#Also it would fit so well thematically

[floworence]

I NEED season 3 to be happening during the Christmas season. It would fit so well with the second coming and would be a perfect set up for a joke about how Jesus was actually born in April.

[illmoraineakoi]

Friendly Reminder that the Vessel Eggs are Freaking Huge.

Also Obligatory Birthplace Egg is the only Egg Asset with Void Vines attached to it remark.

It was always strange to me how large Vessel eggs really are, especially because there really seems to be little need for it. Vessel hatchlings/nymphs are Tiny. Why are the eggs so big in comparison?

There seems to be waaaay too much unnecessary/excess space in each egg if there's only one Vessel per egg. Usually with eggs, by the end of the gestation period, the spawn is cramped in there with very little excess room. Extra unused space is wasteful, and biology hates being wasteful.

This is why I've personally always subscribed to the headcanon of Vessels eggs actually being more like Egg Sacs/Egg Cases than typical eggs. Both are when, for irl bugs, multiple larva/nymphs hatch from the same "egg"-like gestational container. Egg sacs are common for spiders (they make the actual sac itself with silk; here's a great video showing how one is made.) while cockroaches are know for egg cases (Here's a video of some hatching.)

Ghost's egg clearly isn't that much bigger than the other egg assets, it's just less destroyed, so it's size is a good reference for how big all of them would have been. And it's big enough for at least a handful of Vessel nymphs to have fit inside at once.

^ Case in point.

(You could probably squeeze a few more in there if you treat it more like a the sphere it's supposed to be and also depending on the horns. The main limiter are the heads/shells, since those are the hard parts* of a Vessel; Vessel nymph bodies seem to be quite squishy and flexible.)

(*= This is assuming that Vessel shells were hard during their gestation period. There is a chance they might not have been, since newly hatched nymph insects tend to have flimsy bodies for a while. The Birthplace memory shows that Vessels had hard shells at that point, and that seems really close to the point of hatching, so it seems likely that they hatched with hard shells rather than needing to wait a bit for them to harden up. Also, Vessel biology is weirdly wonky, so irl stuff doesn't really matter.)

Also, curiously, it seems Vessel eggs have two layers:

There's the outer shell, but there's very clearly a second, inner thing that has been broken out of. The different in the breaking look from the outer shell suggests this inner layer is made of a different material. The Pale King's egg lacks this, to it's at the very least unlikely to be a Wyrm thing, or at least not a Wyrm thing on it's own. It might be something unique to the union of Wyrm and Root and thus unique to the Vessels.

It could be a Root Thing, but we know jack shit about the White Lady and exactly how much she contributed to the Vessels.

I mean, we know literally nothing about how the Vessels were made besides Pale Babies Get Thrown Into The Liquid Shadow Pit To Get Stuffed With Black Goop, but that's besides the point.

There's also two alternative theories for why the eggs are so big that I'd like to touch upon: Void Swelling, and Stunted Development.

Let's go with Void Swelling first.

In snake eggs, the eggs tend to get a bit bigger by the time they hatch. Normally, it's not too much. Sometimes, however, the eggs really seem to swell up. Most people I've heard/seen talking about this think that the eggs are absorbing and retaining water from the humid incubation environment. Sometimes it's indicative of a problem; sometimes those swollen eggs start to rot, making it clear that that gestation has failed. Other times, the snake just hatches with a lot of egg goop.

It's possible that the Vessel eggs are so large because they've just been swollen up from the Void infusing into them.

Two problems with this theory: Vessels eggs are clearly hard-shelled, and hard-shelled eggs don't swell. At least, I've never heard of them doing that, but I'll admit I'm not a bird person. Perhaps some eggs got stuffed with way too much void and popped open before it was ready to hatch.

The second issue is that the Abyss is not what I would call a humid place (or, at least, it doesn't LOOK humid), and we don't see any liquid Void anywhere near where the eggs are in the Abyss. All the liquid Void we see is to the left of Vessel Corpses, and we see no egg assets anywhere on the way to and around the Lighthouse.. This makes it rather ambiguous how the Void even infused into the eggs at all, let alone if liquid Void was involved. Given how deep the Birthplace goes, it's impossible to tell what was at the bottom of that shaft before all of the corpses stuffed it up.

Unless ambient smoky environmental Void could have stuffed into the eggs enough to engorge them, which is also a possibility. Void is weird and we know little about how it works/behaves. Still unlikely due to the hard shells, but it's a theory.

The second theory is less about too much Void in the eggs and more about not enough Vessel.

It's possible that, at the time of Void infusion (and thus, death for the gestating Pale Children nymphs) the influence/corruption of the Void caused the Vessels to just stop developing. Dead things don't grow or develop after all.

Perhaps the eggs are so large because the original offspring that was supposed to hatch from those eggs were really supposed to be that large. They were supposed to be the spawn of a Wyrm and a Root combined. Even if the White Lady hadn't of been so big at the time of the Vessel Plan, she's shown she was always capable of eventually growing large. And if the offspring took aspects from PK's original Wyrm form over his dinky bugsona, which I would assume to be possible bc DNA and Genetics, then a larger size would also potentially be expected.

Or maybe some Pale Children would have gotten the Wyrm gene while others got the Bugsona gene, which is what Hornet got, and is absolutely hilarious to think about. Imagine getting riffed on by a twelve foot high sibling bc you got dad's Short Gene.

There's one issue with this theory, and that is of course, Broken Fucking Vessel. Broken Vessel always throws wrenches into Vessel theories, it's like their favorite past time.

Broken Vessel has aged. And, Hollow, more obviously, but BV is the main confusing one. Broken Vessel proves that Vessel can age on their own, without the potential influence/assistance of the King. BV proves that Vessel development isn't permanently stunted.

The most logical solution to this issue I've seen is exposure to the Void. Vessels, on a fundamental level, are made up of Void. It is intrinsically entwined with their very physiology. They're not just walking corpses stuffed full of Void and a Shade, their very flesh IS Void and that Shade.

