#...partially also because i have no influence on the story.

[bonefall]

As someone with P-DID(Partial DID. I still have headmates but I can't really hand the body over to them) I am so fucking concerned about Moonpaw. I don't like the idea that she has DID because she's a chimera, that's not how it works, and I don't like the idea of them demonizing chimeras(I am not one myself though I just think we should all dislike that)

But I'm also super concerned because people aren't acknowledging how ableist this is. The voice is stated in the blurb to be sinister and people are ignoring that. I even saw someone say "It's not plurality it's a SPIRITUAL thing" and like. That's not any better. You know that's not better right? It still promotes the idea that hearing voices is always Bad and chimeras murder their siblings.

Idk I'm just super worried.

It's difficult to get through to certain folks on "Why This Is Bad" because most people don't have an understanding of non-overt bigotry.

Guy calling you a slur on the bus? That is overt. It's obvious. It makes "sense" to an observer that he is threatening you, by calling you to attention, trying to provoke a reaction. It's less overt when, say, you're stimming on the bus and that same guy starts huffing and growling in discomfort, but they can still follow the logic that Bus Guy's behavior towards you is altered based on his prejudice.

But they'll have a hard time making that final leap-- that Bus Guy's idea of your disorder is tied to something harmful.

My stims tend to be facial (blinking rapidly, scrunching face, shaking head, etc), but even without the classic "hand flapping," Bus Guy will tie these traits to unpredictability, "weirdness," or stupidity. If we weren't just on the bus and this man had power over me in some way, like if he was my teacher, or boss, or even a coworker, his assumptions about me would influence my life negatively.

Then, of course, multiply Bus Guy by the entire bus full of people and their social biases, and this is how systemic problems are perpetuated without a single person exercising overt bigotry.

THAT is why "Sinister Voice In Head" is a harmful stereotype. In Bus Guy's mind, a link is being formed; Voices = Make You Bad.

Just like how it doesn't actually matter if the "stupid character" is stimming because they're autistic or not, it's still reinforcing that bias. "Spiritual Thing" or not, she is being negatively influenced by Evil Sinister Voice.

Worse; there's barely any counter examples-- no humanizing portrayals of how stimming can help you focus, no discussion of real problems some stimming can cause (skin picking can be really destructive for example), no honest stories of what living with a difficult headmate truly feels like, etc.

...Digressing. My hand on your shoulder, Nonnie. It's gonna be ok.

Even if it is WORST case scenario, total catastrophe... this isn't the first or last time that headmates are handled badly in media. Remember; cultural bias is ingrained in people the same way that canyons are carved. Slowly, steadily, over many examples and many years, lapping away at rock that is already wet.

One more bad example is just another drop in that wave. It will not bring the wall down. It's worth concern! It's worrying, I know! We can do something about it.

[taraxacum-vulpes]

Since you're starting orv I want you to know that absolutely no one in the story is okay everyone is mentally ill in some way. Godspeed my liege 👍

i think being forced to kill people and value your life above others kinda does that to you gnna be real with you chief.

[carbonateddelusion]

thinks about 80s jack...

[silkentine]

Me when they are the sisters ever: 😭😭😭 They came out soooo freaking well. I won’t lie, they took me a thousand years to finish but through the constant support from all of my buds (and my latent bisexuality), we made it 😤

Hopefully you guys know the deal by now: design choices, easter eggs, and (NEW!) closeup shots below the read more. ⬇️

I wanted Ace to have a very down-to-earth vibe and looked at Aussie beach-girls, coastal cowgirls, and vaqueras for reference. (IDK, I’ve just always envisioned Ace as part-Australian🌺 and Mexican 🏴‍☠️) Her clothing choices are mostly natural or utilitarian materials like the painted wooden beads on her top, her woven fabric and leather belts, and her denim jumpsuit. I gave her bikini top a zen-garden kind of feel because I read the first Ace’s Story Novel and I loved how idyllic and peaceful they made Sixis Island sound so I wanted to invoke that in some way.

Speaking of her painted wooden beads, they hang off the back of her top and represent her connection to Sabo and Luffy. They watch her back once she sets sail. She only wears one red glass bead earring because the other one got ripped out of her ear when a child, leaving her earlobe torn (don’t think about it too much 😢). Also, YES! she does wear a hibiscus flower just like Rouge (because I hate you and I want to make you cry, muhwahahahaha).

Also, I really wanted her to have super textured curly hair that licks behind her like flames. I am always considering whether or not a character should have long hair or not because I don’t want it to be a hindrance if they’re in a fight (or if they ARE a fighter with long hair, how to they avoid an enemy making use of that?). Ace is, of course, a Logia-type Devil Fruit User so I think she wouldn’t have trouble with people grabbing it LOL I get the feeling that she doesn’t take very good care of it even though it looks amazing. Like you’d think it would be soft and bouncy just by looking at it but if you ever get the chance to run your fingers through it, it’s a total rat’s nest and there’s sand and food all up in it. She still falls asleep while eating 😂 but she tries her best to only do it around people she can trust (woman moment 😔).

Honestly, her design is not that different from Ace’s canon look. It feels really vital to Ace’s character to have a lot of skin showing. And he’s always hanging all over himself with his hips all cocked like the weight of the world is too much to stand up straight. It is certainly not my OWN preference to make her an absolute smoke show. That’s just the character, okay? (I’m partially lying and the proof is that I turned the emblem on Ace’s hat strap into a sternum tattoo for no other reason than that it is sexy af.)

Here are some closeups of Ace:

Now for Sabo, I’ve made her very girly. I tried putting her in pants or something more militant but she told me that she’d wear the big poofy sleeves and hiked-up ruffled skirt. I think Sabo has always had a strong grasp on his fashion sense and individual flair and I truly believe that his personal style is one of the major influences for the rest of the Revolutionary Army resulting in the very flashy, queer, steampunk aesthetic (aside from Dragon’s plain-ass cloak). So of course I had to implement her nonconformist look when reimagining her as a woman and dress her up to the nines.

I’ve given her very ornate jewelry that is there to tell a story, even if she herself doesn’t know it. I like to think she picks up stuff from her travels that resonate with her, such as a damaged set of earrings with one stone missing or red cup-shaped shells featuring three nestled pearls. Another accessory that cannot go unmentioned is her dragon claw hat pin that keeps her top hat resting on top of her hair (and is definitely used as a weapon when the situation simply doesn’t call for trusty metal pipe). She also has a veil that obscures her prominent facial scar. I imagine she’s not very keen on the reminder of the incident from her childhood that took away her memories. I also kept her chipped toothed because 1) it’s fucking adorable and 2) is a visual reminder that she no longer aligns herself with the nobility who would have gotten such a thing fixed. She is so poised in almost every outward facet of her life from her dignified role as the Chief of Staff to the elegant materials in her clothing that it can be easy to forget she was also a rough and tumble forest dweller. Every time Koala remembers this, he lets out the biggest sigh.

Her hair is inspired by Gibson Girls and Elizabeth Swann from the first Pirates of the Caribbean movie. I wanted it to be fussy and tidy but fall apart when she’s in moments of distress. For example, when she remembers her sisters, her hair starts to look like Ace’s flaming mane. I’m so in love with her, I think she looks like an adorable little porcelain doll that would fuck you up. I made an effort to keep her eyes a little bit manic. I get lost in her steely black orbs (and also Ace’s warm brown ones, but we’re talking about Sabo rn).

Here are her close-ups:

Plot notes for this AU:

For this series of character designs, I wanted the expressions and outfits to be aligned with the canon plot but I don’t know if I have the heart to kill fem!Ace in my AU. I’m too attached and ASL has suffered enough!!!!! But Ace’s death is also a major defining moment for Luffy so it feels disingenuous to completely avoid it. Also a huge aspect of Sabo’s character is carrying on Ace’s will and I have so many thoughts about how the Dressrosa Colosseum scene would play out if they were all women. Oh well, I’ll cross that tragic bridge when I get to it. I’m definitely going to draw some Modern AU Girl Piece ASL though. They deserve to hang out with no stakes 😭 They are sisters!!!

Check out the tag “girl piece” on my blog for my other One Piece genderbends! 🥰

[ceiling-karasu]

Honestly I feel like the organization or the characters and countries in here has been a really big inspiration recently. Well thought out, detailed, and organized so it is easy to read.

Plus, the backstories really allow the OCs to come together nicely, and provides all the proper details and motives for each person, and how they would go about normally versus on a job, complete with nice designs for each one.

It makes me want to put my own thoughts into order between each person and their connection to each of their respective countries. Definitely a reminder to start getting things together properly whenever I see this.

C2ISTAR introduction archive

Here is the list of introductions post about my OCs.✨

C2ISTAR is a soft realism-inducing horror story about a group of self righteous delusional anti-villains who live their life under the false belief that they are anti-heroes.

[darkmuffinstudios]

[rolls in]

I've always, for the longest time, head-canoned that when Nightmare and Dream ate their respective apples and subsequently fused with them in the process, that they also *became* the apples in a sense?

Basically what I'm saying is that since the tree was cut down/died due to the events of Dreamtale, that they, themselves, became the two sides of the tree. While the tree was in its prime, it regulated all of the emotions and balance in the whole multiverse. However, because of the apple incident, Nightmare and Dream now take on the duty that the tree once had; regulating the emotions of the multiverse individually.

