in the entire build up to the break up and directly after, Neil held onto the fact that they needed to talk. He kept bringing it up. Because he knew that if they didn’t it would escalate just like it did before. 

“I wouldn’t risk being with you again if I didn’t think things would be different. I’m not better and to be honest? I probably wont ever be better. I’ve spent my entire life dealing with my shit by myself because that’s just how it was. I’ve avoided relationships because I never trusted anyone with my baggage and I didn’t think it’d be fair to pile it on someone anyway. So when it comes to talking about shit - I’m not used to that. Bee was the only person I’d ever told everything to, and she doesn’t even know all of it.”

“I know that,” Neil said, leaning forward as if to show Andrew how much he actually understood. If that was the case, Andrew believed him. “I know you, Andrew. I would never force you to talk about something you don’t want to. That’s not what I’m trying to do. But , I need you to work with me, and if not me, someone else. Don’t take it out on me when you’re going through shit that neither of us can control. It’s not fair and it makes me feel like I’ve done something wrong and I can’t fix it.”

Now. Now we’re up to your points. I promise all of this was important for me to explain, because I know there’s literally SO MUCH that we’ve written, that shit happening now can get in the way of everything that’s happened before to lead up to this. 

We fully recognize that Neil is definitely happy. But he’s not happy-go-lucky and we tried really hard to make sure he didn’t lose his integrity - his backbone - the things that made Neil, Neil. 

Something I realized throughout this series was that I was getting worried that the focus of season 2 was so heavily on Andrew. I was seriously worried about that. But then I realized that Season 1 was focused solely on Neil. Season 1, Neil was a fucking wreck. It was Matt AND Andrew comforting him, Matt and Andrew bringing him down, Matt and Andrew trying to protect him, take care of him, find him, search for him, all of that. But even through Neil’s horrific anxiety and all the bad shit that happened, it was still Neil that pushed himself up from the ground, pulled Lola back, and gave Andrew the in. It was Neil that fought with the doctors and nurses to see Andrew and make sure he was okay. Even still afterward though, it was Neil discovering and Neil understanding and a lot of Neil, Neil, Neil. 

Season 2 is heavily focused on Andrew. We’ve already seen Neil’s story and his growth. Its Andrew’s turn to try and again, build his bridge to getting better. But with that, it was Neil that made the strides to speak and handle Ichirou, it was Neil that figured out things with his uncle, it was Neil that ultimately had the gun, brought Andrew for practice - took it out and demanded Andrew get behind him this time. It was Neil that looked Andrew in the eyes as the cops patted them down and desperately tried to tether them together.  It was Neil that kept reassuring Andrew they were going home. It was Neil that snapped the moment the cop tried to put his hands on Andrew to show them where their things were when they left the prescient, and ANDREW that allowed himself to be pulled into Neil’s arms in that moment, because he knew that he was the one thing that was SAFE. It was Neil that held Andrew that night and Andrew that LET himself be held as he broke down. 

That was one chapter ago. And we really tried to illustrate at the end that they have a life ahead of them now. They have a future - a future that is spread out and it’s bright and full of possibilities. They have a future where they can do what they want. They have a FAMILY. They have nieces, Aaron, Kate, Bee, the entire TFN team. Neil had nothing and now he has something. He has hope. 

Promise Im coming down to the end omfg. This is why our Authors and End Notes are so fucking long i swear to fucking god. 

This BTP chapter, we wanted to explore that fucking unbridled happiness. That elation of fuck - we have the world out in front of us. We don’t have any killers on our backs, Hailey is safe, Robin is safe, Jean is out, the Moriyama’s are taken care of, Stuart isn’t begging Neil to join the Hatford Branch, Aaron and Kate might be moving back to South Carolina, they’re married and all of that isn’t terrifying. It’s COMFORTING. So yes, this BTP chapter was bright and cheery. Neil was most certainly happy and showing it. Jumping on the bed, kisses all around, getting excited over ZOO BABIES and a ZOO CHOO train. But just because we show this side of him where he gets to go on a road trip and experience real and true fucking freedom for the first time, doesn’t mean that we’re all of a sudden shedding everything that we’ve built for his character. I don’t think that’s what you meant, but I mean it when I say we take the characters, the integrity of the characters, very, very seriously. Also in this chapter, Neil takes a homophobic asshole to task and not in the way that a lot of people do, but by quietly hinting at the threat because Neil doesn’t need bells and whistles. In fact, he even talked about how being happy was something his mother frowned upon: 

Because the way he looked at Neil when a butterfly landed on his finger or when he snuggled up to a goat in the petting zoo let Neil know that Andrew was happy. And he was happy.  That was something Neil never really had in his life. His mother didn’t care if he was happy, only that he was alive . In fact, the less happy he was, the fucking better. By her logic, he was less likely to go rogue if he didn't feel like there was something to be happy about outside of her. 

Neil’s finally had a moment to enjoy and let go and we know exactly how that can come off, but we have an entire future planned for them and the book they’re about to explore. Spoiler Alert: It won’t be all “butterflies and rainbows”. But all of this does not mean that all of a sudden we’re giving in to tropes and changing his character entirely because of one chapter. RRP and it’s characters mean too much to us. 

So I definitely get where you’re coming from and I’m so fucking sorry this is so long omfg. And I respect your view because we definitely worried that people would see them like that. But we have a reason for almost everything we do in this fic and really, we just wanted to see the boys happy here. We don’t believe he’s like Nicky and we don’t believe he’s clingy, but everyone interprets these characters differently, and you’re certainly entitled to that opinion. We hope this just makes our thought process on Neil’s development a little clearer. - The Creators

[raygirlramblings]

Excuse me while I rage

tw// animal abuse tw// animal cruelty

Getting pretty damn sick of seeing videos of ‘CUTE’ retriever dogs dragging cats around with their mouths like it’s some kind of adorable trick.  Getting even MORE sick of people turning into oblivious Facebook grandmas and going ‘OOOOH IT’S CUTE, WHAT A SMART DOGGIE’ completely ignoring the cat’s behaviour and body language or having a basic understanding that dragging a cat around BY IT’S FUCKING HEAD is not cute.

Oooh but then you get the ‘oh but the cat doesn’t LOOK upset.  If it didn’t like it the dog would get a face full of claws!’ arguments popping up.

If some giant came into your room, grabbed you by the head (albeit gently) and dragged you out of bed, and regardless of how much you fought back the giant would only let you go when they felt like it, and they did that EVERY DAY without fail, you’d probably eventually stop fighting because you realise there’s not a damn thing you can do about it.

Cats can absolutely stand their ground but if you live with something 4 times your size that can easily overpower you and possibly kill you if it wanted to after a while you stop trying to fight because you know you can’t win, especially when humans 10 times your size won’t step in to help you. 

‘But labs and retrievers have soft mouths!  It’s fine!’

I’m not going to claim to be a dog expert but in my limited experience of dogs I think it’s safe to say that is NOT WHAT SOFT MOUTH IS FOR.  Retriever dogs can carry things very gently without breaking them, but this generally refers to game birds like ducks and pheasants where the hunter doesn’t want the prey to be ripped to shreds by the dog.  It’s one thing for them to carry a duck dangling by it’s neck if your plan is to kill and eat that duck, but dragging a much heavier cat by it’s head putting all that weight on it’s neck is NOT THE SAME THING and can cause serious injury ESPECIALLY if the cat is fighting to get away!

Oh, and don’t forget that soft mouth doesn’t mean a retriever cannot bite down, hard.  It’s still has those sharp teeth which are designed to rip and tear meat and bone.  This isn’t to demonize dogs (cats have sharp teeth too obvs) but anyone who uses the argument that soft mouth means the animal LITERALLY CANNOT do harm doesn’t understand dogs as well as they think they do.

Put it this way.  If a Labrador grabbed a human baby by it’s head and trotted around with it, would you think that was cute?  Oh but retrievers have soft mouth!  It’s fine if they’re dragging that baby over rough carpet and hard floors and down steps and dumping them in places where they didn’t want to be.  It’s fine that the dog’s canines are scraping over the baby’s soft skin, it’s just playing and being a good boi!   It’s FIIIIIIIIIIINE [/s]

‘But cats carry their babies by their necks, its the same thing!’

NO IT IS NOT.

Cats generally carry their BABIES by the SCRUFF of their necks.  It’s carrying the baby by the skin and neck fluff, not biting down on the spine or skull.  Sometimes, yes, they might pick up a baby by it’s head to move them somewhere.  But that’s a tiny kitten and a mother cat, not a FULL SIZED CAT AND A FUCKING DOG.  

Would you pick up a full sized cat by it’s neck/head and dangle it?  NO, YOU COULD SERIOUSLY INJURE IT.  You’re not even supposed to pick up an adult cat by it’s scruff because at that size you can seriously injure a cat unless you know what you’re doing. 

‘We had a dog who used to do this, and the cat didn’t care!’

Look, I’m not about to call you a liar on something like this.  Some cats don’t mind roughhousing with dogs, all cats are different.  But your anecdotal evidence is NOT a valid defence for people who train their dogs to ‘fetch’ cats for the purpose of making a viral video. 

This is like saying ‘well I had a dog who LOVED broccoli!’ in response to someone forcing their healthy dog to become vegan.  Your cute and probably innocent family story doesn’t excuse actual abuse being done to real animals in the world.  

A cat is not a toy; it’s not a pair of slippers that can be brought to you regardless of their feelings.  Saying stuff like this suggests you valued the dog as an intelligent creature and the cat as an object to be toyed with at the whims of others.  Your cat, any cat, has the right to be left alone and not forced to be anywhere it doesn’t want to be (within reason, you gotta take your cat to the vet sometime), especially not being dragged around BY IT’S HEAD by a creature 4 times it’s size.  

Cats are not dogs.  Dogs are not cats.  Cats are not PUPPIES.  They can absolutely co-exist but larger breeds of dog can also be dangerous to smaller cats just because of their size.  A dog does not have human understanding of the world, certainly not a human understanding of cats.  What a dog sees as play and being a ‘good doggie’ can be traumatising and uncomfortable for the cat.  .  

I don’t even want to blame the dogs here.  Dogs are innocent.  They act on instinct.  It is up to humans to shape and guide that behaviour while discouraging antisocial, aggressive or potentially dangerous behaviour.  People have to understand that not every action a dog does is considered adorable by nature of them being a dog, nor are those actions automatically safe for other creatures because ‘dogs are cute and gud bois’.   

It’s the irresponsible owners who film their dogs doing these things, and then ignorant humans sharing those videos and making them go viral who are to blame here.  

PLEASE.  Stop promoting and condoning dogs dragging cats around in their mouths as CUTE.  It’s not cute.  There are millions of perfectly nice cat and dog videos (some with both) featuring animals playing nicely on their own terms.  A dog carrying an adult cat* the way it would carry a dead duck or a favourite toy is NOT CUTE.  

Also plz stop being a hateful prick if you don’t like cats.  If you enjoy seeing cats suffering because ‘dogs are better anyway lol’, the fuck is wrong with you.

*I’m aware there are videos of mother dogs who have taken in kittens and occasionally carry those kittens in their mouths.  Again, this is an example of carrying a baby to gently move them from one place to another, it’s not the same as an adult cat with it’s own agency being dragged around by a full sized dog (and being actively encouraged by the owners to do so).  

[absoluteindulgence]

Illuminate (Server Collab Prompt)

A/N: This story has been curated thanks to the lovely people of Discord. We all worked with the dialogue prompt “Pay Attention to Me,” Here’s my twist with my Sunshine boi~ ALSO, I NOW HAVE 300+ FOLLOWERS! AGAIN, THANK YOU ALL FOR LIKING MY WORK. I HAVE SOME NEW PIECES IN THE WORKS AND’ CAN’T WAIT TO SHARE THEM WITH YOU, STAY TUNED! 

As time stood, you were eager to get home. The weekend was among your stressed, tired body. You felt the cool breeze come to tickle the back of your neck as you waited for the bullet train to take you close to home. Awaiting you, there would be your beloved boyfriend, Mirio. Earlier, you sent a message letting him know you would be working late, and as you figured, he didn't message you back. Recently, he's been distant. Not in the way of ignoring you, just that he's been pushing himself too much at work, and when he's home, he goes straight to bed.

Eager was an understatement as he gave you a sleepy kiss in the morning telling you he'll be free the same days as you. Working seemed to be pushing you both to exhaustion, and yet being heroes put the biggest smiles on your faces. Meeting each other during the top high school in Japan was what brought you two on to continue your goals of reaching the Top 10. You witnessed most if not all of Mirio's struggles with his quirk and his dedication shone brighter than the sun when mastered. He saw the downfalls and triumphs of yours. You pushed your body to be way more resistant and flexible. Agility would be best suited for what your quirk needed to progress.