Case in point:

BV, out of any other Vessel outside of Hollow, is the one who could have potentially come into contact with Void after leaving the Abyss. They're found in the Ancient Basin, which at the time of the game is heavily Void tainted (likely due to the Lighthouse being off and PK fucking off to Buzzsaw Land. That light had likely been the only thing keeping the Void suppressed underneath the Basin.)

PK could have used Void to supplement Hollow's growth into adulthood because Vessels probably literally cannot grow or age without it. Hence why Ghost and all the other escapee Vessels are stuck as nymphs while BV grew a tiny bit.

Of course, the solution to the BV issue also ruins the stunted embryonic development theory too. It's a rather poor and weak theory that I've included only because I though it was a bit interesting. Thinking about what the original Pale Spawn would have been like is always interesting to me.

With that, I have just one more thing to point out.

Ma'am, how the FU--

[thenamesapollo]

*Alas... Poor Nightmare!

[thewhizzyhead]

okay look thematically and narratively speaking would you fall in love with me again is like a damn good finale in epic the musical because not only does it show penelope's reciprocation of the intensity of odysseus' struggle back home to his son and wife, it also uses the 'throw away the wedding bed' trick to flip the narrative of odysseus' believing he has totally changed, into penelope proving to him that he is still the man she has waited for so long.

Like that's damn fucking good and all HOWEVER let it be known that I still mourn the loss of the Olive Tree song because the melody and the poetic beauty and how fucking gentle everything is holy fuck-

[inamindfarfaraway]

I can perfectly picture a Batman: Wayne Family Adventures two-partner that properly introduces Harvey Dent, Two-Face, their relationships with Bruce and vice versa. But I can't draw in the slightest. So I'm going to script it and you'll have to use your imagination. It’s a little longer than the average WFA two-parter. But given how many thoughts and feelings I have about Harvey, I’d say it’s impressively concise. For me. If you like how I write Harvey, I recommend my fanfic spotlighting him as a teenager, compared to which I must warn you this script is positively fluffy. Read it on AO3 here! If you want to draw any of this, please tell me in advance and use the updated original post or the AO3 fic, not necessarily your reblog.

A Second Opinion

Part 1

[Panel one. Vertical rectangle, full screen. Nighttime. The exterior of an abandoned building that is notably more decrepit on the right side, Two-Face's current base of operations, from a distance and high angle. The Batmobile is parked outside. Bruce as Batman is seen on the rooftop from behind, striding stiffly toward the skylight. A speech bubble floats in the air above him.]

Barbara: Are you sure you don't want backup?

[Panel two. Barbara as Oracle watches with a frown of wary concern at her desk in the Clocktower.]

I know these confrontations are very personal for you -

[Panel three. Bruce leans over the skylight seen from below it, about to kick it in. His fists and jaw are clenched, teeth gritted and eyes narrowed sharply; even for Batman on a mission, he's in a bad mood.]

Bruce: I'm fine. I have him right where I want him.

[A speech bubble floats in the space below the panel.]

Harvey: I have him right where I want him!

[Panel four. Fade into a flashback. In stark contrast to the dull and dark blues, greys and blacks of the present scene, the flashback panels are full of light, saturated and warm colours. Harvey Dent stands at a round red table outside a café on a sunny day, beaming. He's a handsome, sturdy man with neat, short black hair, a semi-formal brown suit and wide brown eyes. He was seated, but has risen and slammed his palms down on the table in his enthusiuam. Slightly low angle, like the camera is on the table, and to the right so we have a better view of his left side. A gold wedding ring gleams on his finger. His introduction box reads: ‘Harvey Dent, District Attorney. Gotham’s best lawyer, technically and morally.’.]

And think of the implications! If the Salvatore Maroni can face justice, so can anyone.

[Panel five. He paces a little behind his chair, gesturing animatedly. Motion lines trail and curve around the other way behind him. His right side is now in profile. Same angle, but pulled back to see over the shoulder of a younger Bruce wearing a nondescript black shirt.]

If his empire can crumble, so can any criminal organization or corrupt institution, no matter how powerful. This trial could be a beacon of hope for Gotham. Proof that the law can actually help people, that the spirit of it is alive.

[Panel six. Opposite Harvey, Bruce is sitting comfortably. He has notable eyebags and less light in his eyes than Harvey, but smiles in earnest admiration.]

Bruce: I think you're right. Maroni used to own the city, but ever since you, Jim and Batman started working together...

[Panel seven. Side shot of both of them from Bruce's right and Harvey's left, showing them down to their legs. Bruce leans forward. Harvey has sat back down. In the background, their memories conjure a vision of Batman and Harvey shaking hands before the Bat-Signal. The figures' lower halves fade to translucent above and behind their real counterpart's heads. That Harvey is smiling too and the one leaning forward, while Batman's mouth is a flat line but his eyes are soft.]

things have changed more than I could have imagined.

Harvey: I just hope we can keep it up. Maybe in a few years, Gotham won't need a Batman.

[Panel eight. Close-up on the right half of Bruce's face, a narrow vertical box in the upper left section of the screen. His expression is of shock and vulnerability, although he isn’t offended. He has simply never considered being able to end his crusade before. Panel nine. A bigger square containing his entire face and taking up the rest of the screen.]

Bruce: Do you really believe that?

[Panel ten. Closer front shot of Harvey at eye-level. We can now see that he actually does have bags under his eyes. He's more pensive and his smile drops.]

Harvey: Yeah. I mean, Bats is a great guy. I don't want him to just disappear. But his methods...

[Panel eleven. Deep shot. Two petty crooks run through an alleyway at night while Batman looms behind them atop a ledge, a huge, hulking silhouette crouched animalistically with piercing white eyes and clawed fingers raised to pounce. The scene is somewhat abstracted to highlight the criminals' emotions. The alley walls seem to be closing in on them and Batman's curling cape flows into the surrounding darkness. Angle is above the very small-looking criminals, but below Batman such that his striking, soulless eyes glare right at the reader. Harvey's speech bubbles are in the top left and bottom right corners, framed by the blackness.]

fighting violence with violence and terror with terror... they're hardly ideal, are they?