Hence they're constant struggle with one another.

As eternal, long-living beings of their respective roles, I doubt they would stay mad at each other forever- at least to the degree that it was initially after the tragedy in Dreamtale. This would make a truce somewhat inevitable- or at least a mutual understanding and respect for each other's jobs.

(I think this could, of course, vary depending on the way you depict their relationship, backstory, powers, situation, and the story at large)

Anyways, going back to what I was originally getting at before being sidetracked, they are- essentially- the tree itself.

In a weird way, I always thought that it was a little strange that eating the golden apples didn't seem to have any consequences as opposed to the negative ones (example being Nightmare violently being ripped apart and literally dying- but that can be dubious because, from my understanding, that was partially the main antagonist's influence on the apples??).

Again, not addressing canon and what the original had in mind, I think it would be interesting that slowly, over time, the tree starts to grow back through them.

Think of it as a way of aging for these immortals. After all, apples have seeds, so one would assume that they'd eventually sprout after enough time and nourishment (via the abundance of emotions and just generally taking care of themselves). Eventually, they'll have to create their own guardians to carry on their work, and the cycle continues after they die.

What I imagine is a weird mesh of hanahaki disease and the philosophy of cycles, in where when the two twins eventually pass, they will become the new trees in its place. Over time, while doing their jobs and fulfilling their roles, roots may start to sprout from their ribcage, followed by leaves. It would be cute at first, little leaves and branches that are harmless. But then, as time continues, more and more of their body gets overtaken with it.

But again, these changes would happen gradually over the course of their long, LONG lifespans. When it starts getting to the point of detriment to them, then they've probably lived hundreds of lifetimes over already.

I don't know, I just think it's an interesting idea to head-canon about, and a cool excuse to draw the twins with plant-like roots stretching out of them.

(some little examples I have of the idea I've drawn YEARS ago and as of recent. ignore the quality of my old art fosjigjiosjosgijiosg)

(also WIP jumpscare of a Shattered Dream interpretation I have been working on a little oogily boogily osgjiosgs)

[luvjunie]

— headcanons. what life is like for miles!42

a/n: i honestly didn’t mean for these to get so angsty oopsies!! i kept adding on so they’re also very lengthy wc: 1,751

contains: mentions of grief

Everyone thinks he’s rude and impossible to approach—but that’s a common misconception. In reality, he’s actually quite shy and simply prefers to keep to himself. His quiet nature often causes him to come off ill-mannered, which is completely unintentional on his end and partially the fault of those who assume what he’s like instead of actually getting to know him.

He used to be open to making friends and spending time with peers, but after everyone found out his dad died— which was impossible to prevent considering the man who used to drive him to school now had a giant mural made in his honor— he began receiving a ridiculous amount of pitied stares in the halls, began hearing hushed whispers about how hard things must be for him at home now. And even though they were, he hated that he was being treated differently by those he once kept close to him, like a charity case. As if he were fragile and would break— like he often did when he was alone.

His old friends were supposed to be his distraction, something to take his mind off how he now had to grow up faster than he’d liked. Something to remind him that his trauma hadn’t aged him as much as he feared; that he truly was still a kid at heart. But instead, they served as a constant reminder of the worst thing he’d ever had to live through— skated around him like he’d blow up the second they said the wrong thing; responded with heartfelt condolences instead of laughing with him whenever he’d tell a funny story about his dad. So eventually, he drifted away from them and began keeping to himself all together.

Don’t put him in a box because of his prowler side hustle, this boy is smart as hell!! Especially with one parent now being gone and his mom struggling to pay the bills? He takes his academics very seriously, he has no choice. He has to get it out the mud somehow and he doesn’t have the privilege of skipping classes as much as 1610-miles does. He’s working two years above his grade level in AP Calculus and AP physics, and has been accused of cheating on his tests a couple times due to how fast he completes them, as well as the fact that he has never once asked a question from the seat he chose in the back of the room.

It’s not something anyone would expect, but he enjoys baking a lot and he’s damn good at it too. When he was younger, he’d spent one summer with his Mamá Lena (Rio’s mother), who had him in the kitchen helping her cook and bake almost everyday and it just stuck. It’s a secret talent of his that never really comes up in conversation, and that you wouldn’t know about unless you’ve seen him doing it. His banana bread muffins using a recipe he took months to perfect taste like the gods themselves made them, and he’ll slip one into his mom’s work lunch whenever he makes them because he knows they’re her favorite.

He’s a lover boy at heart, if you were to look into his playlist, the songs you’d find in there probably wouldn’t be what you’d expect. Listens to bobby bland, which was heavily influenced by his uncle, old school rap, and he really likes love songs from the 90s because they make him feel calm, and allow him to imagine what his life would be like if he could have something like what they’re singing about. He’s terrified he’ll never be able to experience that due to his inability to open up to others. And often, he doesn’t even try to express the emotions that are tough to swallow, a firm believer in the saying that ‘once you’re down, it’s hard to get back up.’

Keeps his room pretty clean. It’s probably the one and only thing he has control over in his life, a constant for him. His room is his safe-haven so he treats it as such. It’s basically the same as 1610’s, just with a more matured look, a lot less color and less expression. He unfortunately lost that spark for a lot of his interests, so you won’t see more than a small punching bag, some boxing gloves hanging from the doorknob and few stragglers in the form of posters he didn’t feel like taking down.

He doesn’t like to argue, at all. He hates fighting with anyone he loves and he’s very quick to forgive them or squash the disagreement all together now that his dad is no longer here. When Jeff died, they were still on rocky terms from their previous dispute and even while years have passed, Miles still has yet to forgive himself for that. So now, he usually lets bygones be bygones, and never lets a conversation end on a bad note.

Continued growing his hair out once he realized it was a way for him to bond and spend more time with his mom. Within the little availability they do have, between her working doubles at the hospital, him being pulled in every direction now that he’s the ‘man of the house’—uncle Aaron’s words— and having to do things he’s not proud of to assist her while still going to school during the day, they make the time. Miles only gets it braided by her, and he enjoys the talks they have when he’s sat on the floor between her legs with his back to her. And when she’s done, regardless of how ridiculously embarrassing it is, and how he’s now over a head taller than her, he always lets her pinch his cheeks and call him her ‘handsome little man’. He hasn’t looked at a pair of hair shears since.

On that note, he is very, very defensive when it comes to his mother. Miles is not the kind to go around beating people up just for kicks; mostly because he’s not that kind of person, but also because even if he wanted to— he can’t.

In preparation for stepping into the prowler role Uncle Aaron put Miles into boxing/m.m.a classes when he turned fourteen, and he took to the skill very quickly. So well, in fact, that his hands can now technically be considered deadly weapons in the eye of the law due to his extensive training— which means he could get slapped with a ridiculous assault charge that would have him doing some time in a juvenile correction facility over a simple fist fight. (if he’s not masked as the prowler obviously).

But, some kid in his history class thought it’d be funny to make a slick comment about how Mrs. Morales was ‘single’ and ‘up for grabs’ now that his dad had passed, and the situation ended with Miles suspended for a week after he’d basically thrown his desk over to get to the kid, his knuckles bruised, and a tirade of complaints from the boy’s mother about his now-rearranged nose. However, after hearing the disgusting comment he had made about Miles’ mom, she was kind enough to not press charges and forced her son to apologize to the both of them.

That woman is his saving grace, literally. She stepped up in ways he didn’t even know were possible after his dad died, barely taking time for herself to grieve because she wanted to make sure her little boy didn’t fall apart. He doesn’t let anyone disrespect her and that’s always made known by him. He’s a mama’s boy.

They kind of have a titfortat thing going on, him and his mom. Like how she always stops in to ask him how his day was, if school is going well or if he needs anything, even if the time isn’t ideal and she’s talking to a sleepy Miles at 1am in the morning who can barely keep his eyes open. Or how his uniform is always freshly ironed and laid out for him in the morning, regardless of how exhausted she is and how badly she wants to crawl into bed after her shift. Or how when he’s sick, she’ll drive all the way across town to one of the only fresh markets that sells yuca root and white yautia so she can make him sancocho (a traditional puerto rican dish). It’s the one thing she knows always makes him feel better.

And Miles does nice things for her, too. Like draping a blanket over her sleeping form when she dozes off on the couch in front of the TV. Or making sure her phone is plugged in, so her alarm goes off in the morning, because sometimes she knocks out before she can bring herself to do it. He even goes as far as to secretly slip some extra cash he’s made from a recent job into the ‘RENT’ jar she keeps on her dresser— dropping a hundred in every now and then when she’s not there to see him do it. She’s never once asked him for help, but the one time he took it upon himself to offer it, he was shot down in seconds, and was made to promise her that he wouldn’t worry about it ever again. Her exact words being “You’re too young to worry about something like this mijo, okay? You take all the money you make from your after school job, every single penny, and you save it. Mama’s got this.”

But sometimes, she doesn’t. And Miles knows that she wants to be strong for him. For them. But it takes two, he knows that as well, so he helps out anyway.

And with prayers that they’re not short— Rio counts everything in the rent jar towards the end of the month, and a string of celebratory whoops and hollers will always sound from her room when she realizes they surprisingly have some extra cash that’ll allow her to take some days off and relax for once, and maybe even do something fun together. He’ll listen from his room with a knowing smile, more than happy to let his contributions remain undisclosed to affirm her efforts of providing for them the best she can. With her energy so depleted from how demanding her job is, she’s never suspected it was him discreetly assisting, and chalked it up to her forgetting how much she’d mindlessly dropped in there after each paycheck.