Everyone knew of your friendship as the epitome of shut-up-and-date-already. The way you lightly grazed his arm and smiled after he finished his training, set him into a fiery, flustered frenzy. He knew you were bold, but just your fingertips on him were enough to turn him into a strawberry. After catching on that you liked him, he would tease you back just to see what you would say. You were either speechless or daring to say something just as sweet. From there on, it became a battle of compliments and kind gestures. Mirio always made a habit of lighting up the room with his laughter after your rebuttal.

In the end, Nejire pulled you to the side to make a move to ask him out. You laughed as she stressed how agonizing it's become watching the turtledove warfare. You told her, that would change very soon. The next day, you came into class with a packed lunch. Anxious but ready, you hand the lunch to Mirio. Watching his expression as you gave it to him made the window in your eyes light up. The only time you could say you scurried away from him. You anticipated his reaction to your home-cooked meal, but his grin was unbearable. He ran after you immediately and grabbed your hand. You turned around to stare at his big, warm, and callous hand compared to yours. With his gentle hold, you felt his thumb caress the back of your hand. It ran shock waves through your body.

"H-hey (____-chan), you didn't have to run." He laughed as he stretched his arm for his free hand to rub the back of his head.

"I know but-"

Mirio's lips met with yours before you could say anything more. Your eyes widen as he cradled your face close to his. The way he massaged his lips with yours caused you to shut them and melt while igniting a fire within your soul. It took restraint not to faint in his embrace as he tickled the tip of your nose with his. Pulling out of the kiss, your eyes flickered, staring into Mirio's glorious hue of blue. The honest smile paired with the tender gleam was enough to leave you breathless.

"T-thank you (____-chan), I've never had anyone do this for me." He held both of your hands.

From there on, you established your relationship. Ironically enough, you were known as the power couple. Pushing the limits of what it meant to have authentic teamwork and understand your partner's quirk.

As you reached home, you unlocked your front door met with warmth automated from your thermostat, highly refreshing from the bitter cold. As you settle in, you notice you're home alone. Sliding your favorite fuzzy slippers on, you double-check each room. Confirming your first thought, a sigh escapes your lips as you make your way back to the living room.

Maybe I'll watch TV until he comes home.

Making a choice, you prepared yourself in the best unwind fashion. Gathering your favorite drink and snacks while changing into loungewear. You looked through your streaming services to binge-watch a show that's been on your mind for some time. You snuggle into the blanket Mirio bought on a whim before Christmas and remained attentive to the show. Close to finishing the season, you end up drifting off to sleep.

Waking up in what felt like a fifth dimension, you noticed you were no longer lying on the couch, but in the bedroom, you shared with your boyfriend. Your body protested, leaving your king-size bed as you turned to face him but met with an empty side. You groaned immediately, expecting a text or a note left. As you shuffled to sit up, you scope the room for your smartphone, located on your nightstand. Bracing your tired eyes to the harsh LED lights, you squint roughly at your incoming text messages. As suspected, Mirio left you a message saying the agency called him in, and to go to the kitchen.

Finally, moving your strained limbs, the walk to the kitchen is slow and sluggish, yawning every other step. Reaching down the hallway, you turn your head left to a surprise of none other than all your favorite breakfast and brunch foods. A note left on the island in a solid white color of paper, written with blue ink, and signed with his name:

I know you didn't get to see me come in, but you looked too cute to wake up! Please enjoy this as a truce until I get back. I love you, My Sunflower.

How could you be mad? He knew the way to your heart and your stomach. With your eyes hungry and your mouth-watering, you took your time picking out your plates and entrees. Part two on the couch, you binged the rest of your show, and as you reached the end, you heard the jingle of keys. Half dazed, you wait until he entered the living room. As his thick build met at the entryway leading into the heart of the home, the room was completely illuminated. He smiled as you laid sleepily on the couch, snuggled up.

"Hi, my Sunflower." He rested his coat on the back of the kitchen chair, trotting the rest of his buff body over to plop onto the couch with you.

He cradled close to your burrito wrapped body, placing kisses over your cheeks, lips, and nose. "Did you miss me?"

"No, not at all. I was enjoying the attention of my TV Husbando."

"Oh, really, How are they doing?"

"Not well actually, they're going through an existential crisis."

Mirio mimics an 'o' shape with his mouth, "Oh man, that sounds terrible. Let's hope he makes it through."

Mirio lightly chuckled as he wrapped you in his arms tighter. He relishes in the scent of your hair, nestling close to your neck. An abundance of delight rushed through your body. "I'm so happy to be home."

You hid your smile under the blanket, "I'm happy too."

Mirio pulls away to look at you, "Listen, Sunshine, I know that you've been annoyed with me these past two weeks. You haven't been able to see me enough for us to relax together. But there's a reason why."

You watched his shoulders tense when speaking, "I've been working hard because I know sooner or later, you might get bored with me and think I'm not serious about you. When truthfully, I'm scared to lose you."

He took a slow breath making his words come out clear to you, "Being a hero has taught me the valuable lesson of taking care of the ones you love. And not to only tell them how much you care but to show them. That's why I-"

With a quick shuffle of his pockets, he pulled out a small, black velvet box.

"(Your whole fucking government name/desired full name) I've loved you since High-school, way before you made me that lunch. Way before you even looked my way in year one, really. Knowing that you've been by my side through high school, internships, college, and agencies have given me the power to overcome all trials head-on. Whether to deck a villain straight in the face or to let you know when we run out of toilet paper while I'm still on the can. The sun can not shine without the moon, and so, with that said, will you be my Moon?"

Immediately after he popped the question, you wiped your eyes. Streaming of tears and nodding excessively. He opened the box and showcased the exact ring you saw at the jeweler's. You originally went to get something simple for an evening gala full of pro heroes when your eye caught it. You guys were in a rush that day, so you didn't even know Mirio saw you take a glimpse.

"Babe, I wanna hear you say it." He chuckles as he places the ring on your right ring finger.

Your giddiness shows how overly excited you are, you take a deep breath and grin while looking into his big, blue gaze, "Yes."

"Great, now get ready."

"Wha-what are we doing?"

"Well first, we're going to the spa and then shopping, after that I’m taking you to every upscale restaurant in Tokyo so that we can get free food off our engagement."

You laughed instantly, "So you're a scammer now?"

"I'm just kidding, but I do want the dessert to be free!"

[bladekindeyewear]

Boots Reads Homestuck Epilogue(s) Part 15 - Candy Page 34

==>

John finally decides to let the relevance of his story end, and enjoy that he’s made at least some of his other friends happy with his choice.  Time to read Page 34...

VRISKA: Pfft, yeah, wh8tever. I’m basically Immortal, bitch.

Preeeetty sure you’re confusing yourself with one of your parents.

Pff, actual healthy kismesis with a Tavros?  Wow, we’re getting all sorts of redemption by not-really-Vriska proxy here.

HARRY ANDERSON: he’s always getting all weepy whenever i talk to him anyway. HARRY ANDERSON: i don’t think i could have taken another round of him choking back tears while apologizing to me about “what happened with me and your mother, harry.” HARRY ANDERSON: i mean, god. he’s not even fucking DRUNK when he does this. HARRY ANDERSON: that might actually be the most embarrassing part.

.......

Okay, having grown up with a father who suffered from serious depression and would break into tears embarrassingly easily, uh.  I can relate?  But also fuck you, that’s inconsiderate.

--Dammit, new Vriska is catching wind of old Vriska.

Vriska and (Vriska) both start shrieking at a pitch John’s only ever heard one time before. It was a sound that once accompanied the end of everything. A sound once heard the night he dreamt in anime.

Oh that’s brilliant.  If the entire Candy arc ended here it’d be great, though I know it’s not quite over yet.

==>

...Oh shit, we actually get to see what happens immediately next.

Interesting introspective thoughts!  Or, trying her best NOT to be introspective and failing.

Oh my god, SHUT UP Gamzee.  Vriska, just kill him already??

PFFF HE SENT A PIC OF IT TO KARKAT :D

Pfff.  Yeah, Vriska, TRY and ignore what just happened and how it was almost entirely your idea.

(Vriska) is so furious, she has no way of pinpointing the exact moment her intent stopped being intimidating him into silence and started being guaranteeing his silence, forever.

Thank FUCKING goodness, PLEASE kill him.

YAY he’s dead! :D  (Even though he’ll probably revive anyway because bullshit.)

Heheh. NOW we get a cross-Vriska heart to heart.

==>

Alright, a bit more John moping.  Man... this Candy section is a whole lot easier to swallow AFTER Meat than I imagine it would have been before.

.....heck.  EITHER of these epilogue branches are really fucking hard to swallow the first time around without the other’s context.

Oh huh, it’s his house from the Medium then?  Relocated and stuff?

Jake, hm.  Is Jake going to try and leave his son with John like that failed kidnapping in reverse or?

Jake snaps the elastic on his pair of red underpants. It’s the only thing he’s wearing.

Oooookay then.

JAKE: She had a certain way she liked me kipped out and well, i didnt want to bring anything that belonged to her when i left. Nothing she er, might miss. TAVROS: You took me,

Jake winces.

TAVROS: And,,, you took you,

Jake’s wince deepens.

Oh, so that’s what this is!  Jake fleeing with his son from an abusive relationship.  About gosh darn time.  .....geez, how bad did it get for JAKE to finally muster the gumption to do that himself after all these years???

Jake is one whole wince now

I know THAT feeling.  Or at least feel like I do.

John you dedicate your life to keeping this child happy

JOHN: it’s just been kind of a rough forever.

:C

JAKE: Maybe you should blame me? JAKE: Maybe i need someone to blame me. For once. JOHN: ...huh? JAKE: I think im starting to realize that ive been going through life with the mindset that nothing has ever really been within my control.

YES.

This is how Vriska broke Tavros way back in the comic, by constantly denying him agency.  Jake’s been battered down the same way too, and it’s not too late to pick up the reins.  He’s already DONE that by finally leaving his genocidal wife.

There’s a bit of Page of Hope-yness to this whole disastrous Candy timeline, come to think of it?  People fulfilling others’ desires out of obligation constantly, doing what they think others want?  Roxy, Jake, Dave and Karkat... all fucked over at the aggressive whims of more active folk, rolling over when they really shouldn’t have?  Or in Roxy’s case, her CHARACTER basically SHOULD NOT HAVE IN THE SLIGHTEST?

JAKE: Havent you ever wanted to let someone make the tough choices for you?

Huh.

Or maybe he is doing exactly what Jake has always done. In a certain light, isn’t ascribing all this mess to some unconscious influence he might have had over the metaphysical shape of reality just a way to brush off his simpler failures as a man and a father?

Yes.  You can act and change this too, John.  You almost did with the kidnapping before!  Go and take down the new Batterwitch.

Hm, Hopey thing?

JAKE: John. JOHN: yeah? JAKE: Take my hand. JOHN: what? why?

Oh shit.  Are they going to be able to FIX some of this BS with some sort of hopey thing??? :D  Probably too much to hope for but still!

Being flung from Jake’s orbit of Hope and Change

Pffff.  Had to throw in an Obama didn’t you.

...Oh.  Oh wow.  Oh we get to figure out what the fuck was up with Roxy all this time.  Oh boy.

JAKE: So what if it doesnt change anything? Wont it matter to your family to see you care? JAKE: Wont it make you feel better to try?

:D

Heheh, Hope aspecty stuff.  The ability to believe that something matters even when you “know” it doesn’t.

==>

...Yeah, it’s pretty easy to relax on a dead Gamzee.

Oh cool.  These Vriskas are alike enough to bond!  New Vriska is still in her teenage unbalanced go-for-it stage, and old Vriska has been knocked down a peg by the clown incident, putting them on a close enough level to not want to instantly disown each other, unlike old Vriska and ghost Vriska.

VRISKA: The Mayor’s dead, dude.

HOW did the Mayor die?!??  Did I just FORGET that from the end of Homestuck or something??

(I mean, probably.)

Callback to the clouds in that first Jade dream John had.