[Panel eleven. Harvey places his right hand on Bruce's left arm in pride, who is too busy processing to return his smaller, softer smile of personal affection. Side shot from Harvey's left and Bruce's right that cuts them off at the torso.]

In my opinion, the work you're doing with the Wayne Foundation does better at lowering crime rates in the long run.

[Panel twelve. Over-the-shoulder shot again, Harvey's this time to show Bruce full of love, relaxing and leaning into the touch.]

Bruce: Well, in my opinion, you're a better person than me or Batman.

[His second speech bubble descends into the empty space.]

And I’d love to see the day Batman can retire.

[Panel thirteen and fourteen occupy different vertical halves of the screen and the same horizontal space for half of their lengths, the former higher, the second lower. The first shows Harvey from the right cut off at the thighs, in a courtroom, delivering some kind of unwritten passionate declaration; on his left and in the background, the defendant, the aforementioned crime boss Maroni in a nice black suit, holds an opaque bottle labelled as cough medicine and smirks viciously. The second is a close-up of Harvey’s head on the floor. Only the right half of his face is visible, the left turned away, and he is howling in unfathomable agony, tears streaming down his cheek. The stem of his speech bubble reaches down to the top of panel fifteen. This is a straightforward frontal shot of Bruce in the present. He stands tense and grim, poised to throw a Batarang with his right arm. Silver moonbeams shine through the broken skylight. Layered in front of the panel’s top border and behind Bruce, Harvey’s scream appears to ring through the cowl’s bat ears and extends continuously offscreen in extra large, blood-red lettering. The bubble fades around it to make it stand against the background.]

Harvey: ARGHHHHHHHHHHHHHHHHHHHHHH

Bruce: Two-Face.

[Panel sixteen. Same angle of Harvey and Two-Face. The left half of their face is ravaged by raw, pink chemical burn scars and has a bloodshot eye with burned lids; even their right eye is sunken and shadowed with a menacing glint; their hair is the same on the right, but bleached white, longer and wild on the left; they wear an angular, elegant suit divided vertically in alternating black and white. They’re smiling smugly, posture calm, confident and commanding. Their right hand aims a pistol at Bruce, and the camera. The other hand, bereft of a ring, holds their two-headed coin. Their introduction box reads: ‘Harvey Dent & Two-Face. All the drive. Fractional sanity. Half the morals, or less.’. The outlines of their speech bubbles are smooth as usual on the right and rough and scribbled on the left when both alters in the system are in relative cooperation - a dual consciousness referred to as ‘H/TF’ in the script - completely smooth when the still goodhearted, but deeply troubled Harvey is speaking alone, and completely irregular for the much more merciless, callous Two-Face personality alone.]

H/TF: Bats! Let us guess: you didn’t bring any backup because you have a self-righteous hero complex about us in particular?

[Panel seventeen. Closer frontal shot of Bruce scowling and hunching his shoulders in shameful concession.]

Two-Face: Good. Those Robins are nothing but trouble.

[Panel eighteen. Long rectangle panning down the room. Bruce and H/TF are in the background as H/TF gesture with their left arm to two men dressed like high-level businessmen in the foreground, tied to chairs with a gun pressed to each of their heads by H/TF's identical twin henchmen. The captives are bruised, cut and slumped in exhaustion.]

H/TF: Now, take one step toward us and the hostages get it. Don't go feeling sorry for them. They work for Oswald Cobblepot. His reform is fake -

H/TF and Bruce: Obviously.

H/TF: And they've already told us everything.

[Panel nineteen. Horizontal side shot from Bruce's left and H/TF's right, to frame the hostages between them.]

H/TF: But if you go after us, you'll lose your best lead on his criminal activities.

Bruce: And people will be dead.

H/TF: Yeah, whatever.

[Panel twenty. Close shot of H/TF from the left. They look left, contemplating their coin in their open hand. One face is corroded and blackened by acid, the other shiny and clean, both visible as it's drawn in a motion frame while spinning.]

You say that making our decisions based on chance is irrational and unhealthy, but believing in free will isn't all roses either. So many tough choices.

[Panel twenty-one is small box in the middle of the screen capturing the impact of the Batarang knocking the gun out of one of the henchmen's hand. H/TF's speech bubble floats in the space below it.]

There's never a win-win, is there?

[Panel twenty-two, a vertical rectangle. In the lower foreground and to the right, a gleeful H/TF bolt to the slight right of the camera, relishing both their escape and how unhappy their enemy is. In the background, Bruce restrains the armed henchman with a bolas while knocking the unarmed one out behind him with a backhanded blow. His cape billows with his rapid movement.]

At least the coin lets us be unpredictable!

[Panel twenty-three. Angle is essentially Bruce's POV. H/TF glance over their right shoulder, showing their unscarred features twisted in mockery, and sarcastically wave with their gun. They're just beyond the doorway.]

By the way, we're very good at getting two things done at once. You might wanna check your car.

[Panel twenty-four. Outside. Bruce's shadow falls from below the border diagonally over the Batmobile. Its tyres are slashed. Its fuel is leaking out into a puddle underneath it. In the next panel, we see him at eye height past the front end of the car. He has fallen to his knees, head hung.]

Bruce: Oracle? You were right. I need help.

[The black sheen of the Batmobile fades into a flat black background below. But then, within the darkness, floats a speech bubble.]

Barbara: You've already got it.

[Panel twenty-six. The first two sentences are in a bubble at the top, connected to the final sentence’s one dead in the middle. She's viewed from behind at a low angle looking up at her computer monitor. Her shoulders are assertively squared. Her security camera footage is split in two; Bruce and the crippled Batmobile are in the left window and H/TF's getaway car (also black on one side and white on the other) racing along a road in the right.]

We've been gathering intel. We know where Two-Face will strike next - and you know him as well as he knows you. Let's make a plan B.