[hotdaemondtargaryen]

PHIA SABAN INTERVIEWED BY ENTERTAINMENT WEEKLY.

SO MUCH HAPPENED IN THE FINALE, AND HELAENA WAS IN THE MIDDLE OF SO MUCH OF IT. WHAT WAS YOUR REACTION WHEN YOU FOUND OUT HOW MUCH INFLUENCE HELAENA WAS GOING TO HAVE IN THIS EPISODE?

"When I read the episode, I was so excited to be involved in that trippy dream sequence."

"I was hoping that I was going to arise from a lake of goo or something, or fly."

"But I was also really happy to stand there and talk."

"That was really exciting because we did that all in a green screen stage, just me and Matt, so it was really cool."

"I watched the last episode last night, and it was really cool to see all of that come to life."

"I was very pleased to be involved in that."

"My other thought was if she feels this kind of clarity in that scene that she has with Aemond, and that isn't historically how she's felt about her power and everything."

I needed to work backwards from there and try and work out what journey she has been on, for that moment to be so clear, when usually she's a bit more like, "Oh, there's a beast somewhere."

WHAT CONVERSATIONS DID YOU HAVE WITH SHOWRUNNER RYAN CONDAL ABOUT HELAENA'S EXPANDED ROLE AND HOW SHE'S GOTTEN TO THIS POINT IN THE FINALE? BECAUSE SO MUCH OF HER JOURNEY HAS BEEN INTERNAL.

"Actually, Ryan and [writer] Sara [Hess] and the writers, they very much left it to me as to how Helaena feels, how she connects to that side of it, and how it manifests for her, but it's an interesting one."

"The line between what I know and what she knows, I try and keep quite close together, so it's not always so helpful for me to have this really overarching idea of how exactly she plays in and what magic it is."

"Because I think every time when that happens to her, it feels like the first time."

"So I know as much as she does, in a way, but they were very keen for me to interpret it however I want."

"Then I think they're just going to weave it into the story in their magical way."

TELL ME ABOUT YOUR PROCESS IN WORKING BACKWARDS FROM THAT CONFRONTATION WITH AEMOND. HOW DID YOU GET INTO HELAENA'S MINDSET?

"How I describe it is she has this amazingly strong intuition, and things come to her as gut feelings in flashes, but they're not always clear."

"She can't always turn them into advice."

"It's more of like a feeling that takes her over."

"That's where some of those really abstract things that she mutters earlier on comes from, but she also thinks of herself and knows of herself that she's quite a strange girl."

"There's a way in which her family lets her go and be her strangeness in her room and do all of her Helaena things."

But also she partially thinks, "Maybe if I didn't have these weird feelings or this strange intuition or this really intense experience that I have, then I could be a bit closer to people around me, or I could communicate better or it would be less strange."

"Part of her represses that stuff."

"Then I think with the trauma that happened to her in episode 1, essentially the worst possible thing happened, and there's a certain amount of dissociation and almost like a letting go of that, like trying her best to be the same as everyone else."

She has disassociated from the family reality, and maybe she has stepped in a little bit more to the other place, and she has more access because she's gone, "I can't abandon myself as well, so what is this?"

"She's given it the attention and the intensity it needed."

SINCE HELAENA BEING A DRAGON DREAMER ISN'T IN THE BOOK, WHAT DO YOU THINK OF HOW YOU'RE GETTING TO CHART NEW TERRITORY FOR THE CHARACTER?

"It's really fun."

"I know that people feel so passionately and lovingly towards the original story, but I think that me, as a fan of things, I love a certain level of loyalty."

"Then I love the idea that I can be surprised or something could be subverted."

"It more flatters the audience's intelligence when you get to surprise them and subvert things, so I like the idea that people didn't see that coming for Helaena."

"Obviously, I can't watch the show as an impartial person."

I WOULD BE VERY IMPRESSED IF YOU COULD.

"[Laughs] I'd be like a psychopath, yeah."

WHAT'S IT LIKE BEING THE BRAN OF THIS SHOW?

"The thing is that I really have absolutely no idea what's happening next season."

"I think that moment in episode 8 is an example of how clear and how powerful she can be, but I don't think that's the beginning of now she can just communicate like that."

"I wouldn't be surprised if she walks away from Aemond, [mimes shaking her head and shoulders and blows out a breath], and she goes inside and goes to her room and that doesn't happen again for a long time."

"So who knows, but it would be really cool if I got to spend more time in that vision dream world."

"I would love that."

"There's that moment when Daemon's going over to the tree, and then there's a guy with a deer head or something."

"I think Helaena should hang out with him."

THEY SHOULD GO OFF TOGETHER HAVE THEIR OWN SIDE ADVENTURES. NEW SPINOFF IDEA.

"Yeah, exactly."

"That's what I want for the next season."

DOES THIS REVELATION THAT HELAENA IS ACTUALLY A DRAGON DREAMER MAKE YOU RETHINK YOUR CHARACTER AT ALL?

"Yeah, I think it's fun because it's essentially development, which is what you always hope for when you play someone."

"I just really hope that there's momentum from this, that we see her change more and more and keep on being surprising."

WHAT WAS IT LIKE FILMING THAT SCENE WITH MATT WHERE HELAENA KNOCKS DAEMON DOWN A PEG AND REALLY HUMBLES HIM IN THE FINALE?

"It was fun."

We were there on the green screen going like, 'What the hell is this going to look like?'

"But it's great to do work with the people from the other team because at this point the relationships are so bad that you're really only going to get Helaena and Daemon together in a vision."

"They're probably not going to be having lunch together anytime soon."

"[Laughs] I'd love to go and hang out with Harry Collett and Bethany Antonia and Phoebe Campbell next time."

"I'd like to go and hang out with Alys Rivers [Gayle Rankin], all the people that live in different castles."

"Maybe I could meet them in dreams."

"That would be really good."

"It'd be like ... did you ever play Club Penguin?"

[LAUGHS] I HAVE!

"It could be Club Penguin."

It's like, "Meet me here at 3 p.m. by the igloo."

That'd be so fun if Helaena could just be like, "Let's go and hang out in dreams. Go and touch the tree, and I'll be there."

NO ONE HAS EVER LISTENED TO HELAENA UNTIL DAEMON REALLY TAKES HER WORDS TO HEART AND CHANGES HIS ENTIRE COURSE. DOES HELAENA FULLY APPRECIATE OR EVEN KNOW THE PART SHE'S PLAYING IN THIS WAR NOW?

"No, I don't think so."

It's all so intense for her and so immediate that I don't think she even is always like, "I have this overarching understanding of the story."

"I think it comes to her in moments."

"Maybe it muddies the water more, but I feel like that whole dream stuff is up for interpretation as well from the audience."

"How much is she a projection of his guilt, or how much did he just need to hear that from someone?"

"It's this magical realm, so anything could be possible."

"Maybe that's something that she could say in a moment, and then she's gone from there again, and it's just like she was just being channeled through."

"Who knows? Maybe we'll find out more."

I think to her it's just, 'This is my really intense experience of being alive,' and that's enough self-analysis for anyone in that moment.

It's like, "What am I going through?"

"And then there's this clarity."

"She's got a lot to process this season."

"Bless her."

WHAT WAS IT LIKE FILMING THE SCENE WHERE HELAENA STANDS UP TO AEMOND AND REVEALS SHE KNOWS THE TRUTH ABOUT WHAT HE DID? THAT'S ONE OF THOSE RARE MOMENTS OF CLARITY FOR HER.

It's really fun to work with Ewan — yet again, I'm answering the question in an annoying way because I'm like, "I just like working with those people!"

"[Laughs] That was really cool."

"God, this is really the first time... it's the most eye-contact she's ever made in both seasons."

And she's really going like, "Don't fuck with me."

Basically, "Because I have this knowledge that's on a higher realm and I cannot and will not go and kill people for male ego and toxicity."

That's the other funny thing with this family: Yes, he's the Prince Regent or whatever, and her husband/brother is the King.

But actually to each other it's like, "You're my brother and you can push me and you can push me, but I know you."

"That is more about a sibling dynamic."

"Actually, I think that Aemond ironically is one of the people that Helaena feels she can communicate with a little bit better."

"They have this sort of affinity."

"It's just fun to play with those dynamics because she doesn't have a lot of long chats with anyone, so it's fun for me."

YEAH, THE LONGEST CHAT SHE'S HAD UNTIL NOW HAS BEEN WITH HER BUGS.

"Exactly, and they don't really answer back."

"This is very new and very overwhelming."

HELAENA DOESN'T WANT TO RIDE HER DRAGON INTO BATTLE, BUT DO YOU? HOW DO YOU FEEL ABOUT MISSING OUT ON THE BIG DRAGON BATTLES SO FAR?

"Yeah! It's House of the Dragon, and I've got a dragon, and I haven't got on it."

"I'm rusty."

"I really wanted to get on the dragon."

"I went and watched a few people on the buck this season, and I was so jealous."

"I'd really love to get on the dragon, or at least have a scene with Dreamfyre."

"Dreamfyre, like Vhagar, she's super ancient and big and cool."