(VRISKA): Or may8e the truth just makes me kind of nervous. VRISKA: What “Truth”? (VRISKA): Don’t tell him I said this, 8ut, I think John is just an extremely powerful 8eing. Even when he sucks. (VRISKA): And he certainly does appear to suck in this reality. (VRISKA): And yet, the uneasy feeling is there. (VRISKA): It’s a vague feeling I’ve had in the 8ack of my mind for a long time, 8ut it really hit me when I was talking to him earlier. (VRISKA): It’s distur8ing to think a8out that much power 8ottled up in one stupid nerd who’ll never understand it. VRISKA: What Power are you even talking a8out? VRISKA: Like, lame Wind Powers? (VRISKA): No, I mean... (VRISKA): The power to shape reality. Even without intending to.

FUCK did he really cause all this??? Even the Roxy shit?!???  D:  D:  D:

It’s being left vague but it IS sounding like John was actually RIGHT about all that stuff.  FUCK, if the “villain” who messed up Roxy is actually just John’s subconscious...  :C

Even if the epilogue ends right here, though, with John about to call Roxy, I can imagine it working out, though.  It’s on a right enough track there.

(VRISKA): I’ve spent so long caring so much a8out what other people thought of me. Mainly that they saw me as important, or making a “difference.”

Mhmm mhmm.  Light n stuff.

Yeah, realizing that importance isn’t ALL that’s “important” is really, um.  Important.  Ahem.

Hm, other Vriska, that smile had seven pairs of dots, not eight.  :?

(VRISKA): The POINT is, I was so mad at her. (VRISKA): That happy ghost version of myself, who was free of everything. (VRISKA): I was pro8a8ly mad 8ecause she got to 8e who she really was, without stressing a8out it, which is something I never felt like I was allowed to have.

Indeed.

(VRISKA): I guess I mean there’s someone specifically I fell out of touch with, who it feels like I’ll never see again.

Too bad, only ghost Vriska got her reunite with ‘Rezi.  :P

(VRISKA): On some level I knew she was right. She was happy and honest with herself. And that’s what made her... (VRISKA): A version of myself who was actually worthy of someone I cared a8out.

Yyyep.  As I said.  :)

VRISKA: You’re just talking a8out The Girl You 8linded that one time, aren’t you? (VRISKA): Ummmmmmmm.

Heheh.  Yeah, you’re not going to hide that sort of thing from your sharp near-clone.

Oh cool!  She gets to see all those messages and feel turboguilt or something.

...oh shit.  Is a message going to actually get to her?  It-- oh shit.  Didn’t Terezi have her phone buzzing in her pocket and ignored it in the end of Meat or something?  Or at SOMEONE did and I thought it conspicuous but it didn’t get addressed in that side of the story and-- FFFFuck is she eventually going to see it or??!  D:

She’s GOT to have seen it before running all the way off with villain Dirk, right?? D:

==>

Okay.  You seem to be thinking clearly, Roxy.  What’s going through your head? Give us some answers.  Don’t fuck this up too much, John.

but she knows by now that it’s not her job to make him happy. That was something she gave up on years ago. But wanting to? That feeling is still as fresh as it always was.

FUCK was this all just a placid feeling of obligation to make John happy for all he did to ensure victory or something??? D: D: D:

She’s still working through what she feels about distancing herself from Jane

Yesssss

If he’s truly about to be real with her for the first time in forever,

Gosh fucking DARNIT John, you could have fixed all this DECADES AGO if you had a real talk with her ONCE!!!!!

ROXY: the more i thought abt it the more i figured holdin on to that one thing made me lose out on some other shit ROXY: u might relate JOHN: haha, you got me there i guess.

:c

JOHN: i’ve been doing a lot of thinking about how things got to be like they are. JOHN: i guess i’ll just come out and say it. JOHN: i completed fucked up your entire life. JOHN: i’m not going to pretend like there are two sides here. it’s my bad, totally. JOHN: like, not just what happened to our marriage, though it’s also true that that’s completely my fault. JOHN: but even before that... JOHN: i think i fucked up on just this massive, fundamental level, and it’s what i did— JOHN: or, well, what i didn’t do— JOHN: that caused every stupid bullshit thing about the way this world is.

...Huh.

That may not actually be true, and Roxy might be about to prove how self-absorbedly reductive that is.

ROXY: oh nah ill stop u rite there my man

Okay YES.  If this wasn’t him, then SET HIM THE FUCK STRAIGHT.  :D

She knows more than he does, and she doesn’t need to hear it.

TELL US TELL US TELL US

YES TEAR INTO HIM he’s wanted that for so long stand up for yourself and tell us what the fuck happened and why

He’s been looking at her, really looking at her, and she doesn’t want to blink, just in case that shatters it.

Yes because he was looking for the real Roxy that would call out his BS

JOHN: i used to be so angry that you wouldn’t tell me what you really thought, before. JOHN: not like i wanted to FIGHT fight, but like. JOHN: i’m just not used to this flavor of roxy. ROXY: hm ROXY: sounds to me like u just disproved ur own hotshot theory then genius JOHN: huh? ROXY: you wished i was one way the whole time we were married ROXY: but i wasnt

YES!!! Yes his theory’s disproven!  He never WANTED Roxy to just act that way, he wasn’t the cause of this, I was hoping for that!  :D

ROXY: i was bad at standin up for myself then and im learnin to be good at it now

D:

That’s....... sad, if that’s the explanation.  But it’s better than mind control I guess.  :(

JOHN: but... JOHN: you were never like that before i... ROXY: dude ROXY: where tf do u get off trying to decide what is or isnt me being “like me” enuff ROXY: do u think ppl stay the same their whole damn lives or what

Oh wow.  Now Andrew’s slamming SLAMMING of fanfics.  He’s saying “who are you to know for SURE that they wouldn’t act that way”??  That’s pretty good.

ROXY: i like the way things turned out just fuckin fine ROXY: so maybe u could stop wastin precious eternity thinkin ur so special that its ur fault everyones not perfectly happy

:’)

Mhmm, and they’re free from the heroic design arcs or what have you.  Or... were, until Dirk tore them back in again.  Tossed aside their fucking victory with his selfish... ugh.

Mhmm, Roxy’s the perfect person to explain that not being in a canon, Light-filled timeline isn’t really a bad thing.

ROXY: i just do things the best way i think to do em and then shrug n hope it works out?

Roxy thinks about time and the spirals of choice that hang just outside her periphery, and the vertigo grows.

Good advice, and hm.  Maybe there’s some Void sight kind of playing into this as well, making it easy for her to get paralyzed by indecision and she’s had to learn to work through it.

...Ooh, that was a really cool non-binary gender diatribe in the narrative text.  That’s some nice stuff.  I felt like that was missing from the Meat side, glad we got it here at least.  :D

JOHN: there’s literally nothing to do but keep moving forward. JOHN: i may as well not be a big fucking downer about it if i don’t have to be.

Thank goodness.

YES, JOHN SHOWING HIMSELF STRAIGHT-BACKED FOR HIS SON!!! :D

Man, I wish my dad had done that instead of all the other shit he did.  At least he’s dead.  :)

(Here’s a hint in case you’re wondering why I was relieved when my Dad offed himself.)

But that’s off topic.  Let’s wrap up this epilogue already!!

==>

Page 39... only three or so pages left, right?

Pff, Karkat’s keeping them safe.

Heheh, more shitty Liberty statues.

Heheh, using them for weapons caches.

Gosh I hope they actually love each other and are mostly happy.  Jade seems happy, at least.  :(

Dammit, there go the doubts.  He wouldn’t have had those doubts with Karkat. :C

He’s standing in the Oval Office of the White House.

Oh heck yes.  Please tell me...

And over there... is something he doesn’t quite recognize. It doesn’t seem to fit in. He steps closer to investigate, wiping away at the layers of moss and dirt to reveal a surface he most certainly does recognize. It’s a transportalizer.

YES

Dave doesn’t waste any time. You don’t find something like this in the Oval Office and start agonizing over whether or not to use it. He steps on the platform, and in a blink his surroundings are completely different. The centuries of overgrowth are gone, and he appears to be in some sort of crypt, boxed in by walls of smooth, golden stone. At the far side of the room, something is hanging on the wall, encased in a sort of display. It’s a mounted god tier costume, about the size an adult male would wear. He recognizes the symbol. It’s the same one Jake used to wear when they were teens. It is the symbol for Hope.

HELL FUCKING YES

YES OBAMA

OBAMA: Hello, Mr. Strider. OBAMA: I’ve been waiting a long time for you to show up.

Dave’s jaw hangs open. The legends have been confirmed. As well as several key headcanons of his. Without thinking, he drops to one knee and bows his head.

DAVE: m... mr president DAVE: its an honor sir

Man, forget my past stomach clenching.  Forget my hesitations, my turbulent emotions, all the ups and downs the various facets of these Epilogue chapters have given me.  THIS is the best.  THIS makes it all worth it.  This is the best thing to have ever happened, and if I ever feel any regrets about ANYTHING that transpired in the Epilogues, I’ll feel infinitely better the moment I remember it gave us THIS.

The most beautiful scene I’ve ever witnessed.  All my liberal, economy-ranting hopes and dreams confirmed.  It’s glorious.

OBAMA: Come on now, Dave. We can’t be having that. OBAMA: I’m nobody’s king. I’m a democratically elected representative who took an oath to serve his country and his people. People like you, Dave. OBAMA: If anything, I should be the one bowing.

OBAMA.  I MISSED YOU OBAMA.  I CAN HEAR YOUR VOICE THROUGH YOUR TEXT AND ITS SO COMFORTING AND UPLIFTING

DAVE: mr president what i mean is im a huge fan of yours and i hope this doesnt sound fucked up but on some level i feel like ive been waiting my whole life for this moment?? OBAMA: I know, Dave.

Yes, yes you have.  Yes, we can.

OBAMA: Most people thought I was gone. But I was keeping an eye on events. OBAMA: Wouldn’t miss it for anything.

I, too, would like to have the feeling that Obama is still out there, keeping an eye on things.  Watching, smiling... providing some last background of Hope as things seem so temporarily sour.  That feeling would be amazing.

...I mean he’s still alive IRL, sure, but not Obama watermark smiling lovingly from the sky or anything like it should be.

Yes, back to reading.  Back to this glorious, definitely canon moment.  The moment we learned that Obama was with us the whole time.  :’)

DAVE: sorry if this is nosy but if you didnt die when you disappeared then how did you die OBAMA: Most of that is classified, Dave.

Pfffffff  :D

OBAMA: When I was a boy living in Hawaii, on my thirteenth birthday I was visited by a mysterious stranger. OBAMA: He was an older man with a mustache. Kind of a corny, old-fashioned, adventuring type. He tried to convince me we were related. Of course, I thought he was full of shit. OBAMA: To this day, I’m not sure about that. Maybe he was. I didn’t think much of his tall tale at the time, but what did pique my interest was his story. OBAMA: He was voyaging all over the Pacific looking for a mysterious island, which supposedly had all the answers he’d spent his whole life searching for. OBAMA: During his travels, he set up outposts all over the ocean to help with his search. Such as one near where I lived as a boy. The outpost had a laboratory, an archeological dig site, a network of underground tunnels, the works. OBAMA: One time, I snuck in there and did some exploration of my own. Somewhere in the maze of underground ruins, I found a transporter pad, just like the one that brought you here. OBAMA: It sent me to a new realm. A place they called the Medium.

Grandpa Jake of Earth A, thank you SO much for bringing us this gift.  The gift of Obama.

OBAMA: Hey, why don’t we take a walk. You’ll have a chance to collect yourself. And there’s something I’d like you to see.

:O :O :O

I am shivering with anticipation.

Ah, leave it to Obama to help Dave with the final steps of his character arc.

OBAMA: Are you sure that’s all he is, Dave?

FIX THINGS OBAMA!!!! :D :D :D

Wait, what if Obama can turn things into an actually legitimate DaveKatJade?  That would be a miracle only a god of Hope could pull off.

OBAMA: I’ve had my share of doubts about all that, just like any other man. OBAMA: And I’ve had plenty of the same kind of struggles as you, Dave. DAVE: wait DAVE: you...

Obama nods, smiles wistfully. Dave arches his eyebrows high above his shades. They stare at each other, and in the look they exchange, they seem to say all that needs to be said between two grown men on the matter.

:’)

OBAMA: Believing is the key to understanding the truth underlying the words, the truth underlying the ideas they represent, and the truth underlying who we are as individuals. OBAMA: The power of belief, the power of Hope, that’s what endows that which is intangible, ephemeral, or uncertain with a sense of reality. OBAMA: It brings focus to the insubstantial, the mirages of the mind, the multiplicity of what is possible, of what could be, and isolates it—concentrates it—to turn it into that which is. OBAMA: And the result of that, Dave, is what we call truth.