Part 2

[Panel one. Distant establishing shot of a brightly lit black-tie gala in a vast, ornate hall, the tasteful decor dominated by white, light blues and silver. A caption informs us that this is 'The Cobblepot 'Charity' Gala'. Oswald Cobblepot is in the heart of the crowd, shaking hands with some official. Bruce Wayne is within earshot, but nearer the double doors. Panel two is a lower, tighter horizontal rectangle where Oswald and his guests are staring at the camera with tiny black dots for eyes in alarm at the doors slamming open. H/TF’s shadow falls over the floor. Panel three shows that Harvey and Two-Face have invited themselves, holding an assault rifle in both hands. Three smaller vertical panels on alternating sides of the screen show the doors being locked by pairs of Two-Face's minions in contrasting, complemetary outfits and wielding guns. The bird’s eye view of panel seven makes it clear that the guests are surrounded and trapped. Panel eight cuts back to H/TF.]

H/TF: Good evening, scum and enablers. We're -

[Panel nine takes us closer to focus on their - or rather, Harvey's - surprise.]

Harvey: Bruce? What are you doing here?

[Panel ten is a frontal shot of Bruce, like the camera's been reversed in the same position. His confusion is an act, but his concern is real.]

Bruce: I'm the richest man in Gotham and this is a high-society gala. What are you doing here?

[Panel eleven. Side shot that doesn’t show the scarring. Harvey lowers the gun, eyes softening as Bruce reaches out to him.]

I thought we agreed that you still needed treatment.

Harvey: I…

[Panel twelve. Frontal short. Remembering his mission, Harvey loses a degree of control and the two embittered alters lightly push Bruce away and point the gun straight ahead at Oswald with a glare. Motion lines trail from their arm.]

H/TF: That doesn’t matter! What matters is taking down the Penguin!

[Panel thirteen. Oswald presses a hand to his chest, somehow at once mortified and supercilious. You can hear the melodramatic sad violin. Beside him, his associates are cowering and aghast.]

Oswald: Why, everyone knows that I’m reformed. Attacking me when I’m doing good just proves how far you’ve fallen.

[Panel fourteen. H/TF snap at him furiously, and their speech bubble is large, spiky (still with the different texturing) and has a red outline for emphasis. Their eyes are stylized as flames; their right eye’s flame is orange and the left’s blue. Bruce is giving Oswald an intense sidelong glare. His lettering is smaller and his bubble's outline dashed to indicate that he's speaking under his breath.]

H/TF: SHUT UP!

Bruce: Shut up.

[Panel fifteen. Wide low angle shot up into the shadowy rafters. Damian, Dick and Tim are hiding in their vigilante identities and watching the scene below intently, at the ready. Their speech bubbles are dashed as they’re whispering. Damian is tense like a coiled spring, hand is on the hilt of his sword. Dick’s facial expression is blatantly disdainful of the villain in question, but his position and body language are calmer. Tim is all business.]

Damian: Shouldn’t we -

Tim: Not until the signal, remember? We don’t want to escalate and endanger the civilians.

[Panel sixteen. Close-up profile shot of Dick.]

Dick: Yeah, I hate Two-Face, but Bruce has got through to Harvey before.

[Panel seventeen. H/TF aim their gun with their right hand as their left reaches into their pocket to take out their coin. Their jaw is tight in composed ire. Diagonal angle to show Bruce on their right, overlaid by the gun. HT/F's speech bubble is near their head, but Harvey's is under the panel-dividing horizontal line of the gun.]

H/TF: You have the right to remain silent, forever.

Harvey: Bruce, get out of here.

[Panel eighteen, a square. Bruce is alone in the frame. He folds his arms, Batman's stern, steely presence creeping into his expression and posture.]

Bruce: Whatever you're willing to do to those people, you can do to me.

[Panel ninteen. Same composition with H/TF. They frown, the unscarred features looking regretful while the scarred ones look annoyed and disdainful.]

H/TF: Fine. Just stay out of our way.

[Panel twenty. Close up as they flip their coin. We get the blurring motion displaying both sides again. The next panel is a repeat shot where Bruce’s right hand snatches the coin in midair.]

H/TF: HEY! Give it back!

[Panel twenty-one. Extreme close-up, narrow horizontal parallelogram focused on Bruce's defiant stare. His speech bubble floats close underneath.]

Bruce: No.

[Panel twenty-two. He holds the coin out of reach. The camera is angled over and to the side of Bruce's left shoulder, to put as much visual distance between his outstretched right hand and H/TF as possible, Bruce's body in between them. H/TF’s left hand is balled into fist around the lowered gun while their right gestures like they’re arguing a case in a courtroom. They look resentful, but also coldly resigned. The speech bubbles can extend out of the panel. In the backgroud, some of the guests are depicted as simplified, featureless figures.]

H/TF: They aren’t worth sticking your neck out for. Nobody in Gotham is -

Harvey: I learned that the hard way.

Bruce: And I’ve learned otherwise. This won’t make things better, Harvey.

[Panel twenty-three. Two-Face fixes the gun on Bruce with a sadistic, unhinged snarl that’s distinctly his own.]

Two-Face: Listen, Wayne, I don’t care for you a bit. Give us our coin back or I’ll -

[Panel twenty-four. Bruce raises an eyebrow.]

Bruce: But what if it’s good heads?

[Panel twenty-five. Two-Face freezes. A ‘Twitch’ sound effect is at the corner of his right eye. Panel twenty-seven. A henchman aims his own gun with nervous eagerness.]

Henchman: I'll get your coin for you, boss!

[Panel twenty-six. The vigilantes leap down from the rafters. Dick's already thrown a Wingding to disarm him that flies downward rotating and seems to cut the shape of the panel, which has a tapering lower end.]

Dick: No!

[Large red 'BANG!' sound effect between panels. Panel twenty-seven is a small box in the middle of the screen showing the Wingding knocking the smoking gun away a split-second too late. Panel twenty-eight. Bruce and Harvey in the background and the bullet in the foreground are centred. Harvey slams into Bruce and knocks him down with his full weight, briefly putting himself in the path of the bullet.]

Harvey: Bruce!