"I'd like to see Helaena and Dreamfyre having a sort of spiritual connection, but I'm not complaining."

"I'm just happy to be here."

[mourningsbane]

Okay this blog and the story has been circulating slowly in my head for days now and I feel like tossing out a theory because I never theorize but here I am

So. Tanglefern’s greatest mistake. I believe that he may have poisoned Honeyspring in some way. If not a direct poisoning, he was at the very least aware of and partially involved in Honeyspring’s rapid death. But I also think he was not aware she was pregnant. I do not know if the kits were not quite right because they were too early in development, some kind of curse stuff, or because of the poison/illness. Either way, it seems Tanglefern wished them no ill will due to the intense despair he felt when the crude surgery (is it surgery if on a corpse?) failed. Another note; I’m not fully sure Tanglefern meant for/wanted them to die. ‘There’s nothing more I can do for you’. And it seems very heavily implied that Rootstar ordered the c-section, which is where the ‘no respect for the dead!’ Line comes in from Bearface. Along with this, I’m like 99% sure Honeyspring and Flaildrizzle were in a romantic relationship and were planning to raise those kits together. Honeyspring looked so soft in her dream, maybe they were trying to look less spooky as to not scare Flaildrizzle?

I do not believe Honeyspring is ‘evil’. She is scared and oh so alone, and is lashing out because of it. She just wants help, as I believe that is what the messed up mouse is huffing at Tanglefern, and potentially Sweetkit too. Tanglefern even wonders why StarClan won’t take them, implying that in life she never did anything evil enough to warrant going to kitty cat hell. At least, not that Tanglefern would know. And, seeing how their mere presence is warping the prey, I think she could have killed Sweetkit if she wanted, but they didn’t.

A very out-there theory is that Honeyspring may have been kept from StarClan because of the rage fuelling the end of her life (towards Tanglefern?). In my opinion, she seems aware that her death wasn’t natural. Their first headshot reference says ‘I will never forgive you’ which I believe is specifically aimed at whoever orchestrated or at least played a part in her death. Her second reference says kind with a question mark in brackets, which means they were at the very least kind in life. Not being able to communicate with anyone, those who see her being terrified, not being allowed into StarClan, they must all tear at their mind and likely their overall stability. I honestly don’t think she’s as malicious as we seem to be getting led to believe.

This may also be me grasping at straws but with the ‘there’s something underneath the ground’ and the description of her disease-reeking blood seeping into the dirt floor I wonder if that’s something. Definitely not I’m reaching but meh it’s fun.

Finally, I’m not fully sure that, whatever Tanglefern’s involvement was, he intended for them to die. ‘Distantly, some raw part of him, carbed open like the body before him, realized it was all for nothing’ now while it’s likely this is just in reference to the c-section, I feel this could also be the fact Honeyspring died and may not have been meant to. There was some kind of plan, I’m just not sure what it was’

Basically a summary I believe Tanglefern had an influence in Honeyspring’s sudden demise but was not aware of the kits, Bearface was NOT happy about the c-section, Flaildrizzle and Honeyspring were a couple and going to raise those kits, Honeyspring wasn’t evil in life but is now losing stability due to being so isolated, and Tanglefern may not have intended Honeyspring to die. I may be super off I am not good at theories and it is very late. But hey. All in good fun.

Anyways giving Honeyspring a big hug I love them and she is spinning around in my brain like a rotisserie chicken 24/7

also omg sorry this got so long i got lowkey rambly here but my brain is going whir because oh my god this is so cool-

Worry not, I do not mind receiving long post! I, too, tend to get rambly when talking about things, so I certainly don't blame you. Plus, I love reading theories! It gives me insight into what people think, and I don't want any lore elements to feel like they came out of nowhere! <3

As for your theories, you are very close! Tanglefern gave Honeyspring Mourningsbane instead of Clottingroot when treating the injury on her hind leg.

Honeyspring and Flaildrizzle were mates, and you're right that Honeyspring tried to look "softer". The time is soon, and Honeyspring didn't want to startle her. Honeyspring is weak and intangible at the moment, but not for long. And you're on the right track with her "disease-reeking blood seeping into the dirt floor"; her rotting body taints the very soil.

I agree that Honeyspring is not a villain in the stereotypical sense! She was very well-liked in life, and had a lot going for her! I would say that she's both a victim and a perpetrator.

[ofbreathandflame-archive]

This is a very long post!

These last couple of months, it’s been interesting to talk about Nesta as a character and how her subsequent characterization is so integral to pointing out the problems in the series. Whether or not you view Nesta to be ‘real’ or ‘good’ character is one thing, and often subjective. Our own personal backgrounds may muddle or influence whether we like these characters or not.

The reason why I think Nesta is an interesting character is because of how she kind of…ruins the story, or the illusion of a story we are given. There are many times in the story where I think SJM could have elaborated on the qualities that she gushes about, but she intentionally chooses not to. For example, if SJM kept Rhysand consistent, I could see him disliking Nesta and wanting to actually hurt her, but have him think about Feyre and her wants and ultimately relent to Feyre’s want. One thing about Tamlin’s abuse that I think was done well was the fact that he genuinely seems broken up by the fact he can’t control his anger, and he feels something akin to guilt, but he doesn’t stop the abuse. It highlights the effect of the victim, not the intention of the abuser. I don’t know if it was intentionally done, but I liked that element of his abuse. I also liked that the dangers that Tamlin are worried about are real – the threat is real. Why? Because I think it proves, to some extent, that we should not justify abuse, even if the abuse seems rational. It proves that in this world, these men should still adhere to the fact of self-control. How can Feyre in a relationship with Tamlin if he can’t regulate his emotions around her?

But then the story does something weird – it embodies Rhysand with these very same qualities. It also recreates Tamlin’s abuse of Feyre with…Nesta – and then justifies it. Nesta arrives in a similar position as Feyre, yet the story goes to great lengths to vilify her for not reaching out; this is a far-cry from how the story (and stans) think about Feyre. (paint scene, fire scene, solstice scene, and hiking scene). We're supposed to sympathize with the decisions being made; so much rides on the fact that the IC are doing this out of the kindness of their heart:

Did Nesta notice the faint glimmer of worry in Amren’s smoky eyes—understand how rare it was? More than that, did Nesta understand that this meeting wasn’t to condemn her, but instead came from a place of concern? Her simmering stare told him she considered this purely an attack.

We're supposed to think about the worry of the Inner Circle and not think about the way they've decided to express their worry. Its similar to this scene that we get with Lucien to Feyre about Tamlin:

“I’ve given him time,” I said. “I can’t stay cooped up in the house forever.” “He knows that—he doesn’t say it, but he knows it. Trust me. You will forgive him if his family’s own slaughter keeps him from being so … liberal with your safety. He’s lost those he cares for too many times. We all have.” Every word was like fuel added to the simmering pit in my gut. “I don’t want to marry a High Lord. I just want to marry him.”“One doesn’t exist without the other. He is what he is. He will always, always seek to protect you, whether you like it or not. Talk to him about it—really talk to him, Feyre. You’ll figure it out.” Our gazes met. A muscle feathered in Lucien’s jaw. “Don’t ask me to pick.” “But you’re deliberately not telling me things.” “He is my High Lord. His word is law. We have this one chance, Feyre, to rebuild and make the world as it should be. I will not begin that new world by breaking his trust. Even if you …”

Lucien is continually asking Feyre to place Tamlin over her own happiness; he is asking her to consider his feelings before she considers his own - partially because this is the way Lucien is characterized to handle Tamlin's abuse himself. Cassian is asking Nesta to consider the Inner Circle's intention over how she feels. Amren and Rhys immediately shame and threaten Nesta - she is valid in her anger. She has interpreted this meeting as an attack...because it was. I think its especially telling that the later scene is asking Nesta to have empathy for Amren who is arguably the most abusive, abrasive, and unproductive person in that entire meeting. The second part of Lucien's monologue end's up being true for Nesta as the Inner Circle end up doing the same thing to control Nesta's behavior -- whether that be by leveraging Elain, outright forcing her, or even the decision to withhold Nesta's power from her -- these echo the exact same plot points we see in MAF with Feyre.