I didn’t think we’d be learning more about the Hope aspect straight from the mouth of Barack Obama.

OBAMA: He taught me about many things. Combat, philosophy, life, love... DAVE: love??? DAVE: hold on are you saying DAVE: that...

PFFFFFFFF :D :D :D

OBAMA: She’s settled happily into the specific. That’s her path now. OBAMA: All of you have embraced that life, in this safely sequestered version of planet Earth. OBAMA: All of you until now, Dave. OBAMA: This is why you’re here. OBAMA: I believe you’re ready to wake up. DAVE: ...

:O

...this is suddenly possibly going to be getting slightly sad isn’t it.  D:

--Oh shit, so THIS is where Davebot came from.

How is he going to break things off with Jade though???  D: D: D:

...Oh my GOSH he’s just going to suddenly vanish and abandon her isn’t he.  D:

...alright, merging with his other selves, et cetera...

It defers to its greatest knight, risen anew.

Yeah that’s nice but am I supposed to pretend you’re going to say goodbye to Jade offscreen or

--ah that’s why the bot didn’t have shades, gotta use the genuine Stiller ones

==>

Page 40, and the start of this sounds a lot like the Postscript.  But we’re getting more this time, thank god.

ARADIA: when i watched as everything broke apart ARADIA: and got swallowed up by the black hole ARADIA: which is where i ended up too ARADIA: that black hole... ARADIA: thats basically you right JADE: yes. ARADIA: and when you speak of your brother ARADIA: thats lord english JADE: yes. ARADIA: and hes dead JADE: not just yet.

Oh shit.  John’s final blow didn’t kill Lord English did it.  Alt!Callie is going to strike the very last killing blow herself isn’t she.

JADE: lesser beings have so much trouble perceiving divinity in the uncanny.

Divinity?  Like, Lollipop-style divinity?  I mean, I guess this IS the Candy branch...?  But what made this so “perfect” to begin with?

JADE: this world, unlike the canonical horrors from which it is hermetically insulated, will always fail to meet the combined criteria for truth, relevance, and essentiality that would endow this realm with any real gravity. JADE: its own naturally occurring supply of gravity, rather than the artificial supply i have given it. JADE: as such, what transpires here is characterized by experiential frivolity. JADE: physically, it is cordoned off by the black hole’s event horizon. it is safe. untouchable. JADE: inescapable. ARADIA: that sounds ominous

Oh.  So this outside-of-canon timeline-verse whatever that Candy takes place in is like a trap?  For Lord English to be trapped in forever, inside not just his OWN story like we thought before but into a place where he’ll be forever irrelevant, while, like... the “Prince” and others following him for pursuit or camaraderie reasons manage to escape somewhere even different?  --No wait those people are OUTSIDE this place, in the “real” timeline/universe of Earth C. So Dirk’s destination is somewhere completely different; oh, and alt!Callie is the only one with the power to escape the black hole, to bring Davebot and Aradia with her back to quote-unquote “canon” or the closest thing to it to bring bastard Dirkbro down.

Or... something.

JADE: one could describe it as a phantasmal projection confined within my horizon. JADE: it was created by a choice that made it possible for that horizon to expand infinitely, to consume infinitely. JADE: and since that choice could not coexist with canon events, this place manifested to here to support its consequences. JADE: if this world were capable of anything either essential, relevant, or true in some stable combination, then it would perpetuate a corrosive paradox. JADE: as such, insulation from what is out there, and the inescapable well it rests in, is what protects all it holds inside. JADE: and since i am the embodiment of the black hole in which it rests, JADE: i am the one protecting this world.

Oh huh.  So when we saw alt!Callie creating the black hole out of the Sun, she was actually using John’s “choice” and his timeline split to engineer the paradox that drove that singularity’s expansion?  And so she’s going to be the lord and safeguard of all that is Non-Canon, and also seek to guide the heroes trying to save what IS Canon?

Hm!

JADE: physical destruction is one thing. JADE: obliteration of the entire canvas for all of reality over a given cosmic span is another. JADE: and yet there are even more insidious forms of destruction and subversion of life to consider. JADE: methods that are difficult to grasp for those on your plane.

Yep, destroying Heart.  Destroying Soul.  Destroying the uniqueness that drives individual agency and choices, and suborning people completely to your will and ideals without their consent or choice.

Hmm....

JADE: but longer stories have the power to draw consciousness into them. they possess arresting and hypnotic qualities which can be used by their tellers to alter the awareness of the listener.

Yep, like a biased narrator with their claws on the > prompt for characters.

JADE: i brought to your attention that the story you were listening to had a speaker with a specific identity. JADE: and where there is an identity, there can also be an agenda.

Yep yep.  And by commandeering the story to his own agenda, Dirk’s been robbing everyone of a fundamental right to their own existences.

JADE: this is the sort of corruption i now must dedicate my existence in this new body to ending once and for all.

Heck Yes; returning the narrative to as objective a speakerless-ness as can be attained or simulated, and divesting the bias from agenda’d narrators that can wrest all control from the participants in a story, enslaving them and making them the author’s puppets instead of true to themselves as characters, people, etc.

--Oh my GOSH, was Dead!Jade eating the remains of Lord English at the end of that Postscript???  She was, wasn’t she?  :D :D :D

That’s pretty fucking awesome.  And a pretty fucking fair fate for him to get cannibalized by his sister.

JADE: consume his body. JADE: absorb his essence. JADE: and then using this host, i will generate enough power to move beyond the staggering pull of the event horizon encasing this world. JADE: a prison of my own making, which can be escaped only through the supreme unification with my other half. JADE: it is crucial to the cosmos that i succeed. JADE: the prince of heart has to be stopped.

:D :D :D :D :D

Pretty awesome!  A decent setup to a story that probably shouldn’t be told, the implied sequel that Meat invites up or whatever.  And... oh phew.

Oh PHEW.

OH FUCKING PHEW. HOLD ON.

So.  The very last line of the epilogue, the last bit:

The hole leaves behind an absence in the sky so calm that continuing to call it a sky wouldn’t seem to do it justice. It’s a perfectly neutral expanse into which anything one can imagine might be summoned. And for a while, anything was. But not anymore. Where the hole gaped just moments ago, there now exists an imaginary line.

Above this line resides all that matters. Below exists all else. Never again the twain shall meet.

Okay!  :D :D :D

So, when I read that last line, I was INCREDIBLY disheartened.  I thought that Andrew was declaring that canon would never interfere with anything again, that this was the FINAL WORD on Homestuck and everything to do with it as far as canon was concerned, and that Dirk’s crimes and such would forever go unresolved and left to the imagination.

But that’s not what the line meant.

What’s INSIDE the singularity, and thus “under” the imaginary line, is everything non-canon, all the possibility and fanfiction and dead ghosts and such who are trapped in this safeguarded realm alt!Callie created to protect them, away from the influence of any future plot danger beyond the mundane issues they create for themselves.

And what’s OUTSIDE the singularity, above the line, is canon.  A canon which actually continues, and which this line doesn’t necessarily cut short.

I don’t know if Andrew will ever continue this nonsense, maybe to show me a Rose who’s actually happy as a robot or something?  But... er, that’s not the point.  The point is that even though the story “isn’t over”, it’s left so it CAN continue, so that the final state of these ISN’T a permanent cliffhanger to be left forever unfulfilled intentionally.  I’ll still be traumatized by the state some of these characters are left in, until Andrew maybe possibly chooses to resolve some of this nonsense with later content, which he probably won’t.  Heck, this actually might be easier for him to create a new work with, given how much baggage has been left behind on old Earth and in the singularity, so all you have is a much relatively smaller cast of characters on a chase to wherever Dirk is planning to go?  But, like.  When I read that Postscript, I stopped believing anyone I saw suggesting we’d get anything after this.  Any sort of work of... you know... continuing, er, Homestuckiness from Andrew, no matter what it was.  But even just... leaving it open even if he isn’t going to DO anything about it, and having that final line NOT be an aggressive cutoff?  Is just nice.  Nicer, anyway.

And this singularity is kept safe for us to enjoy ALL of the old stuff, the multitude of possibility that the in-singularity version of Roxy glimpses out of the side of her eye.  That--

Oh my Gosh.  THAT’S also what the final line means.

Above this line resides all that matters. Below exists all else. Never again the twain shall meet.

Homestuck fanfiction is now COMPLETELY FREE FROM CANON.

Within this singularity, nothing has to stay true to absolutely every underpinning of the earlier comic.  Nothing has to make sense.  Nothing has to be narratively consistent with anything else, though it’s obviously more enjoyable if it is.  Truth, essentiality, and relevance may all be FLEXED as much as any individual fanfic writer needs to!  And... and earlier, before this epilogue.  When we would get Snapchat stuff of the story on Earth C.  And even before that when all we had was the ending flash.  There was still a FEAR on many parts that there was more to canon that Andrew wasn’t telling us, that whatever was in our imaginations about what may have happened was “wrong”, that any fanfic you wrote was liable to be disproven formally.  But that’s not the case anymore.  Because with that line, with alt!Callie sealing off this realm and taking just a last few soon-to-be canon-impactors out of one of its timelines, Andrew has left ALL of the earlier trappings of Homestuck, of Earth, of all these characters and ghosts and fragmented possibilities, permanently free from canon influence from the rest of time.  Meaning no Homestuck fanfic that takes place in this singularity-granted realm may EVER be busted by Andrew’s future work.  He’s done what he first aspired to do when he declared all fantrolls in existence canon.  He’s finally “killed the author”.  He’s made the very FACT of an author an enemy, to be pursued in its own canon story outside of all this.  He’s set EVERYTHING free.

Wow.  So that’s what all the point of all this was, huh?  :D

Let me read the last few pages of Candy anyway.  Where was I again?

Oh, about to click the last page.  ==>

Oh my GOD.  This Postscript is about the end of MEAT, where the Meat Postscript showed us the end of CANDY!!!  :D

Let’s hear where this shit is all going!  I’ve been wondering what realm Dirk is actually heading towards to try and start fucking up.  Reading...

...Oh, okay.  I thought I glimpsed someone mentioning something about Rose “doing Dirk’s laundry”, and I thought I just missed some narrative comment on laundry made when Dirk took Rose out of the apartment on that final trip out to Jake’s for a spaceship?  But I guess this was the scene they were talking about.  Fuck you, Dirk.

One of her more reckless shipmates chipped a tooth trying one, despite repeated warnings to stay away from the stuff.

So Terezi IS there?  And probably received that final message from Vriska to think about.

It’s a stray ruby slipper. The other is about ten feet away, down the hall. No sign of their owner anywhere.

Yep, that’s definitely Terezi.

...Oh cool, Rose’s body isn’t quite dead?  She could be returned to it or a souped-up version of it if she’s ever brought to her senses outside Dirk’s corrosive influence.

A new planet is within sensor range. She studies the millions of statistics all pouring in at once.

They’re heading for a planet?  Somewhere else in Universe C?

It’s an M-Class planet. The right size, right age, right distance from the sun. There’s no advanced life yet. It’s exactly what they’ve been looking for all these years.

Shit, a NEW planet?  For all this shit to go down on?  Maybe I don’t need to see what happens next, that sounds potentially a little boring.  The future adventure this story entails COULD just be implied and never followed up on.

Once the new race has established

What race??? Human, hybrid?? It’s not TROLL, y’all would have brought Aradia if that was the case, right?  Or is this why there are tons of trolls in Universe C that Caliborn and Calliope’s parent trolls got to incinerate ages later, seeded across planets by these assholes?

The ones who get the chance to play what will arguably be the most important session in the history of Sburb?

Ahhh.  Okay.  So this may INDEED be something interesting, something worth seeing.  A new session, one where Dirk is the villain, Rosebot is enthralled, and old heroes are on their way to help see him thwarted.  Along with the mystery participants of a session we’ve yet to see.

Enough time goes by that she begins to wonder if he’s asleep. But no. It’s just the irritated silence of a man who knows he isn’t currently dressed well enough to attend to something important.

DIRK: Are my fucking pantaloons ready yet?

Yeah, fuck you and your anime pantaloons straight in the Yaois, Dirk Smartass.

Okay!

So that’s the end of the epilogue.  BOTH epilogues.  And... I like it.

I don’t know why.  I mean it was all excellent before, and my stomach’s still a BIT clenchy, but I like it now.  I misinterpreted things from the Meat ending, and now everything... everything makes a little more sense.  Some things seem resolved, others earned...