[Panel twenty-nine. Long, vertical rectangle panning down from above the vigilantes standing in dramatic heroic landing poses at the top of the frame, wearing varyingly emotive expressions of shock, to Bruce lying propped up by his elbow and Harvey on his hands and knees at the bottom. The discarded assault rifle hits the floor between Harvey and the vigilantes with a 'Clatter' sound effect in yellow, uneven text. The coin slips out of Bruce's hand with a motion line to rest between him and Harvey. Panel thirty. Angle at eye level with Bruce and Harvey. Bruce sits up. He stares at Harvey with shining eyes and the beginnings of a smile as he processes what just happened, and what didn’t precede it.]

Bruce: You saved my life.

[Panel thirty-one. Angle is behind Bruce’s head. Harvey avoids eye contact, showing Bruce his unscarred profile. He’s solemn and though he too has a relieved hint of a smile, it doesn’t reach his eyes.]

Harvey: You never stop trying to save me. It was the least I could do.

[Panel thirty-two. Harvey’s POV. Low angle, tilted up at Bruce on his feet, offering his hand to help him up. We can tell that it’s Harvey’s perspective with both eyes because the left half of the image is dim and blurry due to the damage the acid did to his left eye. The speech bubbles are exclusively on the right.]

Bruce: It isn’t too late, Harvey. You can still heal. You can get better, be better.

[Panel thirty-three. Close-up on the right half of Harvey’s face, a narrow vertical box in the upper left section of the screen. His expression is of tentative, wary hope and raw vulnerability. He has wanted to end his crusade throughout its duration, but never been able to. Panel thirty-four. A bigger square containing his entire face and taking up the rest of the screen.]

Harvey: Do you really believe that?

[Panel thirty-five. Side shot that now only shows the side shot of Harvey’s face. Bruce kneels down be closer to eye level with him.]

Bruce: Yes. Always, I’ve been where you are. Feeling like you can never be more than all your pain and anger. But if you want a second opinion, I think you’re a better person than you know.

[Panel thirty-four. A square in the middle of the screen. Harvey’s right hand reaches out to Bruce’s waiting one, but lingers, tense and trembling, above the coin. Panel thirty-five. Vertical rectangle. Harvey shrinks in on himself, hunched over with his face buried in his arms and hands clutching his hair; perhaps he doesn’t trust himself not to pick up the coin and give Two-Face a means to make harmful decisions, just can’t make another choice of his own or both. Around him blackness with spiky, scribbled inner edges consume the screen like reality is fracturing or dissolving, or some all-consuming destructive force is coming for him.]

Harvey: Just… just take us to Arkham. We deserve it. We need help.

[The black extends, replacing the white background. But then, within the darkness, floats a speech bubble.]

Bruce: You’ve already got it.

[Fade into panel thirty-six. Horizontal rectangle. Distant, high angle. The black lightens to purple and becomes the night sky, which is warming to pink at the first moment of dawn. Harvey is handcuffed, about to enter a police car on his right. A cop is escorting him. However, Bruce has his left arm around his shoulders and they’re both in relatively good moods, similar to how they were in the flashback.]

Harvey: When did you get so optimistic, Mr Gothic McBrooding?

Bruce: Someone has to be. And hey, I had a good teacher.

[claitea]

do you think the fact that its never stated that anthea and concordia's last names are "harmonia gropius" like it is for n and ghetsis is intentional. like it may just be because they're severely underutilized, but n and ghetsis had their names specifically stated in the directors columns and a fan meeting respectively.

n mentions he was given the name harmonia, did ghetsis withold that name from anthea and concordia on purpose? if he did, why? he'd still need them to trust him, so they'd keep raising n in his place. not sharing that name is maybe an effort to distance himself, maybe he only cared about n having that level of trust with him?

[nulltune]

LETTTTTTSSS FACKINGGGG GOOOOOOO HAKUNO CONTENT AAAAAAAAA 🥹🥹🥹🥺😭😭🙏🙏😩😩🙌🫶🫶💖💖💕💞❣️💝 THEY LOOK SOOOO GOOOOOD IM ABT TO PASS OUT IM SO IN LOVE WITH THEMMM TEHM THEMM I NEEED TO SEE THE HQ VERSION .. ASAP !!!!!!!!!!!!!!!!!!!! 😭😭😭😭😭😭😭😭😭😭 (i used google translate but) male!hakuno's is called box of repentance while fem!hakuno's is called labyrinth of lingering flowers and i'm gonna pass out fr . IM GONNA PASS OUT FR

[mantisclass]

my biggest pet peeve in fiction is when a character has/gains powers which are the sole motivator propelling them through the story and their “happy ending” is losing said powers. and they’re fine with it

am i the only one who would be absolutely livid if they were given powers beyond anything humans are normally capable of- EVEN IF this had a significant detriment to my body or mind- and then they got taken away?? and everyone acted like it was a good thing?

[ratatattouille]

Why The Arcane S2 Finale Fumbled, Part I

arcane season 2 was artistically beautiful and thematically cheap. every interesting and meaningful thing it did with its characters (even in season 2 act 2) was reduced to romanticized bullshit, utterly divorced from its season 1 roots. it's so bad it can be considered pro-status quo propaganda (and i do mean that). good ships aside (and i do mean the caitivi, jayvik, timebomb holy triad), this season squats and shits on every zaunite character in the show. not just their zaunite-ness, but how it literally shaped who they were as characters.

Let's start with Vi:

Vi and Vander:

Vi's loyalty to The Lanes always went beyond Powder. Zaun was her father's, Vander's dream. Zaun was her friends and her family. When she's giving Caitlyn a tour of The Lanes, we see how much she embodies and revels in Zaunite culture (esp in the food scene). She took responsibility for the vulnerable, like Vander taught her to. Her "protective" trait extended to ALL the vulnerable in The Lanes, because Vander taught her that. It wasn't EVER just Powder. Zaun is her HOME. As a child, she wanted to make a name for herself IN ZAUN "one day, this city's gonna respect us." You can make the excuse that Vander's death meant that side of her died, but it clearly didn't because of how she regarded it while showing Caitlyn around. "Family" to Vander, extended to the vulnerable of Zaun, which is how Vi and Powder came to be his "daughters" in the first place. Because Zaun was for THEM. Zaun WAS THEM. Vander and Silco "weren't allowed to fail" at Zaun (i.e. the two daughters).