Let’s compare some scenes:

It was worse than a crown, actually. Built into the box were compartments and sleeves and holders, all full of brushes and paints and charcoal and sheets of paper. A traveling painting kit. Red—the red paint inside the glass vial was so bright, the blue as stunning as the eyes of that faerie woman I’d slaughtered— “I thought you might want it to take around the grounds with you. Rather than lug all those bags like you always do.” The brushes were fresh, gleaming—the bristles soft and clean. Looking at that box, at what was inside, felt like examining a crow-picked corpse. I tried to smile. Tried to will some brightness to my eyes. He said, “You don’t like it.” (MAF: Chapter 9)

“You’re going, even if you have to be tied up and hauled there. You will follow Cassian’s lessons, and you will do whatever work Clotho requires in the library.” Nesta blocked out the memory—of the dark depths of that library, the ancient monster that had dwelled there. It had saved them from Hybern’s cronies, yes, but … She refused to think of it. “You will respect her, and the other priestesses in the library,” Feyre said, “and you will never give them a moment’s trouble. Any free time is yours to spend as you wish. In the House.” Hot rage pumped through her, so loud Nesta could barely hear the real fire before which her sister paced. Was glad of the roaring in her head when the sound of wood cracking as it burned was so much like her father’s breaking neck that she couldn’t stand to light a fire in her own home. “You had no right to close up my apartment, to take my things—” (Silver Flames; Chapter 2)

She could barely stand to hear the crack and pop of the wood. Had barely been able to endure it in Feyre’s town house. Snap; crunch. (FAS: Chapter 21)

"He had Enough of the coldness, the sharpness. Enough of the sword-straight spine and razor-sharp stare that had only honed itself these months"

He understood. He really did. It had taken him months—years—after his first battles to readjust. To cope. Hell, he was still reeling from what had happened in that final battle with Hybern, too

Another grin as he lifted the small, wrapped parcel. “Your Solstice present.” “I don’t want one (FAS)

“Nesta forged a new Trove,” Cassian said, reining in his rage at the truth of Azriel’s words. “She could create anything.” He nodded to Rhys. “She could fill our arsenals with weapons that would win us any war.” Briallyn, Koschei, and Beron wouldn’t stand a chance. “Which is why Nesta must not learn about it,” Amren said. Cassian demanded, “What?” Amren’s gray eyes held steady. “She cannot know.” Rhys said, “That seems like a risk. What if, unaware, she creates more?” “What if, in one of her moods,” Amren challenged, “Nesta creates what she pleases just to spite us…’ (SF)

He appealed to Rhys, “You’re all right with this? Because I’m sure as hell not.” “Amren’s order holds,” Rhys said, and for a heartbeat, Cassian hated him. Hated the mistrust and wariness he beheld on Rhys’s face.(SF

“No. She knows the labor will be difficult, but I haven’t told her yet that it might very well claim her life.” Rhys spoke into their minds, as if he couldn’t say it aloud, I haven’t told her that the nightmares that now send me lurching from sleep aren’t ones of the past, but of the future. Cassian squeezed Rhys’s shoulder. “Why won’t you tell her?” Rhys’s throat worked. “Because I can’t bring myself to give her that fear. To take away one bit of the joy in her eyes every time she puts a hand on her belly.” His voice shook. “It is fucking eating me alive, this terror. I keep myself busy, but … there is no one to bargain with for her life, no amount of wealth to buy it, nothing that I can do to save her.

So much is happening here – there’s actually more scenes, but I don’t want to go and find them all. I wanted to include more similarities between Feyre and Nesta (I might make a separate post with all of those). To some extent, I think a lot of these quotes, even without elaboration echo the point I’m about to make. In quote #4, Cassian’s narration berates Nesta for not being integrated into the family and not being happy at Solsitice, but we the audience know that Nesta (1) isn’t being talked to, (2) she can barely stand the sound of the fire, (3) Feyre forced Nesta to come by essentially holding her rent over her head. And there’s just way to many parallels between how Nesta feels at the NC and how Feyre felt at the Spring Court. Nesta is drowning; she tells us that – Rhysand’s subtle anger is something she not only notices, but internalizes. She specifically mentions that she doesn’t take any of Rhysand’s positions because they were pity offerings; he’s only doing it because of Feyre. The story then decides to let him spearhead the conversations around Nesta’s autonomy. In the first quote, Tamlin's overall ignorance regarding Feyre's mental state, and her aversion to things such as the color Red were considered red flags; yet when Nesta has an aversion to fire, when she is neglected and nearly dies the story spends so much time trying to tell the audience that Cassian simply didn't know - it doesn't say anything about him.

But one of the biggest indicators of this ruin of the story is the fact that Amren and Rhys believe that Nesta should not have her power because ““What if, in one of her moods,” Amren challenged, “Nesta creates what she pleases just to spite us?” (Maas). The issue, as consistently reiterated, is a control one. They don’t trust Nesta simply because they cannot control her – that is what is highlighted as the issue in the story. Furthermore, Feyre doesn’t let Nesta know, she defers to a process that she doesn’t have to. She outranks everyone in that room; if she wanted to tell Nesta was rules would stop her – that’s literally been the way Feyre has characterized (see: Wraiths, the HL meeting attacking Beron, Tarquin and the BoB, Mor/Feyre w/ the Suriel), yet in this moment when she disagrees with Rhys – she essentially defers to his command. She simply expresses a subtle wariness and then moves on. Feyre has the power to just tell Nesta is the point that I am making here. It’s Nesta’s power; they forced her to do these tasks, and when she has one moment of autonomy in making the sword – they are argue that Rhys should make himself High King and Cassian, despite his earlier provocations, believes in this. He agrees with it. And even though I am going on this long, wordy analysis, I think a lot of what I am saying is kind of really clear In these quotes even without explaining.

To bring this back, Rhys (and Feyre somewhat) are only excused because the story believes their intentions were good (see quote #7), which conflicts with what we’ve already seen. These are…the exact same justifications we get about Tamlin; he truly believes that by making her safe, he is making her happy – but we know Feyre values truth over safety. And so the story undermines its lessons by not condemning the actions of its characters and instead leans into moralistic reasons. The argument now isn't even that Nesta isn't being abused, but stans and even the story (subtextually) believe that Nesta deserves the abuse - or that it's purely a consequence of her own immaturity, yet this is a far-cry to how Feyre is perceived in similar situations. The story argues that these characters understand that Nesta is not in her right mind - but constantly the story expects her act functionally in the face of her depression, even though the very reason the decided to lock her up is because they all unanimously believed she could not function by herself. She's expected to respond appropriately to their jabs, do missions on their behalf, train, and work at the library with no pay. She cannot leave Velaris without a Chaperone and all of her Chaporene are employed officials who are gone for the entirety of the book. No one ever actually offers to ever take Nesta out to see the town. I am seriously tired, and really concerned with the way Nesta's abuse is talked about.

[wretcheddoll]

So this might be a hot take, probably not to any fellow Marius/Armand shippers but for people who dislike them I know this scene is quite controversial...

But, I love the bath scene and yes I do think in the context of the story that was a "good" thing for Marius to do.

"But Armand was a sexually traumatized minor with amnesia and the first thing Marius thought to do was to have sex with him?!"

-Yes, something that would be an extremely bad and a morally corrupt thing to do in real life can be a good thing within the context of the story you are reading.

"But Armand didn't want it! He was practically mute; he couldn't say no!"

-But he did want it, he literally thinks in his mind that he wants it before Marius does it, and Marius can literally read his mind.

Any hesitation Armand has is more to do with religious shame then not wanting it, which feels like a classic erotic scene, shame giving way to pleasure when your older more experienced partner guides you through it. And yes, a real minor cannot consent to a 1,500 year old vampire but again he’s not real and the key is to pay attention to the actual sentiments Armand is expressing in this scene, that of repressed desire and pleasure. He's filled with "warm thrilling sensations" he doesn't claim to feel bad in any way.

I also want to disagree with this notion that Armand instantly clings to any "abuser" that shows him an inch of kindness. Armand did not cling to his slavers, not the man who was "nice" to him and didn't make him do sexual things and stopped him from being beaten.

On the contrary, Armand is endlessly defiant towards his abusers and only surrenders in Marius's arms because he feels safe and loved with him, partially because he sees Marius as some sort of ethereal being and not a normal man. And also, because he finds Marius attractive of course😏.

The boys in the brothel being “soft” with him, he’s not into it at all.

The old man who never touched him, and showed him “kindness,” Armand saying he didn’t love him.

Armand finding Marius hot lol

Armand feeling like an active participant in his sexual experience with Marius, “We began the kisses again,” not Marius did this to me.

I know a lot of people say that Armand is an unreliable narrator in this scene, which I find silly because even if he is, this is still his emotional truth about this experience, and he doesn't feel bad or exploited or like he was raped by Marius 500 years later. I think you're supposed to take the "victim's" feelings about an event into account, no?

But for the sake of argument let's look at Marius's perspective of this scene from Blood & Gold.

So Marius is pretty lost in the daddy sauce from the moment he scoops Amadeo up, his caregiver instincts take hold lol

He's truly in his element.

Marius confirms that Amadeo is quite accepting and willing with his intimacy unlike how he was with his abusers.

I see this quote thrown around a lot without context, but all you need to do is keep reading and, oh wait that's not so sinister... He literally stops wanting to die because of Marius's kisses.

I also see this line used a lot to show how "bad" this scene is.

But again, I'd argue based on everything we're shown in TVA this has more to do with religious trauma/shock then being traumatized by what Marius is doing. We know Armand does not reflect on this experience in a negative way and remembers it being pleasurable.

The immediate after math of the bath.

"He was breathing as though he were safe." and "Yet in his mute expression now I saw pure trust." And Amadeo immediately calling him "Master." To me this shows that the bath was in fact a healing experience for Amadeo, he feels incredibly safe in Marius's bed, he's not having nightmares, and he's looking to Marius as his Master already without being told or influenced to think that way. And well, yes this doesn't heal his religious trauma or bring back his memories, (I don't think even the greatest head in the world could do that) it does relax him in the moment and make him feel good, which is exactly what Marius wanted to do. I certainly don't think there's evidence to support that it traumatized him or was a negative experience for him in any way.