And... in a way I feel like I could actually oddly accept, even if there’s never anything that touches on this ever again...

It doesn’t seem “over”.  :)

[parabellum-rpg-archive]

Congratulations, Joss! You’ve been accepted to play Julius Heller. Your request to change his FC to Chris Evans, and his school to West Point, has also been approved. Please make your page and send it in within 24 hours.

Admin note: Hi, I’m obsessed with the detail in this application! I love how much thought you put in to his motivations and his history with Karina. I can’t wait to see Julius on the dash! - Admin M

IC INFORMATION —

CHARACTER DESIRED

Julius Heller

DESCRIBE THE CHARACTER IN YOUR OWN WORDS

Julius was pretty much force-fed the need to sacrifice for God and country from the age of 3. His father intended his son to follow in his footsteps, maybe be a full-bird colonel or even a general. Julius was smart and adaptable, he had to be with how he grew up, and he didn’t have close ties to any one place in particular. Add on a father whose love and respect was based solely on how willing Julius was to say how hi when his father said jump and you have the perfect candidate for the clandestine services. People from happy functional families don’t tend to become spies.

Working for the CIA wasn’t quite what he imagined, but it was thrilling nonetheless. His focus was Russia and working dealing with bot farms and counterespionage. He ended up dealing with the Russian Mafia’s encroachment on the US and developing connections in the mob in Moscow and St. Petersberg. After the Ukrainian revolution, he was sent to the Crimea to gather intel about Russian separatists and the Ukrainian forces trying to fight back against them. He ended up deep undercover, dating the daughter of a Russian-backed politician suspected of funding anti-Chechen terrorist activities.

Karina. Oh Karina. She wasn’t the first love of Julius’s life, but she was the one who got to him when he was vulnerable and in need of someone to hang onto. She was trouble, the kind of trouble he should’ve known to avoid, with a drug problem and an attitude that she could get away with anything because of who she was. But she got him in important doors, and lying next to her in bed at night made him feel like someone might love him at least a little for who he really was, even if he wasn’t sure who that was anymore.

Karina got into a new kind of trouble: playing at the games her father was involved in. She didn’t seem to understand why Julius would object, when he was the one neck-deep in it too, and it resulted in a fight that only ended when she called him to tell him she was pregnant. She also revealed that she’d been using his name to engage in all kinds of bad behaviour and had gotten him so deep in shit that even he couldn’t get out. He was going to get pulled by his handler and be sent back stateside. She told him if he left her, she’d reveal everything he’d been up to and make trouble for him with the Russian Mafia, blowing up his whole mission. She knew just enough that if she told the wrong people, he’d get outed and burned and probably end up dead.

While he was trying to find a way to bring her home with him, still convinced that they could have a family and be together, despite all the evidence to the contrary, Karina disappeared. At first, Julius assumed she was doing it on purpose to force him to acquiesce to her demands. Then, he was simply frantic, using contacts he only had for life or death situations to try and find her. She was found by Ukrainian police in an alley, dead of an overdose. The media called it a tragic accident and hinted that it might be a suicide, while her father accused first the Ukrainians and then his own Russian contacts of having her killed. Only Julius knew that the Chechens had been tipped off about her involvement in her father’s business there. And that sent him down the rabbit hole of not knowing whether or not his own organization was to blame; whether they’d weighed the likelihood of his own death or hers and come up with an equation that he couldn’t be a part of.

There is Julius pre-Karina and Julius post-Karina, and it’s the defining moment where he went against God and country and had to discover who he actually was as a person. He’s still figuring that out. What is the difference, after all, between someone who commits crimes for personal gain and someone who does it for the flag? Is he any better than a criminal himself? Half his co-workers retired and became arms dealers or corporate security chiefs who engage in morally grey activities in foreign countries where no one is watching. Who is he if he’s not the good guy? He’d always believed that a good guy doing a bad thing for the right reasons was better than a bad guy doing the same thing for the wrong reasons. Now he’s not so sure there’s even such a thing as good guys and bad guys at all.

His involvement with the Sinclairs has left him feeling even more confused. If he’s keeping someone safe, but he’s doing so for criminals, is he better than he was when he was getting people killed for the government? His moral quandaries are something he tries not to dwell on, the kind of man who acts and doesn’t worry about second-guessing because it will get you killed, but years of turning off his moral compass has made it impossible to shut it off anymore.

What’s worse is there are people in the Sinclairs that he likes, that he cares about, who matter to him. Not getting attached was supposed to be part of his job, but having done it once with Karina, it’s become a habit he doesn’t know how to quit.

All of this would suggest a brooding, angsty man who weeps into his whiskey quietly in his apartment while it rains, only of course he’s too manly to actually weep. But Jules is the opposite of that. He’s had to become pathologically well-liked as part of his CIA training, and it’s carried forward into his new line of work. He can sit down at a table and make friends with whoever happens to be there, so that by the end of the evening, he knows the name of everyone’s spouse, children, mistress, and favourite sports team. Jules can get secrets out of people and they don’t even realize he was the one who asked in the first place.

He doesn’t let a lot of people in, and even when he found Paityn and protected her, almost on a whim, he still struggled to let himself care for her. She reminded him of Karina, trouble that needed him and fulfilled that part of him that wanted to be the knight in shining armour when he’d spent his life hiding in the shadows. But she and her mother have wormed their way into his life, so that he now even has weekly coffees with Penny to discuss her family and frets over Paityn if she doesn’t check in even on his days off. He’s dangerously close to considering at least part of the Sinclairs as something almost like family, which he hasn’t had since he joined the service, and it would frighten him if he let himself think about it.

WRITING SAMPLE

Once upon a time, Julian Helmann had thought he knew what right and wrong were. Now he knew he had no idea. After years of wearing a variety of masks and using so many different names that he sometimes forgot which one was real, he was back in the country that he’d loved but never really known. He had a new identity, which had cost him his retirement fund. His former handlers at Langley had agreed to quietly retire him provided he accepted that Julian Helmann was burned in the intelligence community, never able to work for any government, disavowed by the service and made known to every agency willing to listen. He’d signed along the dotted line and hadn’t told them all to eat shit, because he was too tired to care. It was over, that was the important thing.

So he was now Julius Heller, and that was who he would be for the rest of his life. Or until something new happened that required him to leave this one behind. He’d learned not to rely on anything remaining the same. Being adaptable was what kept you alive.

He’d picked Chicago because it was unfamiliar to him. He’d never lived there with his family growing up, there were no military bases near enough to bother him, and it seemed like a city that didn’t require you to have a past. No one needed to know his life story, they simply knew that he was here now.

Case in point, he’d been coming to the Sinclair bar for a month and had made friends with three bartenders and five locals. None of them cared about what he’d done before arriving in Chicago, other than making sure he wasn’t a fan of the wrong sports team. He’d spent his life worrying about the motives of every stranger he came across, so it was refreshing to know that he was surrounded by people engaged in the kind of lifestyle that meant he already knew what their motives were, and that they didn’t care about him. Maybe he’d spent too much time in Russia. Maybe he couldn’t really get along with anyone but criminals anymore. When you’d spent fifteen years of your life learning how to do a thing, it was simply possible you couldn’t stop.

Of course he knew who they were. He’d chosen the bar for that very reason. What better place to blend in than a bar where everyone had rap sheets and a pressing desire not to answer questions? They weren’t even that bad, as gangs went. They didn’t kill your whole family as a lesson if you fucked up while you watched. Chicago had been run by the Irish and the Italians, who would probably hate to hear that that marked them as soft when it came to organized crime syndicates, but Jules had chosen it over places with a heavy Russian influence. Sure, the Russians were moving on Chicago, they moved on anywhere they could, but they didn’t have a stranglehold on the place yet. If they did, he supposed he would have to leave. He was used to that.

There’s a quiet after an explosion that most people don’t realize. The blast itself isn’t so much loud as it is an attack on the senses. You don’t even process it as sound because it blows out your eardrums. And then there’s just quiet, and a ringing that slowly grows louder and louder. You can feel it in your head, your teeth, your chest. You’re dripping blood from your ears, your nose, anywhere the shrapnel has hit, and the world feels a lot like if you’ve been pulled into the undertow, and you don’t know which way is up. It is one of the most disorienting sensations, and there’s no way to get used to it. Whether it’s your first explosion, or your 30th, you handle it the same way, which is badly.

Julius was outside the bar, which wasn’t hard, since there was now a much larger entrance than there had been, wondering if Vladimir had found out who he was and had sent a message about the thing in Vladivostok. A man pointed a gun at him and was probably screaming, Jules’s ears hadn’t adjusted yet. He’d be at least half-deaf for three days. Reading lips was never as accurate as people thought, but even in his current state, Jules could tell it was in English. And more, that the man didn’t have Soviet teeth, so he wasn’t Russian. Ukrainian, maybe?

“Ya ne rozmovlyayu anhliysʹkoyu.” I don’t speak English. Julius couldn’t even hear his own voice, didn’t know if he was shouting it or if it just felt that way. He kept his hands up, trying to wipe the blood off of his face on the inside of his elbow. The words, “fucking Sinclairs” was clear enough that Jules felt comfortable assuming this was not, in fact, a hit on him.

While debating whether or not to simply lie down on the ground and let things take their natural course, he saw a crumpled form with hair that caught the streetlight glow. It was a girl. She reminded him suddenly of Karina, the way they’d found her behind Yuzhnoe. He’d looked at the crime scene photos, still had them, couldn’t stop looking, as if something was going to finally tip him off and tell him for sure what had happened.

The yelling man with the gun had stopped pointing it at Julius, also having noticed the girl, and was walking towards her, firing and missing. The Costellos really needed to offer better firearms training. Julius shot the man in the head three times in quick succession, twice in the main body cavity as well just for good measure. Scooping up what turned out to be a handy little assault rifle that was definitely not street legal, Julius kicked the corpse several times just to be absolutely sure.

The girl was small, smaller than Karina had been, she weighed almost nothing as Julius rolled her over and checked for injuries. His hearing was fucked, so he kept having to look up, checking for cops or reinforcements. When he saw them coming, he was disappointed to realize it wasn’t the cops. Cops he could handle. This was going to be complicated.

Throwing her over a shoulder, he flicked the gun to semi-auto and sprayed a pattern directly at the oncoming car, causing it to spin out and hit the curb trying to avoid the bullets. That gave him time to unlock his car and toss the girl into the back seat. Button-lock cars were really a lifesaver.

The street ahead was suddenly blocked off by an SUV, and the car behind was moving to block him off as well. Fabulous. Turning, he noted that the girl was coming around. “Hey, I need you to get down and hide in the foot well, okay? Just … don’t move and don’t open the car for anyone. I’ll be back in a minute.” After a moment, he dug his phone out and tossed it to her. It was a burner anyway. “If I’m not back in five minutes, call 911 and then the first number in the contacts, tell them you need an extraction. Someone will come, okay?” Looking out the window, he judged he had maybe 30 seconds before they were about to have company. “Everything’s gonna be okay, I promise. You’re gonna be fine.”

Four minutes and 12 seconds later, he opened the driver’s side door, dripping blood from a graze across his bicep. It would sting but wouldn’t kill him. The SUV that had been blocking his path was now on fire and the one behind them had a small semi-circle of bodies around it. The girl was still there, looking dazed and so small. Her eyes seemed to take up most of her face. Karina’s face had been different. He reminded himself of that. Not the same. Different girl, different country, different him. “Let’s get you home, okay?”

[curiouskrp]

               “WELCOMING APT 5B TENANT, KIM YANI !