Additionally, Vi and Jinx were supposed to succeed where Vander and Silco hadn't: forgiving each other and uniting so they could realize their dream for a free Zaun. A big reason why Zaun struggles to be free is because of their own internal divisions (the different gangs fighting for scraps). But if they united, they would be able to liberate themselves from Piltover (who is still the enemy). The whole reason the others are prosperous in the alternate timeline Ekko and Heimerdinger travel to is because Vander and Silco reconcile (not because Vi dies).

Vander also passes on his sense of responsibility to Vi. He tells a repeatedly vengeful Vi how her ambition to show up her oppressors can overshadow the more pressing priority of looking after those more vulnerable than her i.e. Powder. Like Silco, his advice to his daughter is steeped in his own trauma of getting so zealous he didn’t stop to think what it would cost.

Vi and Caitlyn:

Caitlyn was an interesting development for Vi, particularly because Caitlyn mirrored Vander's care for all people. Caitlyn was an enforcer that wanted to truly understand and help people. This challenged Vi's biases and also gave them a common goal. Caitlyn appealed to Vi because she gave Vi renewed hope for peace in The Lanes. That Zaun could be free through co-operation instead of violence. Her whole teaming up with Caitlyn, romance aside, was predicated on Vi brokering for peace between Zaun and Piltover (and getting revenge on Silco).

The first break-up between the two (Season 1's "Oil and Water") centred around Jinx, more or less. Vi believes Silco is a threat to peace between Piltover and Zaun (even though The Lanes aren't known as Zaun to her, I'm just using the names interchangeably). She believes Jinx is acting out due to Silco's influence, as well (and she isn't wrong). Had Caitlyn not been injured on the bridge (and had Jinx not felt betrayed by Vi), Vi was going to leave her in pursuit of Jinx. Vi has also never fit into Piltover (and that's also shown in Season 2 act 1-2). She makes no connections with Piltovians besides Cait and (an already disillusioned) Loris who we see for like two seconds.

Vi and Jinx:

This show was ALWAYS about a tale of two sisters/cities. When Vi becomes an enforcer, it isn't because she's switched loyalties. She wants peace for The Lanes, she just wants to take Silco's creation--Jinx--out of the equation so it can work. Her priority, like Vander’s, is to keep the vulnerable of The Lanes safe, and both were willing to co-operate with Piltover to protect the people they loved. She believes, like Vander did with Silco, that Jinx (and by extension Zaun) is her responsibility. That the reason bad things happened to Zaunites (Vi’s and Powder’s parents dead on the bridge, Jinx’s mania) is their fault.

Vi blames herself for creating Jinx as Vander does for creating Silco. The only reason Vi agrees to Caitlyn's plan is because, again, their two goals align: get Jinx. The difference is Vi wants to kill Jinx to kill Silco, while Cait wants to kill Jinx to get her city (mother) back. Vi is still explicitly concerned about Jinx, who she has come to see as a threat to other people she loves (e.g. Ekko, Cait, etc). Vi became an enforcer to protect The Lanes and the (appearance) of peace. Vi internalized Vander’s words and doesn’t want war, even if it means Zaun never becomes independent. But she is doing it as penance for what she feels she didn’t do that led Jinx to become what she is.

The show in season 2 TOTALLY LOST THIS FOCUS. Vi's guilt at hunting down her own people with enforcers is ALSO ignored a lot by fandom, especially because her post-breakup scene where she goes full goth is framed as regret for letting Cait down (rather than the self-disgust she would feel for joining her oppressors). Vi played a part in creating Jinx and her enforcer-arc is still centred around Jinx. This gets shoved aside for romance with Cait. All the time we could spend post-breakup focusing on the sisters, quickly circles back to Cait.

Cait, who, literally became a dictator and weaponized the air ducts her mother had created to SAVE ZAUNITES. The whole thing is viewed as Vi betraying Cait instead of Vi betraying Jinx/Zaun/her family and Cait betraying Vi ("promise me you won't change") and her mother. Cait was the one who sought to help Zaun (like her mother) but betrayed who she was when she was willing to kill Isha, an innocent child.

Vi would feel even more guilty at how she is literally in an enforcer's suit when she is about to kill Jinx, the only family she has left. She is literally hunting down Jinx, a Zaunite, like the enforcers had her parents. But we barely explore that. It’s just off to chasing Vander/Warwick only for it to not matter anyways!

(ALSO IMPORTANT: Just to further prove my point on how integral the sister's love for each other was, every show started with a record playing. The cover of the disc was Vi and Jinx. They were always the center focus of the story. The song that the record played? Likely "Our Love" by Curtis Harding and Jazmine Sullivan which goes "Our love is a bubblin' fountain, our love, that flows into the sea, our love, deeper than the ocean, our love for eternity." This love deeper-than-the-ocean can apparently crumble in the face of a dictator girlfriend you've known for less than a year lmao).

Summary of Fumbles:

-Vi's and Jinx's relationship becomes secondary not just to the entire plot of the show but to Vi's arc. Zaun and Piltover's conflict was set up to be the epitome of the show, and the fact that it got shelved for some (ahem military propaganda) epic battle between humans and robots is very telling about the writers and showrunners.

-Vi forgives Cait easily and prematurely, trashing Vi's true loyalties as established in earlier seasons/episodes and robbing Cait’s actions of their appropriate weight.