All this to say, I don't think you're wrong if this scene makes you uncomfortable or grosses you out. I think it's perfectly valid to have big problems with the way AR wrote about teen sexuality and age gap relationships, but what I'm sick of is people acting like I'm stupid or a pervert for not "getting it" and finding this scene appealing. I get that a situation like this involving a real minor and a real adult would be inherently traumatizing for that minor, but Marius and Amadeo are not real, Marius is an ancient vampire without a human sexuality, not an adult man using Amadeo for his own pleasure.

Just because I find their relationship kinky and appealing does not mean I lack media literacy, but if you think Armand's story is supposed to be about his trauma from being "sexually abused" by Marius, I am going to question if you are actually reading the text as it is written, or if you are projecting your own feelings of discomfort onto Armand's character and their relationship as a whole. For me the crossing of taboos is a feature of Rice's vampire relationships not a bug, I like the father/son/lover dynamic that they have.

[dunium]

With my recent discovery of this concept sketch of Ky from the 10th Memorial Book, as well as discussion about it, I actually wanted to talk about some of the misconceptions had with Ky's eye and its relation to his Gear Cells.

Long story short, we know very little about it.

The first time we hear about any issues regarding his eye is in Sol's Overture Material Collection short story. The eye patch is mentioned once, but never directly explained. It's also stated to be on the opposite eye in this image and that his Dragon Install is on. There's a claim that Ky's short story mentions a training accident that explains the eye patch, but it doesn't. The eye patch is only mentioned in Sol's, with no explanation. (Thank you @solradguy for these translations!) The other main theory is what I kindly dub the "Eye Swap Theory." Basically, people believe Ky has one of Sin's eyes. This one is a bit weird in all honestly. The main reason people believe it is because of a line added in the English GG World text for Dragon Install

The Japanese text says pretty much the same as the first paragraph of the English text. A very very rough translation through DeepL:

"A technique in which Sol removes the Gear Cell Suppressor and activates the Gear's original power. It can produce extremely powerful power, but Sol hates using it in the dark because it makes his emotional suppression ineffective. Also, each time Sol uses this technique, the growth of the ‘seed’ that lies dormant inside him accelerates, and changes appear in his appearance and abilities."

Regardless, it does not have that second line about Sin or Ky that the English text has. I have no good explanation to why it was added only in the English localization. It is not present in the Korean text either. I haven't check other languages. In my personal opinion, it’s hard to say that this factually the cause due to it only appearing in some translations. The only actual reasoning we are given for Ky's Gear Cells is a vague answer from Daisuke in a Famitsu Q&A where he is specifically asked about Ky's Dragon Install, and specifically asked if Sin was involved. Daisuke responded: " この場でお話することはできないのですが……。ディズィーとカイの関係が影響しているのは間違いありません。これ以上はご勘弁を（笑）。"

Basically, he says he can't talk about it here, but "The relationship between Dizzy and Ky is definitely an influence." In conclusion...we really don't know much about Ky's Gear Cells or his Dragon install haha... We know he wore an eye patch prior to Overture. We know he exhibits a red eye, regenerative abilities, and inhuman strength by Xrd. We know by strive he has a partial Dragon Install and claims to have the "Blood of Juno." No exact reasoning for any of these is fully given and information is confusing. Honestly, it seems like many plans were changed, or rewritten, but its hard to say. The 10th Memorial book does not mention it to my knowledge. It's fun to speculate though!

[steveharrington]

can you elaborate more on steve being abandoned by the narrative?

yes <3 so i think there are two very unfortunate circumstances surrounding steve's character that have led to the current state of his plotline: 1. after not killing him in s1 like they originally planned, the duffers have never really had a plan for steve and 2. they are extremely influenced by audiences. when they were conceptualizing steve to fit in among the ensemble cast, the duffers were picturing him as a douchey boyfriend who unceremoniously dies. lonnie was originally going to come back to the byers house to save jonathan and nancy. there was no need to picture where he'd be 4 seasons down the road, so they just didn't account for that. then joe keery charmed them so hard that they literally couldn't bear to kill him, so steve ends season one still somehow alive.

but we've already established the nancy/jonathan plotline, because jonathan was once the duffers' self-insert who must defeat the evil jock and win over the girl. they couldn't just backpedal on that right away, so they needed to give nancy and jonathan a plotline alone, away from steve. but steve only ever functioned as an extension of nancy until this point, so what do we do with steve now? in an accidental stroke of genius that the duffers have admitted was a last second decision, they pair him with the children and make him into a babysitter. it almost instantly boosts steve into being tied with hopper and el for most popular character from the show, potentially even beats them both out. in 2017 when s2 aired, you could not escape mom steve jokes. it was everywhere, steve was everywhere, joe was everywhere, it was arguably the second coming of #justice for barb, which, in netflix business-y terms, was the exact viral meme type situation that the show wanted and needed to sell merch and remain relevant and say "see we still got it!!!"

you know who has the 2nd most lines in the entirety of season three? directly behind hopper? ahead of winona ryder? steve. think for a second about how absolutely insane that is. the character who was written specifically to die in season one. joe keery's name wasn't even in the season one credits, because he wasn't considered a series regular. and now he has the 2nd most spoken lines in the big blockbuster season because he rocketed up in popularity so intensely. season three marketing features the mall so heavily, creates a literal physical shrine to 80s nostalgia, and when the very first promo is released an entire year before the season airs, who's the star of that teaser trailer? and who, pray tell, is featured in the main brand sponsorship ad that plays in movie theaters worldwide? thats right its america's little darling steve harrington.

but here is the issue. the duffers look at what made steve popular and they see: funny exasperated babysitter, heartthrob action hero. they're like oh okay so we should keep putting him directly in the center of the action, bang him up every season to give him his classic bloodied aesthetic, but. he still needs to be funny. we can almost kill him, but we can't actually kill him because he's profitable. we can let him get horrifically injured because it's badass, but we still gotta let him crack jokes. it creates this very weird tone to steve's role in the story starting in season 3 because he's both the action hero and the comedic relief and protected by plot armor, so we get scenes where he's being literally tortured until he's begging for his life and gasping for breath but the tone is still.......fun? comedic? light and goofy? i think the duffers also forgot he's supposed to be a teenager.

now this is partially me making educated guesses but i feel pretty confident about this: once again, like gollum, joe keery uses his big shiny eyes and manages to evade death again in season four by being so likable and charming and marketable that netflix execs or shawn levy or maybe even the duffers themselves were like oh fuck we just can't do it. they were obviously tossing around the idea of taking mom steve all the way by letting him die sacrificially for dustin, so in season four they make eddie, transfer steve's relationship with dustin directly onto him, ctrl f steve's name in the death scene and just type in eddie instead, and once again steve is alive but he's directionless.

so what does he have now, in season four? i think the duffers have a whiteboard somewhere with steve's name and around it are little circles that say "funny" "cool" "DO NOT KILL" and steve is now stuck in this endless cycle of getting beaten up, popping back up somehow unharmed like a looney tune, saying something cute and oblivious, rinse and repeat. because that's what worked, that's what made him popular all the way back in season two. that's what the duffers are obviously keeping in mind when they're writing steve: popularity. not realism, not depth, not growth, just literally how to continue making him popular. meanwhile, other characters get to be part of the actual story. other characters get to serve a purpose other than selling merch. when el is bitten by a monster, she gets to actually feel pain and need help because that's realistically what any human would need. when hopper is tortured, he gets to suffer and ponder his existence and reflect on the relationships in his life. steve never gets any of that, because the writers just don't see steve as the 19 year old boy on his 4th straight year of traumatic events that he actually is.

they literally just see him as a money maker, there for cool viral moments and witty lines and maybe the occasional emotion experienced but only if it's about his romantic prospects. and the narrative that other characters get to have and be apart of just kinda runs parallel to steve. he's there, technically, but he's not really in the story. and it's like actually crazy because you'd think after all the funko pops he sold, he'd have earned an actual storyline!!!

[vamphorica]

♰ Religion in Death Note ♰

One of the most fascinating things about Death Note as a franchise is its exploration of faith and religion in the context of the world building, and how it compliments this using Christian motifs and imagery. The latter is often portrayed superficially, which I think is a shame given that there are many occasions throughout the series where relationships that some characters have with faith could be examined in accordance with the world Ohba has created.

For the sake of simplicity, I'm going to consider two main religious influences in the world of Death Note:

The Canon Explanation (The Shinigami Realm, Rules of the Death Note, Mu as the Afterlife, etc.)

Christianity (specifically, the use of Catholic imagery in Ohba’s official art.)

Let's begin with Canon.

i. The Canon Explanation

Ohba is clearly partial to weaving a complex web of rules as a means to support the supernatural premises of his stories (see Platinum End). This makes The Canon Explanation so effective not only because it limits the behaviour of the characters throughout the text, but it is also very pertinent to religion conceptually. By listing out the apparent commandments of the Death Note, a set of religious principles have been established that the users of the Death Note must follow. While you are not technically committing a sin by, let's say, trying to kill someone over the age of 124 with the Death Note (x), it sets out a guide which is indicative of rules one might follow in a religious text. You could say that Light, Misa, Mikami, and Takada each had to have a level of faith in the Death Note in order to use it. They all followed the rules, even if they did so under Light's direction as their self-proclaimed God. Light’s familiarity with these rules and his confidence with manipulating them is what ultimately makes his reign as Kira so effective. I think the act of writing a name down in the notebook itself is a form of commitment to belief – as a concept, the Death Note seems too absurd to a sceptic.