INFORMATION

age –  25 pronouns – she/her  occupation –  gs25 night manager moved into treehouse – six months ago

PERSONALITY: ISFP, THE ADVENTURER

positive –

artistic / passionate, obsessive, curious, imaginative, creative - over the years there have been many adjectives used to pinpoint yani’s ferocious obsession with the aesthetic, with knowledge and beauty. from painting to literature, film to sculpting, she’s busied overeager hands with innumerable past times. a bout of interest in sewing left over enthusiastic fingertips tinged in bloodied pinpricks, a season of interest in ceramics caked her nails in clay, a mishap with glassblowing burned her trachea and she lost her voice for a month.  her home is her workspace now, awash in warm colors and soft sketched lines, photographs strung up on the walls to examine with less tired eyes later - she’ll exhaust herself otherwise, staring at her work until a hypercritical eye begins to pick apart every minute detail, every miniscule flaw. her medium of choice in the moment, and for quite some time now has been photography, both digital and film. she works mostly with still images but has embarked on some video components. she has had her art in a few minor installations and featured in gallery shows, but has never had her own exhibit or show. 

charming / the most necessary to her success as both an artist and as a human being is the fact that yani is innately charming. warm, open, and bright she has an energy that is hard to resist. this is half by design, motivated by an obsessive need to be liked, which has prompted her to cultivate a sharp sense of humor and a dry wit to match. playful, hyperbolic, and creative, she can be a blast at parties or when in a group where she is able to play off the jokes and comments of others. however, leave her to her own devices in a one on one setting and she’s much more laid back and easy-going, preferring to let others steer the conversation. she’s got an easy grace and brightness to her disposition even when she falls into the macabre or dark, tinging it with a sense of humor.

negative –

unpredictable /  yani is not the friend you call at two in the morning for help, unless you’re looking to get really trashed and/or are okay with being left on read until a bleary and misspelled “sup?” at 4am. it isn’t intentional. yani is a slave to her emotions, moods and whims taking over each step of her life as she allows circumstance to pull her rough and tumble through the narration of her story. she seems almost a slave to impulse, which she may grandiose-ly chalk up to “leaving things up to fate” but in actuality is an effort to remove agency from her own hands due to a paralyzing fear of making weighty decisions. while she finds herself empathically able to relate to and understand the needs,  fears, and motives of others, she can easily become overwhelmed with this perceived information and find herself retreating without warning, lest she fail them in some way. her presence in life is both unpredictable and routine - she’ll flit in and out like a butterfly, appearing briefly to leave a mark before she retreats away again, always acting as if no time has passed. her personal moods are just as mercurial, vacillating wildly throughout the course of the day, or even across a number of hours. quick to anger and quicker still to apologize, she’s prone to impulse and erratic behavior that can be off-putting to those who prefer someone more stable and grounded. 

fluctuating self esteem / if you’re being kind, you’ll describe yani as sensitive. a bit empathic, too easily swayed by the emotions and feedback of others. she has a distinct lack of guard up against the world, for all her fronting to appear otherwise. the jaded exterior lasts for only a moment before it’s smashed by the reality of a girl with a heart on her sleeve. she wields a biting tongue against this like a lackluster defense mechanism, as if verbally lashing out at others can counteract how easily, how readily she can be hurt by them. while yani would often rather die than verbally express her feelings, fears, concerns, or worries in any real way, they’re very easily apparent even to the untrained eye. it frustrates her, how easily other people can read her ups and downs, of which there are many. she vacillates between an obsessive egotistical pride in herself and a damaging, truly deep set self loathing that eats up her insides. in reality she has no idea what she thinks about herself, if she’s  proud or not, and pulls all of her validation (as meager as it is) from external sources. thus, her self worth is immensely predicated on the actions, thoughts, and expression of those around her, leaving her incredibly vulnerable despite a veneer of a “devil may care” attitude that, in fact, persists long after the ruse is up.

HAUNT

how many ways can yani answer the question? 

is she haunted by her own failures? by choking in the middle of the entrance exams for university, clutching her chest in a violent panic attack in the bathroom and leaving with the test unfinished, summarily ruining her chances for higher education in the country of her birth that year? is she haunted by wasting her teenage years on booze and cigarettes and skateboards? is she haunted by pining after men and women that would never want her the way she wanted them, who relegated her to her childhood past of knobby knees and awkward limbs and dirt smudged cheeks, sunburnt and freckled from the sun that crested over the mountains?  is she haunted by the death of the one man who professed to love her, by the knowledge that she’d settled for him, had never been able to return the love he so generously gave her? is she haunted by the fear that she’d squandered her one chance of love and now it was summarily too late, and he was too far and too permanently gone, and she would now be punished for her ingratitude with years of nothing? is she haunted by her own propensity to run from the inevitable, to escape to distant locations only to realize her problems were still hers whether she be in paris or london or seoul?

it’s hard to say. 

maybe, in the end, yani is haunted by herself.

HISTORY

i. birth is an uneventful affair. she isn’t a planned baby but she isn’t unwelcome either, youngest of three by enough years that her older brothers dote on her in the abstract but aren’t really fans of actually having her around. it’s sort of a theme. her mother hires a nanny and goes back to work immediately - she took time off with the boys and she’s not willing to do it again. her father is as distant as he was with the elder two, unsurprisingly.

yani grows up this way, chasing after affection and attention, calling out for the same things that were doled out to the other two so easily. she wants her brothers to play with her - dolls or tag, she’s not picky, she’ll take what she can get. they play hide and seek but she always hides, and they never seek, just let the little girl coop herself up in the closet for a half an hour, or until she dozes off. eventually she stops asking.

 ii. she grows into the hand she’s been dealt. she wears a tan like a shield, testament to hours spent outside in the sun, relentlessly scrambling over the landscape. they live on the outskirts of a little town on jeju island, and the sun and surf and sand and rocks and mountains are her company. she takes after her brothers, athletic and enthusiastic, seemingly immune to the scraping of her knees and the scabs on her elbows, bruises on her shins.

yani feels the freest on the skateboard she inherits from her brother - or, more specifically, steals from his room when his interest in girls and his worry about entrance exams takes over his free time. in this way she learns two things: she can only rely on herself, and that she must always, always take that which she desires. 

 she spends hours on it, rolling through town to the ultimate displeasure of the ahjummas who sit outside the town hall and gossip. a girl should be more demure, she should be more careful, she’s going to hurt herself or someone else, they say, but yani is past the point of craving approval now. or at least, that’s what she tells herself, disregard is a shield she equips, straps it over a soft heart, hardens herself by hoping for little and expecting even less. when you expect the world to let you down there is a freeness in being proven correct when it doesn’t surprise you by being anything but bleak.

iii. high school treats her well. there are only so many other kids in town, so it’s not like there’s enough trouble for cliques. not when they’ve all known each other from birth. there isn’t much reason to come to the little excuse for a city, unless you’re a tourist or you’ve got a burning passion for the fishing industry, and even then there are better choices in destination. she studies well enough, but yani is prone to distraction. her attention wanders and she spends plenty of time staring out of the window, as opposed to anything else. but she’s clever, and when she does apply herself she catches up just fine.

there’s a certain sadness to a decaying rural town, and the older yani gets the heavier it weighs on her, this realization that there are no opportunities here, that the only chance for a viable future any of them have exists in some ephemeral elsewhere always slightly out of reach. it’s the cycle of poverty in action - the jobs are manual labor or hardly impressive, few remain in the town, the aging population is setting the community up to collapse in on itself, but what is anyone able to do about it? so they drink or they fuck or they whine about it, anything to carry on the way they always have. from this town yani learns denial and resignation, in a bizarre blend that ought not be properly possible.

iv.

whatever chance she had of success in school goes down the drain with truancy and delinquency, with smokes stolen from the corner store and beer she convinces neighborhood oppas to buy for her with their ids. she gets what she wants and she doesn’t look back, morality a luxury she can’t afford and frankly doesn’t try too hard to squeeze in anyway. she loves boys that don’t love her back and she chases a high that never quite seems to satisfy. climbs a little bit higher, goes a little bit further, to fill herself with the seratonin and the adrenaline that seem to evade her. 

when she finds out, in the dead of night, half drunk with her best friend, who has never seen her the way she’s wanted to be seen, that his older brother - her boyfriend, her second choice, because he sees her the way her best friend refuses to look - is dead, in a car crash, her word falls apart. it crumbles. 

v.

yani deals with her tragedies and her uncertainties in the way she has been taught. she denies it even unto herself, buries herself into distractions. it gets harder, immeasurably, when her two best friends leave for the military one after the other. she submits an application, a portfolio. it’s a long shot, but she makes it. she leaves, on a plane, in a search for more ways to bury her heart. 

it’s so easy to find them in a city like paris. in drink and drugs and then maybe even in boys and girls. she finds her redemption in sex and adrenaline and in petty, stupid actions. she is a terror on two slender legs, she is weaponized femininity and a cutting tongue, she is every bit of sharp wit and killer instinct wrapped in a devastatingly pretty package. the last distraction, the most enjoyable and the most wholesome, comes in the form of an old film camera. she buys it with money she’s picked out of the pockets of men who lean to close to her in clubs, men too old to promise her the things they do, who line her pockets and give her gifts in the hope that she’ll be foolish enough now to offer her youth to those leeches, those vampiric men that wait so eagerly and desperately to drain her dry.  it’s another way to put a distance between herself and the world; observer and artist, not integral, not intertwined. she can expose the truth of the world without involving her own truth in it, betrays herself in a thousand tiny ways. 

vi.

it is so terribly easy to get what you want in a city like this. there is always someone willing to give it to you, for a price of course. yani learns to play this game, to divorce herself from her own reality, to compartmentalize. she feels like a hundred different girls. she feels like a line of glasses on a counter, each varying levels of empty. she feels like she could shatter in a moment, or sing beneath a touch, or neither, or both. 

she feels like they can sense it on her, the sins that paint her skin. she rots herself with alcohol, nicotine, prescription pills designed for someone decidedly not her. she wears herself down with long nights, early mornings, insomnia that clings to her, a weight that settles heavy, drags her down. her moods are mercurial, she tears through the people around her like a storm, intent on destruction, pausing for the briefest moments of calm before the winds pick up once more. 

she falls apart this way, bits and pieces at first, and then all at once, like a spaceship reentering orbit too quickly, she is engulfed. 

vii. 

in the end she stays there, in france, for a little longer. longer than she’d intended. money starts to run out, her feeble language skills are put to the test. it’s sheer luck that lands her a job at an art gallery, luck on top of luck that gets her through an accelerated program. in the end, she spends two and a half years in france, eventually returning to her dismal little rural town. returns with a degree from france that means very little besides “you didn’t make it into a korean school” and “you dedicated your life to creative pursuits that will provide you with nothing.”

she returns with her camera, with a few years of gallery experience, with a couple thousand dollars saved and very little in the way of confidence or strength. she has dreams she barely dares to dream, thoughts she can hardly expose herself too. with a portfolio and no direction, no idea what to do with herself, for herself. 

viii. 

by the time she gets back, one of her friends is out of the military at last, the other long gone for seoul. she spends two months in the little town before she can’t handle it anymore. has photographed every inch of the decaying rural landscape, the town left forgotten by progress, by the government, by the future. her collection on the state of the town, deemed a cutting photojournalistic insight to rural korean poverty, becomes a minor sensation and is picked up by a gallery in seoul. it’s the boost she needs to relocate, flees the town that made her, that funded her flight, to head for the city, to lose herself again. 

seoul is much the same as any other city. she wanted it to have answers that it doesn’t. she hates her apartment, a half basement decked out in mold and wrinkled vinyl flooring over the thick pipes of the ondol. she drags herself through the day to day, gets a job and does what she can to keep herself afloat. takes pictures, sells them, does what she can. it’s unfulfilling. she’s frustrated. her friends feel distant and she feels thoroughly disconnected from the world around her, floating as if on the currents of the ocean. 

viv. 

the treehouse offers a chance at a community, the selfsame thing she has done so much to avoid, so earnestly  distanced herself from - lest anyone figure out the great pretending of her life. that she’s not half the person, half the artist she wants to be. she lives a life steeped in imposter’s syndrome and unspoken words, preserving her thoughts in notebooks and photographs, fragments of time and feeling captured without explanation, left for the viewer to infer.

[blackidyll]

Saw your tags and omg if you ever write fic with Mara and Jacen and Jaina that would be amazing. I don't care that none of it is official anymore, they were my favorites.

Hi, it's likely been ten million years since you sent this message and I know this response is super late but I'm really happy to hear that you love the Extended Universe/Legends (whatever we're calling them now) characters too! Mara Jade is my absolutely favourite SW character. Unfortunately, I don't think I'll ever write fic for them because it's been more than a decade since I read any of the books (also the events of the Yuuzhan Vong War depresses me.....) but in my heart the original EU will always remain canon.

I don't know why I started reading the SW books in the first place, because I don't actually remember if I watched the original movies or not. I knew about Star Wars because it was one of those pop culture things people absorb through osmosis, but I picked up the Thrawn Trilogy on a whim from the library while on a sci-fi/fantasy book reading spree, and I just fell completely in love with Mara Jade and her very volatile interactions with Luke (in that she's trying to kill him, and Luke is determined not to be killed but also wants to help her, and they're both stuck on this planet and need each other to survive), and that's probably how I got interested in the Star Wars universe as a whole. 