-(above is an excerpt from Amanda Overton's interview with TheGamer) The culmination of love for Vi's character ends with Caitlyn and not Jinx. Vi's character, whose love is explicitly centred on Zaun and her family, reaches its peak in romance with a Piltovian. To quote Amanda further: "If Vi had no one left to protect, she would fall in love." As if Vi had no ambition outside of protecting her family. As if her dream since she was a kid wasn't tied so much into Zaun. As if the reason she wore an enforcer outfit wasn't because of Zaun. As if Zaunites aren't suffering right under her nose. As if she was the only kid in Stillwater Prison and struggled to survive the whole time she was there. I can't pretend to stomach it. (Again, it's not that Vi shouldn't be happy, it's that the ship had to shove this aspect of her character aside for it to work). If they wanted to really commit to the Vi-in-video game origin story, they should have set it up better and stuck to it.

-Vi herself takes a back seat in most of season 2, and becomes a passive, guilt-riddled yes-man to Cait

-Vander's re-introduction is almost completely worthless to the plot and narrative (he comes back just to die), and he is used as a cheap way to re-unite (and then separate) the daughters in a way that has no significance to the themes (also, Silco as Jinx's father is completely ignored during this time)

-Cait's deferral to fascism should have been permanent. Idc about the shippers at this point. Vi and Cait should have never come back from Cait shoving the back of her gun into Vi's injured side (let alone the gassing of the ducts). Vi would've never forgiven her, attraction or no. The fact that Cait could become a dictator after losing one parent is proof of their class divides (after all, Vi held onto hope despite losing all her parents to enforcers and Jinx was all she had left of her family). That should have cemented the death of that relationship (and it would have made for more compelling storytelling on class). I’m thinking it was kept because it matters more to white Western audiences to have a Romeo x Juliet rendition that assuages their classist sensitivities. Cait becoming a fascist made sense and was true to her character and the world. Vi forgiving her (and then having sex with her in the prison she was thrown into as a child?) destroyed both her character and the narrative.

Yeah, yeah, Vi was overwhelmed by the breadth of love and forgiveness Caitlyn had in letting Jinx go, but that's bare minimum shit. Vi "always choosing wrong" because she *checks notes* keeps trying to reconcile with her sister instead of letting her go since she isn't Powder anymore? So she resolves her guilt by choosing her own pleasure and putting herself first for once. Okay, I don't have a problem with that except that Vi and Jinx were supposed to succeed where Vander and Silco hadn't--by reconciling! And you still won't get me to like the fact that so much of Vi's character arc gets held up in a Piltovian who encouraged her to do the worst shit to her OWN PEOPLE and then fucking turned on her when she couldn't kill her sister. It is frankly amazing how we're supposed to celebrate Caitlyn literally coming between the sisters. I'd rather Vi forgiving Jinx than Caitlyn. And if the whole appeal of Vi's relationship with Caitlyn is that she was overwhelmed with love for how Caitlyn forgave Jinx after she killed her mother, I don't see how a relationship with Cait automatically makes Vi feel less guilty, since Cait also makes her feel guilty for choosing Jinx (remember her accusation "you will always choose her" like sorry I don't want to kill my orphaned, traumatized sister who I ripped into for making an honest mistake as a child and who has carried that since). Caitlyn (as others have pointed out) got a whole ceremony for her mother and instantly turned on Vi's people. The Vi I know would have been like, "You really are all the same," and FUCKING DIPPED. And there's a little acknowledgement of this in act 1 where Vi accuses Caitlyn of acting like Jinx.

Both Jinx and Caitlyn are emotional labour for Vi. Vi still wants to protect Caitlyn from Jinx. There's not that much of a difference, lol, except that Caitlyn is a privileged Piltovian and Jinx is a victim of the abysmal childhood she suffered at the hands of enforcers. Yet the show is more or less saying Vi pursuing reconciliation with Jinx was a bad choice for Vi and the reason the cycle of violence continued (for some reason). The sister reconciliation was what I was here for, personally. Cute ships aside. But noooo, Vi should forgive Cait (not Jinx) to stop the cycle.

And having jail sex is a liberating act for her because it's where they had their meet-cute. (And we're all good bc Caitlyn gave up the Kiramman seat, lmao, like sure okay).

It's frankly made the ship that much more unpalatable. If Vi had to be destroyed as a character for the ship to work, then the ship wasn't all that good (even though it started off that way). It's honestly left such a bad taste in my mouth. What a fuck you to oppressed groups that whole subplot was. (And it's made worse by the fact that the creator thought that was somehow an empowering and liberating act for Vi, like fuck that).

Let's Talk About Victor:

Viktor and Heimerdinger:

Heimerdinger and Viktor were the most polar of opposites. Heimerdinger was not only a privileged, ulta-wealthy Piltovian, but he had a comparatively endless lifespan while Viktor's own human life-span was cut short due to being a Zaunite, born at the bottom of the barrel and raised on toxic fumes that led to his terminal illness. Viktor's desperation to unlock the Arcane was explicitly about him overcoming his circumstances, his illness, his premature death. It wasn't merely about his internalized ableism, but the unjust way in which he had to suffer. Heimmerdinger could afford patience because he had all the time and resources in the world, but Viktor didn't. Not merely because he was a mortal, but because he was a Zaunite.

Viktor and Singed:

Viktor's arc with hextech is foreshadowed with his childhood interaction with Singed. I understand that in the games, Viktor is a villain-type character and his catchphrase or whatever is "Join the Glorious Evolution," which the show hinted at from Season 1 when Singed explained his experiments to Viktor. While Viktor is horrified by Singed killing the creature that he eventually uses for shimmer, Viktor later says, "I understand," hinting that he saw the sacrifice (and death) necessary to "heal" the world of its ailments. Both Viktor and Singed grow up in The Lanes, and both have ailments they want to cure (for Viktor it is his lung cancer and for Singed its his daughter's dying). In season 2, Viktor tells Singed that while he understands what healing all those people could cost him, he will not sacrifice their humanity for Singed's cause. This is because of Sky’s death (which is partly why it is her who is in the Arcane with him).