When the Shinigami begin arriving in the human world, it is obvious that they are not divine beings in the perfect, omnipotent manner that humans may expect. If anything, they are curiously quite human themselves – forgetting rules and acting as a result of emotional impulses. It is indeed Ryuk's boredom that sets the story into motion – everyone who died as a result of the Death Note did so because of him. The Shinigami pose no actual threat to the humans they follow, often noting how humans appear more competent at being Death Gods than they themselves are. While this is subjective, depending on interpretations of faith, the typical Grim Reaper figure is seen as a serious, all-knowing figure that is to be feared, while the Shinigami of Death Note are far less intimidating. I think this delivers a decent proposal that religion in Canon is not a matter of worshipping the supernatural, or suggesting that they are better than us. By having the Shinigami presented as being similar to ourselves, human characters have the ability to use their power without the fear of divine retribution. Light’s extensive knowledge of the Death Note rules and how to work around them, along with his strict work ethic, only further demonstrates his commitment to carving out his position as God when compared to the Shinigami.

Mu is explained quite simply – there is no heaven or hell. There is a notable lack of elaboration here for a reason, but I do wonder if Light might have been more reluctant in his pursuits had traditional heaven and hell been at stake. Would he have become Kira if his act of justice would damn him to hell? Would he be concerned that his victims might end up going to heaven? Mu is the Canon version for what happens when one dies in this universe, so, beyond proposing speculative questions, there is little to analyse here.

Now, there is one character who I want to delve deeper in relation to The Canon Explanation: Mikami.

Mikami -> Mikami is deeply devout. Of all the named characters in the series, Mikami is the only one who is expressly religious, particularly regarding the Canon Explanation. While I think it is interesting to consider Light Yagami's relationship to Godhood, it is only through Mikami that we understand Kira’s societal impact. Mikami is also the only character in Death Note to be granted a rather comprehensive backstory, so we are given an insight into what led him to become such an ardent Kira supporter. Light chose Mikami not just for these strongly held opinions but also because of his devotion to him specifically. Mikami is ritualistic in the way he worships the idea of Kira through his dedication to writing one page of names in the Death Note daily, following Light’s commands without question. The only other occasion where we see a similar act of religiosity towards Kira is at the very end of the manga when a group of Kira supporters take a pilgrimage to pay their respects. Yet even this does not quite encapsulate Mikami's religious fanaticism. His strong conviction that Kira is God demonstrates the societal inclination to view Kira as a religious figure to be worshipped.

I think because Death Note relies so strongly on Light's internal psychology as he encounters various forms of opposition, the external impact of Kira on the world is only provided to us through passing mentions of political support. It is absolutely crucial to interpret Kira in a political context, but again, this is not really explored in too much detail. What we do know is that Kira supporters, including Misa, Mikami and Takada, may politically be in favour of Light's moral judgement, but because he poses himself as a God rather than a political leader, we must assume that he wants to play into a deific persona because it affords him far more unconditional power than he would have as a mere mortal.

From the beginning, Light is able to present his power as originating from a divine source, and it is only until Lind L. Tailor’s death that it becomes apparent what limitations Light is working within. Before then, criminals dying of heart attacks across the world could not be considered to be within human capability, let alone performed by a singular perpetrator, so Light maintained the illusion of omnipotence. Distancing himself from his humanity not only gave Light the benefit of being undetectable for some time, but also encouraged people to support Kira through the belief that he was inherently above them. It was only L who managed to shatter this façade early on in the Kira investigation.

I will now move onto something slightly more tangible, as it reflects our world within the text – Death Note's use of Catholic imagery.

ii. Christianity

As if to make up for the lack of exploration into Kira's religious influence, Death Note heavily relies upon Christian imagery to highlight its desire for religion to be seen as a core component of the franchise. Realistically, I am aware that a lot of manga and Japanese culture from the 2000s was heavily inspired by Catholic imagery and that there was certainly an aesthetic trend being taken advantage of here. However, I am still going to consider it specifically in relation to Death Note. It gives me an excuse to move on from Ohba to Obata anyhow, which I am more than willing to do.

Let's have a look at some official art.

There's a lot to be discussed about these specific pieces of art, and there are plenty more examples that I am sure can be found and analysed over, but we can recognise what their general theme is – kitschy Catholicism. This is not intended as criticism, I love Obata's art and as unsubtle as these official pieces may be, they reinforce Death Note's desire to incorporate religion into its series as a strong motif, if not an effectively developed theme. It also somewhat exposes its superficiality. The imagery is explicit, bold and bright, without doing much work in considering what the actual religious belief might be able to bring to the series beyond the visual components (according to this post -> x the Latin on the last image isn't rendered properly, which proves my point further). There are instances in the anime where there are Biblical references, such as frames that foreshadow L’s death, but the manga does not engage in these same parallels.

This leads me nicely onto talking about Misa.

Misa -> Misa is shown throughout the series to lean heavily into fashion and interior design that reflects a very Gothic Christian aesthetic, which is undeniably iconic and an important visual aspect to her character.  Mirroring the series more generally, it does appear that this is the extent to her relationship with the Christian faith. Misa’s allegiance to Kira could suggest that the trauma of her parents’ death came to some kind of resolution when their murderer was himself killed. Again, we have no idea if she actually was a religious character to begin with and I need to stress, it does not matter, but it is still worth considering given how a lot of the Christian imagery in the series is associated with her character specifically. I don't think this feeds into any flat character analysis that might suggest she doesn't know the potential significance of the crosses she wears or decorates her home with. We could just say she has an aesthetic that is very well composed but doesn't carry much weight beyond its stylistic merit.

Derailing slightly, but I do wish they had maintained this style throughout the entire series. Alas, as soon as she met Light, she lost this cool Goth look pretty quickly. Rem would never have let this happen. 💔

One more character analysis before we wrap this up. The quite honest reason as to why I decided to write up this essay was so that I could discuss Mello in relation to religion in Death Note.

Mello → Much of what I discussed about Misa's style could be applied to Mello, the only other character who visually demonstrates any religious tendency. However, I think there are some differences here that could suggest Mello is actually religious, which then allows us to consider his character in the context of the Canon Explanation. Firstly, one of the main signifiers Mello wears is his rosary, and while it is unlikely you will experience any adverse effects from wearing one as a non believer, I think those who wear a rosary are aware of the deeper connection to Catholicism than someone who wears a simple cross necklace (see Misa above, right). Secondly, narratively, I think there is more opportunity for Mello to be religious. Wammy's House, from their gates, actually appears to be a Christian organisation, and while I do not actually believe that they were, I find it interesting nonetheless. I also would be surprised if they were denominationally Catholic, if we are following this line of logic, presumably they would be CofE, but who knows. Regardless, even if Mello was not religious as a child, I think his arrival into the Mafia would certainly have introduced him to Catholicism. Of course it seems antithetical, but I would not be all that surprised if a teenage boy who is expected to do some horrendous things to rise to the top of a criminal organisation might turn to God in the process.

Following on from the prior point, Mello is a completely contradictory character, so I do not think it is all that necessary to consider his moral code from an entirely rational perspective. I think the fact his Beretta has a small cross charm on it in itself is very symbolic of the kind of character we are dealing with here (see below). Interestingly, it looks to be a Celtic cross, rather than a traditional crucifix.

What does this actually mean? Mello represents a good integration of the two religious influences I've discussed – he appears to have faith in a religion that we as readers contextually understand, and yet he interacts easily with Shinigami and the Death Note. While the two do not contradict one another exactly, I think The Canon Explanation certainly does not lend much credence to Catholic interpretations within the text. Like the others who have encountered a Death Note, Mello is initially shocked by the arrival of the Shinigami attached to his notebook, but quickly recovers. He interrogates Sidoh with such evident effectiveness that he ends up frightening him.

I think this is where I begin to get a little frustrated with the depiction of religion in Death Note because we have such a fascinating premise here. Does Mello's faith waver as his beliefs are evidently challenged by Sidoh? Does he consider Kira as a force of evil from a moral perspective informed by Wammy's, or his understanding of God? Does he believe in heaven and hell? None of these questions are answered, and I do appreciate I am being fussy because I am very fond of Mello, but I think there was a rather unique opportunity present in the series that was completely neglected. I have already explained how Death Note relies so heavily on Catholic imagery and clearly wishes to present itself as a series that deals with religious themes, so I think there is a failure here to consider the nuances that have already been set up.

How interesting do you suppose it would be to see how Kira's influence begins to impact the other established religions, as people see criminals dying en masse? Remember that ordinary people would be likely predisposed to consider this as an act of God. Society would certainly be more scared, especially as it would simply be inevitable that Kira killed innocent people who had been deemed criminals by their legal systems. There is a lot to go analyse about that topic alone, but another time!

I suppose with a lot of the questions I have posed, they could be answered through fanfiction or headcanons. I could decide that Misa believed in God until she met Light, or that Mello chose to ignore the implications of Mu given that he follows a religion that sets itself up on the premise of eternal reward or damnation. I just want to facilitate further conversation, because I do think this topic is fascinating.