Hence, I will always have a soft spot for Mara in my heart. She's such a wonderfully written character - complex and strong but flawed and human and yet she overcomes it all through her own efforts and hard work. Her agency after overcoming her past as the Emperor's Hand is probably one of the most important aspects of her character. Seeing Princess Leia become the head and leader of the New Republic? Hugely important. Seeing Mara Jade, overcoming her dark and painful beginnings and becoming utterly brilliant as the second-in-command of a major smuggling alliance and constantly sassing THE (one and only remaining) Jedi Knight/Master of the universe at the time? Also hugely important. And I was always more of a Mara kid than a Leia kid (I do love that Leia was amongst the first to trust Mara, despite Mara's Empire beginnings).

I also just love Mara's relationship with Luke; talk about the ultimate Enemies to Friends to Lovers. I remember as a teen reading the Hand of Thrawn books, and Luke freaking proposes when they're about to drown, and Mara just goes "we're in a literal life and death situation right now, are you for real?" because honestly Luke, your timing, and that banter of a proposal was just so THEM and I will love that scene forever. Also, moments after that Luke is forced to relinquish control and his saviour complex and let Mara do her job to save them, and it was a hugely important moment because their relationship can't survive if he doesn't trust her with this. And he does trust her with this, and I just love them and their partnership a lot ;A; they're so good together. I wouldn't change much about their canon selves except for how Mara's story ends (because... just no). In my ideal universe, the Solo children always remain chaotic teenage Jedi apprentices because everything falls apart when they grow up and the Yuuzhan Vong War happens. I actually stopped reading any Star Wars books midway through the Yuuzhan Vong arc because it was too depressing (if you read those books, you probably know why).

(more of my ramblings under the cut about the EU and also the new movie trilogies because I like Rey and Kylo/Ben, I just wish they were developed better when us EU fans already had characters like Mara and the Solo children.........)

I think one of the huge reasons why the new SW trilogy (Movies 7-9) constantly falls short for me is because... well, similar characters exist in the EU and they are just built and explored and characterized so much better. Much of it is because the book medium allows for so much more character growth and exploration, but yeah. I love Mara a lot because she really does have the whole grey and ambiguous background and she was molded into the Emperor's Hand with little choice of her own, and after Palpatine dies she fights bloody damn hard to define who she really is on her own terms. She actually feels like a so much better developed analogue for Kylo Ren, in that they were both manipulated from young to work for the dark side, and upon Palpatine/Snoke's death, they are finally free to make their own choices but are still haunted by their upbringing (Mara being literally haunted by Palpatine's final Force order to kill Luke).

I actually like Kylo's "redemption" back to Ben and how it was not motivated by any sudden moral change or goodness - but the fact that he just wants to be with Rey (someone who understands him), and if that means he has to go a little towards the grey side of the Force instead of the dark, then so be it. This is also why I thoroughly enjoyed Mara's long and windy journey to becoming a Jedi Knight - she didn't choose it and in fact avoided it since she quit Luke's Jedi training; it pretty much snuck up on her when she made the decision to sacrifice her beloved ship in an act of selflessness. The EU builds the idea that there is no true Light or Dark side of the Force, and although the new movie trilogy builds the foundation for this idea, it ended up enforcing the idea that everything /is/ black and white, that Rey has to reject being a Palpatine (Dark) to be a Skywalker (Light), and that Kylo Ren (a Dark side character for most of the trilogy) can only be "redeemed" in death............................ instead of just giving us the morally grey Jedi Knights that I want, because nothing is truly light or dark - one cannot exist without the other.

I hated the Rey Palpatine reveal BUT they could have really worked this angle and foil it against Kylo/Ben struggling with his legacy of being Darth Vader's grandson (and the fact that DV did die as Anakin Skywalker in the end - not on the side of good, but simply to protect his family). In fact, the EU does this perfectly with the Solo children: Anakin Solo has to struggle with his namesake and knowing he is the grandson of Anakin Skywalker, and his fear of turning to the dark side is a pretty great arc in the books (no Snoke or Palpatine influence needed).

Also, I think Adam Driver was wonderful as Kylo Ren/Ben, but honestly the EU making the very first Force-strong children in the new era a set of twins was a stroke of genius. The Solo twins are great. The fact that they are twins is also great as a literary technique. First, they share the burden of the entire universe's expectations - they bolster and balance each other. But they also eventually become opposite sides of the same coin, and even then, it's not all black and white. Jacen falls to the dark side literally because he wanted to protect the galaxy and was willing to do it at any cause (the road to hell is paved with good intentions indeed). Jaina is knighted the Sword of the Jedi - she's an offensive force that stands on the front lines so those behind her can know peace, and this eventually leads her to killing her brother (a Light character that commits fratricide to stop a Sith Lord).

I mean, I like the whole idea of Rey and Kylo/Ben's Force dyad thing (which by the way, is kind of broken/left hanging at the end of TROS because Ben fucking dies) but seriously, the Solo twins! All the built-in drama and legacy without having to give your new characters weird back stories!

At the end of the day. I wish they picked what they wanted to do with Kylo Ren. Make him like Jacen - have him willingly choose the dark side and live through the consequences of it. Or make him like Mara - someone who was forced into his current role - but also give him Mara's growth arc, where he gets the chance to properly break through the trauma and have time to work out his own motivations and NOT DIE at the end of it.

Same with Rey - let her be Rey from nowhere and build her own legacy (like Mara did :) I love that Mara absolutely thrived being second-in-command of a famed smuggling ring, because just because you are strong in the Force doesn't mean you need to be a Jedi). Or make her a Palpatine and let her actually struggle through the ramifications of it the way Anakin Solo did.

.. honestly if a Mara character existed in the movies we wouldn't have half the drama, because for one she wouldn't let Luke fuck off to the ends of the universe; she'd force him to take responsibility and not like, you know, abandon his sister and family and his duty. And knowing Mara (and seeing as Ben Solo was not actually responsible for the massacre at the Jedi academy apparently?), she'd take matters into her own hands and go infiltrate the First Order to get Ben back herself, because that's a Mara like thing to do. And she knows the Empire, you know? Even if it's been recasted as a different face (also canonically she's always been a good ally in taking care and safeguarding the Solo children).

[smol-and-smad]

Soukoku Rant

So I just needed to get this out there.  This won’t have any references (although I will try to direct to where I saw a thing) so sorry, but I just need to blab about this thought in my head. THIS TURNED OUT TO BE SO LONG SO HERE’S A CUT.

A big part of the BSD fandom is Soukoku.  Don’t get me wrong, I love Soukoku (Nakahara Chuuya and Dazai Osamu).  I don’t ship them but I love them, and especially love them separately (Chuuya is my favorite, and he’s still taller than me). ANYWAY something that always comes up is Soukoku’s relationship and I think the fandom in general is pretty spot on about how their dynamic is complicated and complex.  It is stated in the both the manga and anime by the characters themselves and in the manga character sheets that they hate each other.  Like to the point that Chuuya’s only dislike is Dazai. Not even Atsushi and Akutagawa have each other listed as dislikes (granted that’s pretty obvious and is a main story arc with Shin Soukoku, but I digress).  And they do apparently hate each other.  However, we all saw in both the manga and the anime how, when Dazai was smacked by Lovecraft and actually pretty hurt, Chuuya was concerned.  And in the opening art of Chapter 31 (Double Black/Soukoku)  of the manga little Chuuya and Dazai looking at each other as they walk away.  This all leads (pretty obviously) that their dynamic is more complex than just ‘they hate each other’. 

What I’ve been thinking about is this - there are two ways their relationship has played out. But there is something to keep in mind here before I ramble more: 1. the main ‘pairing’ of the story isn’t Soukoku (at least the main story of Bungou Stray Dogs); that belongs to Shin Soukoku. Atsushi IS the listed main protagonist and the manga has this goal in mind.  BSD is about Shin Soukoku not Soukoku. 2. We are getting an original movie that the poster featured Soukoku; so there might be hope for more Soukoku past but I don’t know anything and all my info has to be translated because I’m lame and don’t speak Japanese. So all this could be for naught. But do keep in mind, the movie is a Bones production and I have no idea how much say Asagiri is having (could be writing the whole thing, again I don’t speak Japanese and I have no idea). 

Now, the two ways Soukoku relationship could play out.  Let’s start with the optimistic one first. They were probably raised somewhat together in the Mafia and were friends once upon a time. They were partners after all, and while one could make an argument for putting them together for the compatibility of their strengths alone it was probably a little more than just that.  But they are SUPER compatible.  Chuuya is strong, and not just because his ability is fucking gravity manipulation; he is the lead martial artist of the Mafia.  Dazai is ‘the demonic prodigy’ and while he does have some hand-to-hand combat training and is good with it his real strength is his strategic mind.  They are very much a brains and brawn combo.  Not saying Chuuya isn’t smart, he is; Dazai is just smarter.  And this is where the hatred probably started.  They are listed as being the same age (both 22 in present day BSD) yet Dazai is the one known as the Demonic Prodigy, the one with the title of ‘Youngest Mafia Executive’.  Not Chuuya. We don’t know when Chuuya became an Executive (or at least I don’t) but we can assume it was after Dazai became one. And we know Dazai used to give Chuuya shit all the time when they were partners - Chuuya says Dazai used to spite him and insult him during Episode 10 (and the correlating manga chapter) when they were partners all the time.  Do we think Dazai is above rubbing something like that in Chuuya’s face? Chuuya is big on loyalty and the Mafia hierarchy, and Dazai being an Executive and Chuuya not would cause some problems for Chuuya with being his partner.  But is Dazai about being petty? Absolutely not.  Especially ESPECIALLY Mafia-Dazai. And Dazai toward Chuuya in general; he admits he was captured and came to Mafia headquarters ‘mostly for Atsushi’ with the rest of his reason being to spite and goad Chuuya.  EVEN AFTER FOUR YEARS OF NOT SEEING EACH OTHER DAZAI IS STILL A LITTLE SHIT TO CHUUYA. So let’s think about this; Chuuya as we know is an extremely hard worker, loyal to a fault to the Mafia, and cares deeply (as shown when he is looking at the deaths from Q’s curse).  Dazai (especially Mafia-Dazai and yes we must separate them) cares little for others, loves to prank his partners, and while he works hard everything is easy for him because he is so smart.  The hatred could have started, at least on Chuuya’s side, from a sense of jealousy and that’s WHY anytime Dazai is brought up and praised he still gets upset (that wine scene with Kouyou, Mori, and Chuuya post Shin Soukoku fighting Fitzgerald). And another thing - Chuuya is dependent on Dazai for Corruption. Completely dependent and at Dazai’s whim.  Soukoku is powerful and became Soukoku because of Corruption (as stated in the manga); Corruption being CHUUYA’S ability yet Chuuya’s life is in Dazai’s bandaged hands. And yet, Dazai seems to get the most praise.  Now why does Dazai hate Chuuya? (We know he does, it’s stated and he is much less reactionary toward Chuuya than the other way around). Not sure, Dazai is always hard to read.  But I would theorize that they were friends at one point, probably partners for a long time, and it was jealousy and conflicting personalities that made them drift apart.  But it’s hard to let go of in-grained habits, like caring for your partner and knowing their habits and attacks; remember it was 4 years from when Dazai left the Mafia and they still remember their old maneuvers.  And caring for the one person that could save your life if you have to use your suicidal yet super strong true ability. Looking at you, handsome ginger. 

Now for the more pessimistic reason they hate each other - because Asagiri wanted a parallel to Shin Soukoku. That’s it. Because the author wanted a parallel.  And this only works as the parallel to Shin Soukoku because Dazai is officially part of the Agency and Chuuya is a Mafia Executive.  It would make sense for there to be an original Soukoku if the end-game is Shin Soukoku with Atsushi and Akutagawa.  It makes Shin Soukoku more believable and gives them room to grow and makes them front and center if and when they become more powerful than Soukoku.  Now yes, Chuuya and Dazai were dubbed Soukoku back when they were in the Mafia together, but WE DON’T SEE THAT which is what is important.  We don’t see Soukoku originally, we see Soukoku as Asagiri (this is an intentional fallacy but imma do it anyway) intended for us to see them - as one member from the Agency and one member from the Mafia working together. Giving us an original Soukoku with a backstory that makes it believable makes the idea of Shin Soukoku more appealing and more believable especially since Akutagawa spends SO MUCH TIME trying to kill Atsushi. Them working together without a previous basis of reliability, of an example of ‘oh hey two people from opposite sides who hate each other working together can work cool’ would be hard to sell.  Now this isn’t the first time things have been twisted to suit the narrative in BSD.  Very first episode, very first chapter - when we find out Atsushi is the tiger and we see Dazai’s No Longer Human nullification for the first time, for some reason Atsushi’s arm doesn’t return to normal.  Which, by all accounts and all instances we see of No Longer Human later, it should have.  So why this first time does Atsushi’s arm remain a tiger paw? Dramatic effect. So Atsushi can find out in a slightly humorous manner he is the tiger and he is a gifted individual.  Dazai says “My nullification ability is absolute” in Double Black when fighting Lovecraft.  If it’s absolute, as we have seen it to be, this first interaction of No Longer Human on Atsushi makes no sense - except as a twist made by the author for the narrative.  And the narrative is Atsushi, as the main protagonist, joining the Armed Detective Agency and later becoming part of Shin Soukoku. Side/Last note, Soukoku isn’t the only Mafia/Agency duo OH NO we find out Mori and Fukuzawa were an unofficial Soukoku back in the day.  Chapter 50 we discover THIS LITTLE TIDBIT and it was hinted they had interacted before during the Guild Arc. 

All in all? It is probably some combination of the two.  There is probably a back story to Chuuya and Dazai’s hatred of each other we are not privy to. But this is a chance it is not detailed because it isn’t necessary for the main story.  Now, if the movie does prequel to our BSD universe and gives us the truth of Soukoku? I’m down. 

The purpose of this? I’ve been thinking about this every god-damned day for like a week and I needed to get it out. Sorry for the ramble. 

[withacorkscrew-blog]

Sherlock: The Lying Detective

**Sherlock analysis/spoilers below**

In which some people don’t understand what makes villains villainous, what makes characters human, and the difference between love and disaster (or style and substance). 

And in which, again, “some people” does not refer to Sherlock Holmes (mostly).

Also ft. the id!fic I very specifically asked to not ever see, and sadness. 

Starting with the easiest bits, going towards the hardest. 

Does this give us an arc? The return of Billy. The return of Irene Adler. Appearances by Mrs Hudson and Molly and Lestrade and Lady Smallwood. Redbeard, too. The return of a whole bundle of visual motifs: Sherlock’s case wall, Sherlock’s violence towards his case wall, an almost replica of the shot following Irene Adler’s drugging of Sherlock, Sherlock’s deduction with the window and the attendant visual affects, Sherlock’s juvenile wit with the Bollocks map, Benedict Cumberbatch seeming to infuse a certain amount of joy into the role again during Sherlock’s breakdown...a lot of old favorites returned to the show this week, and it felt good. In the moment. But, at least to this point, those pieces don’t feel like they fit together. The underlying logic that would unite them isn’t there. It could be! What if Billy had given Sherlock some of the memory drug? Or what if Mrs Hudson and Billy were in cahoots to get Sherlock the least damaging drugs since, as she points out, her husband was a drug dealer? What if more of the characters interacted with each other? Or did more than their professions, since we get Molly doctoring and Lestrade detectiving, and none of the cohesive human interactions that make the characters feel like more than props? But none of that happened. Maybe the next episode will create that, but at this point It isn't betting odds imo. Not impossible, but not looking great,

Do Mofftiss understand what makes villains villainous? Culverton could have been brilliant political allegory and a psychologically haunting villain. The idea that power creates opportunities for deadly, consequence-free callousness couldn’t be more timely for either European or US audiences. The idea of a rich, powerful man who takes joy in removing people’s agency, who will discard their lives for fun, and who gets away with joking about it on TV...well. The problem is that Mofftiss don’t understand the psychology of marginalization and precarity well enough to understand why that’s a horrific scenario, what’s at stake, how it feels to face down a power that can hold your life in its hands and decide what to do with you based on a whim. They’re closer to being that power than being subject to it (and that’s one reason why this story would’ve been better told in someone else’s hands). That terror is what would’ve made Culverton work. Instead, we get close-ups of his teeth which, like Magnusson’s face-licking, were affectively gross, but not worth more emotionally then a perfunctory wince, and that does more to tell us more how Mofftiss feel about ugly people than it does to establish investment in this nemesis or Sherlock’s victory over him. Reducing him to a fallible, clownish, one-off villain is a waste, and the lack of understanding is telling and terrible.

Did Mofftiss mean to write the TV equivalent of id!fic? Powerful middle-aged white men who make veiled confessions on TV can get away with murder. Are they even trying for subtlety? I mean, I figured that was just my own reading, but then the back to back “It’s amazing what people will ignore if you’re rich and powerful,” and “With this, I could crack America.” The TARDIS-esque hospital room wallpaper and quick shot to aliens on Culverton’s lot didn’t do much to put me off either. I can no longer tell whether this is self-aware wink-wink nudge-nudging, a total lack of self-awareness, or subconscious leakage. But has anyone checked their airing cupboards?

Do Mofftiss understand what people mean about strong women? Cue maniacal laughter, because we already know the answer. It’s just particularly disappointing in this moment, when these twists could have been really fucking cool. Mrs Hudson is a confident badass and there’s a Holmes sister? That would be brilliant! If it was done brilliantly! So...it isn’t. As much fun as I had watching Mrs Hudson - and it was a lot, until the unease set in - it was so far out of left field I almost hurt my neck trying to look for its source. This is the same Mrs Hudson who jumps at loud noises and cries while being tortured by Americans and can’t tolerate being yelled at by Mycroft - and she’s dodging gunshots and strategically dropping things to handcuff violent drug addicts and convincing the lads downstairs to stuff them in the boot of her sports car? I bought that she might hide a phone in her robe, that sort of matter of fact bravery. I bought her deduction to Mycroft and that she would kick Mycroft’s men out to preserve John’s privacy and emotional space. I’ve long bought that she was exceptional in a number of ways. But put all that in a classic mid-life-crisis-mobile and add a dose of violence, and I’m not sure whether I’m looking at a Mrs Hudson or a retired Bond Girl. I am pretty sure this isn’t the Mrs Hudson we’ve seen before. And Euros...the first thing we learn about her is that she uses her appearance to deceive. The Holmes brothers work on intellect and emotion. The Holmes sister? Straight to feminine wiles. Her first big reveal doesn’t center around her mind; it revolves around the audience watching her recreate a seduction and begin to undress. It’s as though Mofftiss can’t conceive of “strong women” beyond the femme fatale trope and that’s really limited. To say the least. I want to know what Mrs Hudson listens to on the radio and why. I want to know how Molly decides what to make for lunch and what it was like for her to realize who her boyfriend Jim was. I want to know how Irene Adler learned to adminster tranquilizers. I want to know how Donovan felt about Sherlock’s death and how it is for her working with Lestrade and Anderson. I want women with interior lives, with interests and motivations and relationships that don’t revolve around men. Kind of like all the ones I know in real life. 

Who are these people? I’m losing track. John is becoming a superspy, thanks to his internal marylogue, and making some very Sherlock-esque deductions, especially with that happy birthday at the end. He also can’t forgive Sherlock, even though he forgave him a faked death and a two-year-long disappearance, but still has chats with Mycroft (who he has to tell to stop calling?), and is hallucinating his dead wife, who he never really seemed to like very much, and also, in the midst of that, completely rolls with the fact that yet another person who he thought was dead is not actually? Sherlock was abstracted and  distant in the last episode, and in this one he’s half killing himself to provoke John into rescuing him and giving mini-speeches about how death affects people and confessing that he’s afraid of dying and admitting that he texts Irene Adler back and talking about how he has the terrible feeling that we might all be human and holding John in a soft embrace? Mycroft is calling John all the time and flirting with Lady Smallwood and letting information about Sherrinford/Euros slip out accidentally? Lestrade is unconcerned with Sherlock’s well-being? Mrs Hudson is treating central London like Thunder Road? Who are these characters, and where did they come from? And who will they be next week? 

John and Sherlock - what? This meta going around suggests that John has become abusive. Watching the episode, I wondered if Sherlock had. He self-harms as a form of manipulation, he tests John’s loyalty in all sorts of ways, he makes unilateral decisions about what’s in John’s best interest even when that puts John in danger, he puts responsibility for his well-being on John’s shoulders, he condescends to and belittles John regularly, he lies to him, hides things from him, he faked his own death for two years and abandoned him while there were dozens of other people who knew...while the aforelinked meta makes some great points, Sherlock’s behavior isn’t exactly healthy. My point here is not that Sherlock is the abuser, though. My point is that their relationship is deeply, dangerously toxic, and I’m not sure how, or whether, I can keep rooting for it as either a romance or a friendship. My instinct in watching their interactions is that these are two people who have been so deeply hurt by each other that there’s no coming back, no real possibility of trust and good faith. That doesn’t mean there isn’t also love there, or that there couldn’t also be forgiveness, or that there can’t be moments of connection based on their shared history, in which they try to keep being the sources of support and understanding that they once were to each other. I don’t think, for instance, that their hug was unrealistic. But I also don’t think it was a moment of great support and reconciliation so much as a moment of convenience and/or last resort because, as Mary points out, they don’t have other options. That’s not love, platonic or romantic; that’s codependence. And I can’t imagine a scenario in which they would still be able to have a genuinely healthy relationship. For that matter, I can’t imagine a scenario in which they would be able to have a relationship that’s anything other than mutual enabling. If there’s anything to grant here, it’s that they might both want to be in an mutually enabling emotional conflagration; they’ve both got self-destructive streaks a mile wide, and this way they get all the pain and someone else to blame for it, and humans are complicated. And hey, who knows who they’ll be next week? But it’s not a thing I, personally, can hope to see more of. It’s not a thing I want to watch. It’s not a thing that makes me care for the characters or their relationship. With my last reserves of caring about either of them, I no longer want Sherlock and John to be together, in any capacity. I want them at a good distance, preferably with therapists who aren’t villainous family members in disguise. 

And then there’s the show’s treatment of their feelings for one another, which I am too tired on too many levels to even touch with a damn bargepole.

Where does this leave things? If John and Sherlock - their relationship, their teamwork as partners in crime-solving, their interactions - are the heart of the show (which I think they are), and John and Sherlock have both become so destructive to themselves and each other that their relationship, in any capacity, is one I want to see continue - what’s left? 

This episode gives an answer: flash. There were moments that were genuinely exhilarating. Seeing Mrs Hudson play the badass, the reveal of a Holmes sister, the recurrence of ‘Miss Me,’ Benedict Cumberbatch’s joyfully unhinged drug-addled attempts at case-solving...it was exciting to watch. Stylish, quick, colorful. Empty. And a bit sad. This show was great because it was tight and interesting, because the characters were relatable, because viewers’ attention was rewarded. It was never the flash that made it. When the flash is most of what’s left...that’s not much. 

tl;dr:  :( 

Things to watch:

They’ve introduced a technology that can alter memories; on a show based on deduction and intellect that could be an exceptionally powerful plot device. Was it a one-off, or will they manage to make use of it? And if so, will it be as a weapon, or as someone’s choice? And who gets to decide? Or has it already been used?

See also, the trailer for The Final Problem: “Every choice you’ve ever made, every path you’ve ever taken, the man you are today, is your memory of Euros.” “Your memory of” is an interesting choice of wording, especially since the memory is neither so strong nor so recent that (an admittedly drug-addled but still very observant) Sherlock could recognize her in multiple disguises and on multiple occasions.

Potentially related, Sherlock is intrigued by what drugs do to his mind. Will that become a profitable line of inquiry?  

We keep seeing Redbeard, and it’s clear that that’s important. Is Rebeard an abstract representation of something? Did Euros kill Redbeard? Or is there some parallel there - Sherlock was told they both were sent to live on a farm? Sherlock has confused (or been made confused) one with the other? 

When Sherlock and Mary get shot, we see the bullet in slow motion. When Euros shot, we saw a wisp of smoke, but no bullet. Was it a blank? 

Sherlock not having recognized Euros will probs be a thing too, so therefore a thing to watch, idk.

The female detective who appeared briefly in TST, only to disappear again - was that a character who will recur, sloppy continuity/disposable women, or Euros?

What or who is Sherrinford? Another sibling? A location? A code name? 

What the hell was going on in the Holmes household? 

We still don’t know who sent Mary’s CD. Who? Or is this a continuity issue? Or is the explanation that Mary already knew it was going to happen, which I would roll my eyes v heartily about? 

Who will all of the characters be next week? (It’s an adventure!) 

Random thought: There was a person of color in this episode!  Just pointing it out because that doesn’t always happen. As is, of course, to be expected in contemporary London, where everyone is white. Good times, good times. In addition to all the words spilled on this show’s sexism, perhaps we should dedicate some to this show’s casual racist erasure.