Thank you @saturniiids, @vengeflies and @stylooooo for giving this a read for me! ♡

[dsmp-lainey]

changes i’ve made to the dsmp canon in my personal rewrite:

-c!sapnap is a cis woman who likes dressing masc, her story and personality stay the same she’s literally just a woman now lol

-c!eret and c!karl are both transfem (eret is non-binary she/they and karl is a trans woman)

-sally was NOT just a salmon she was a nymph who’s animal side was a salmon, fundy inherits his fox traits from her as that’s his animal side, he cannot shape shift like she could though

-c!eret and c!george are cousins who’s family lived on these lands for long before everyone else arrived, that’s why ruling them means so much to them. c!eret originally joined the revolution because wilbur said they would assist in taking back the crown once they were independent but once dream made the offer of the throne in return for betrayal eret took the quicker option. (also c!george also has cool glowing eyes in this because it’s a family trait, also both my c!george and c!eret are black, eret has very dark skin and wears long braids mostly, george is a little lighter and keeps his hair shaved short mostly)

-c!dream only has one canon life left from the first moment we meet him, we never know how he lost the others just that part of his obsessive need for control stems from his paranoia of losing his last life

-c!wilbur lied in the letters he wrote to c!phil during the revolution and in pogtopia, he never told phil he lost any of his canon lives, phil thought when he stabbed wilbur he would have enough time to haul his body off to a safe place to calm him down before he respawned, he was shocked and horrified when he saw that was wilbur’s final life

-c!wilbur is a lot less human than he presents himself to be, his father is an angel and his mother is a goddess, he has lived far longer than the age he appears already at the start of the smp and could likely far outlive most other characters in terms of natural lifespans. his refusal to wear armor is partially influenced by the fact that he heals far quicker than others, therefore his insistence on others not wearing armor is a rather selfish demand since he knows others are risking more than he is when going without.

-c!techno grew up under a horrible dictatorship, that’s the largest contributor to his anarchist beliefs. he wears his crown as a symbol of the fact that he will never let someone else rule him ever again.

-c!tommy is religious like in canon but he primarily chooses to worship Lady death (mumza/c!kristin), she has shown him her favor many times in various ways over the years and was who guided him to wilbur in the first place. tommy has a elevated level of both respect and fear for c!phil throughout the smp no matter what because he is deaths angel.

okayyyy those are just a couple of them but i hope y’all like, PLEASE let me know your thoughts and what other hc and story changes you personally have cause i love hearing them!

[aheathen-conceivably]

Because I’ve been cooking on the backstory between Antoine and the woman he was having an affair with (who I’ve named Suzanne), let’s talk about….

What do we already know and what do we think happened?

Well the very first time we saw her (and the other women behind her in this scene) is here…

In particular, she’s the one looking down at Antoine, singling him out with her gaze while the others dance around him. As they do so Antoine hears their voices in his head, most likely coming from his own memories:

Such a pretty boy, Delphine. I mean really, must he hide behind that screen? Oh look at him. Even more beautiful than his sister, if you ask me. Come on, Antoine, just play us one more song. One song and then we’ll let you dance with us. We’ll even go upstairs with you Antoine, come on. Just play for us.

Only even their voices and sensory memories grow more specific as his hallucinations go on, signifying that there’s something else at play too.

Their jasmine perfume permeated the club, cutting through the cigarette smoke. The tinkling of the beadwork on their dresses mingled with their laughs, overtaking the sound of lace gloves as they brushed against skin or the heavy silk of a dress as it fell to the floor. Still they came closer and closer, pulling him in deeper, taunting him. One more drink, Antoine. One more song. Then you can come upstairs with us, come on, just play for us.

This tells us that at the very least, Antoine had a flirtatious relationship with these women who he shared a home and a life with, women who worked for his mother and who his mother disapproved of flirting with him:

Each of them the shadow of a woman who once roamed these halls, now nothing but phantoms around him. He brushed them away angrily, their disappointed sighs dissipating into the silence. Then he heard a nearly silent tsk, the one that his mother made when someone had offended her.

Well what we now know is that in addition to whatever teasing flirtation was going on between Antoine and the four women he saw, he was also certainly having an affair with one of them. A woman named Suzanne…

Now, judging from their body language this was certainly a mutual love affair, and not one that Antoine was dragged into. But bearing in mind how he’s described it (“it’s been the ruin of me a poor boy”) and his own ideas surrounding sex, marriage, and women, we can at the very least assume that he doesn’t view it fondly. Rather, he sees it quite guilty, as something he shouldn’t have done, and even goes so far as to compare himself to the man who bought his sister’s virginity (however misguided and guilt driven such a feeling may be).

There’s certainly a few factors at play here, and I think some of the biggest can be seen in extras we’ve been given in ask games:

1. Antoine never met or spoke to his father and was raised almost exclusively by woman. This was primarily his mother Delphine and his aunt Marguerite (who we have seen a few times in the story) but also various women in Storyville who knew his mother and his family. This led to a sort of warped, old-fashioned view of masculinity that primarily centers around projecting a hardened exterior and protecting women, often to a volatile extent.

Likewise...

2. Antoine definitely sees sex as something of great emotional weight. I think this is partially due to his loyal trait (one of his 4 in-game traits) and his upbringing. Sex incurs a certain type of loyalty and connection for Antoine...Antoine and Josephine spent much of their time growing up in New Orleans Storyville District, where sex would have constantly been on display and treated very casually. This influenced both Jo and Antoine’s approaches to the subject, but in opposite ways. For Antoine, this made him view casual sex as a lonely and empty experience, and thus he tends to seek it out only when he feels emotionally connected someone.

So let’s look at these in light of what we know. He was not only sleeping with a woman he feels like he shouldn’t have been (because of her profession, connection to his mother, and the casual nature of their relationship), he was most likely doing so with some kind of idea of emotional intimacy and “protection” toward her. Meaning, the sex itself would have made going about his daily life and job even harder. Every night he worked in the brothel with her, playing piano from behind a screen where he couldn’t see but could imagine what was happening.

This also in turn explains some of his intense reaction to when his sister went to work there and some of the ways in which he treated Zelda when she arrived. Like walking away from her, insisting on her full knowledge and loyalty before they slept together, his ongoing guilt over not being able to marry her, etc etc.

Which all begs the question….

How did Antoine’s affair with Suzanne end?

Well what we do know is that it ended badly enough to at least contribute to him enlisting in World War I and kickstart much of his anger/drinking issues that he struggles with in the 1920s.

In addition, we have two small lines of text from miscellaneous posts, which are:

“Word to the wise my dear, never fall in love with a woman who sells herself. It always ends…badly”

and

“Just so long as no one knows…we’ll be fine.”

Now who could these both be coming from? Or, potentially, who could they be talking about? Well I think we can see our answer in these two shots…

What this tells me is at that some point, Antoine’s mother became aware of what was going on between him and Suzanne. This explains the line be “just so long as no one knows…we’ll be fine” which could have been said by either Antoine or Suzanne about Delphine; and “Word to the wise my dear, never fall in love with a woman who sells herself. It always ends…badly” which would have been said by Delphine to Antoine when she finally confronted him about it, further entrenching those feelings of guilt and regret that he already had.

Now how do I think the end actually played out? Well, like Delphine promised…badly. Badly enough that when Antoine returns from the war he reacts to his mother like this…

Of course, on the surface, Antoine is angry because he finds out what she’s done to Josephine. But is there something else going on? Something more personal? A reason why Suzanne isn’t in the club in the scene when Jo turns 17?

I would say yes. My guess? Delphine fired Suzanne. On the surface, she did it to protect her “baby boy” but more ostentatiously, because both of them had betrayed her, and as her employee, Delphine viewed the entire affair as a breach of the professional trust/protection established between them.

You already know that Antoine wouldn’t have taken this lying down, only he wouldn’t have stood up to his mother just yet either (which is what makes his eventual confrontation over Josephine so much more charged) and the guilt that his lust caused a woman to lose not only her job but also her home would have been enough to break him. So what do I think Antoine did? I think he offered to marry her, not out of love or even practicality, but out of some sense of guilt and duty that we ALSO see dominate his early attitudes surrounding marriage with Zelda.

Of course, we know that didn’t happen. So I think Suzanne turned him down, whether because she sensed that he was only doing it out of guilt or because she knew that marrying the disowned son of a brother owner in segregated New Orleans was not a viable option. Or maybe she cared for him. Maybe Delphine even threatened her to stay away from Antoine, so she spurned him in the harshest way possible to ensure that their affair ended for good, and she would have no trouble with one of the most powerful madams in the city. But one thing is for sure, it ended the way Delphine promised…badly, and Antoine enlisted in war shortly after only to come home to mother ill, his home on the verge of bankruptcy, and his sister fresh from trauma inflicted on her by that very mother.

This is the Antoine we walk in on in 1920. Guarded, guilt ridden, reclusive, and protective of his home, his sister, and his heart. Recently returned home from war, only for all of his mother’s pain and corruption to surface. Then in a torrent of emotions, to realize she had been sick all along, and therefore to lose her before he could process whether, knowing that she was dying, she had indeed done it all for them and their home after all.

Thus leaving this enormous burden that it was now up to him to look after his sister and make sure the house she had fought so hard for stayed standing. Because to make his guilt even worse, when he came home from war, he had no idea where Suzanne had gone. He could only hope he didn’t make her life worse, and try to make sure he never made the same mistakes again. But somewhere, deep down when he found someone he loved, was grateful that he avoided a marriage based on guilt and duty and rather, eventually, found one built on love.