Sky’s death is what makes Viktor beg Jayce to destroy the hex core, since he couldn’t do it himself. He is willing to die if that means no more innocent people do. But here’s where I get a little touchy. VIKTOR didn’t KNOW she was there. Viktor was simply desperate to live. Sky’s death was not malicious (even if it’s true to his character that he’d feel guilty anyways). It is at this point that Viktor has Jayce promise him to destroy the hex core (and by god is this where a lot of my contention with the finale comes from). Also, it is important to note that Viktor’s self-loathing is depicted only in regard to Sky’s death (NOT HIS BAD LEG). Now Viktor feels guilty not just for Sky’s death, but also necessarily for trying to live (AND PLEASE KEEP THIS IN MIND). TRYING TO LIVE is subtly treated as an AMBITION that, for Viktor, interfered with his ethics. (And please note that in the end, Singed, who repeatedly embraces unethical practices for reviving his dying daughter gets what he wants).

Anyway, in S2, Jayce blasts Viktor in the chest and all that conviction goes out the window. All this despite Sky (his conscience and “humanity”) being there with him in the astro-nether. Now Viktor's idea of becoming a higher being is just getting rid of emotion (apparently because Jayce did it or something). Jayce killing him without explanation was all of a sudden all he needed to become a divine dictator. The same Viktor that looked terminal illness in the face and preferred to spare others instead of himself? The same Viktor who's immediate action after waking up with a new body was to go and use the arcane he wished had been destroyed to help others? Because the arcane is corrupting him? That’s convenient for a certain political narrative. Especially because anyone would hesitate pressing a button (in Viktor’s case smashing the hex core) that would guarantee their death. Viktor was being human, not corrupt.

Viktor and Jayce:

Now, I think Jayce's speech had some merit and could have been framed better with a little more time and thought. The philosophical idea of perfection or a perfect world (one which Piltoverians strive toward) being untenable, maybe even undesirable, is a fascinating concept worth exploring. BUT MAKING IT ABOUT SOME INTERNALIZED ABLEISM FROM VIKTOR IS FUCKING STUPID!!!! I'm sorry, but Piltover being the city of progress until it actually included becoming progressive with Zaun was absolutely one of the things Jayce and Viktor's sub-plot was trying to explore.

Viktor WANTED TO LIVE. Viktor wanted his people to STOP SUFFERING. Viktor WAS RIGHT. He wasn't merely eliminating "imperfections" (and of FUCKING COURSE A PILTOVIAN WOULD SEE IT THAT WAY), he was trying to cure sick and dying people who did nothing to deserve it. He was buying them time that people like Jayce and Heimmerdinger had in spades, but Viktor and Zaunites had stolen from them.

Children dying of disease and violence in The Lanes was by Piltovian design! It was not some predestined cosmic necessity. Viktor WAS RIGHT TO HATE HIS FUCKING TERMINAL ILLNESS ARE THESE GUYS INSANE??! Wtf kind of message is Viktor embracing it as part of himself sending to vulnerable, impoverished and ill people? Is that supposed to be some kind of fucking comfort? Fuck off right to hell!

Like I'm glad if it resonated with any disabled people, but Viktor's struggle with his body was a protest against Piltover, not himself, and I hate that the writers gutted that character development. Viktor's and Jayce's paths "diverged a long time ago" because Jayce had the luxury and time of pursuing his dream while Viktor didn't. Viktor, even up there as a scholar of Piltover, was still getting the Zaunite treatment.

Jayce had the time to pursue a better world, while Viktor had to struggle for a little more time. When Viktor becomes part of the arcane, suddenly he has all the time in the world to realize HIS OWN DREAM. Why would wanting a better world for others have to result in "dreamless solitude"? Why does wanting progress equal wanting perfection? You are changing the subject and that is cheating!!!!

Viktor becoming obsessed with fixing what ailed humanity was warranted, and his extremism was hinted to have been due in part to the effect the arcane had on him, but it still made the themes of arcane a joke. There was so much potential and the writers (and showrunners) just squandered it for some more romantic bullshit.

The Glorious Fumblings (A Summary):

-"Humanity, our very essence, is inescapable. Our emotions, rage, compassion, hate. Two sides of the same coin, intractably bound. That which inspires us to our greatest good is also the cause of our greatest evil.” That's a neat quote, but wars don't start simply due to emotions or whatever. This lacks class analysis, and it's annoying that the writers made this the whole theme of season 2 (and retroactively the show) in a story on class divides. Cait did not merely gas the Zaunites because of her mother, but because of her privileged upbringing that made it more acceptable to her to view Zaunites as animals (remember Ekko telling her enforcers “hunt us down like animals"). Cait knew the humanity of Zaunites was real. She just chose to ignore it because she could afford to. While it is interesting that Viktor would come to see being human as a flaw that destroys any hope of achieving peace (conflict theory would like a word with you), it ignored that fascism is not an inherently human trait and detracts from how or why it persists in the first place. It's almost the same as saying men/white people oppress women/poc because the latter were mean to them. It's victim-blaming (and false lmao). The British didn't colonize the Americans because the natives did anything to them. All prejudice is unjustified, that's what makes it prejudice. Again, Cait became a fascist when her mom died, but Vi still drew the line at killing children and even council members despite losing every single one of her family members to Piltover's violence against The Lanes. AND THAT’S JUST IT. Why the Zaunites do what they do isn’t simply because of love and hate, but because of the desperate circumstances they are forced into by their oppressors. Why the Piltovians do what they do, isn’t because of love or hate, but because they are bread in luxury and affluence. Pretending that’s not the case is an insult to the work put into Arcane’s first season (and anyone with a brain and basic empathy).

-Jayce's speech would have been cute in another story, but it's downright insulting in Arcane's. Yes, yes, Jayce's words would have been the only ones to have broken the real Viktor out of Arcane Viktor's grasp by appealing to this deep childhood wound, but Viktor's desperation was not to belong (because his leg kept him from playing with other children) but TO LIVE (because he was dying of an illness). Jayce's speech isn't bad, just misplaced. Like most of the finale.

-Viktor did not have to become a fascist-aligned deity in his quest to heal people. It is a typical MCU thing to have a "villain" that's technically right and then destroy their entire character to make their (correct) philosophy untenable by making them do something extreme. Typical pro-status quo propaganda trope. I DON’T CARE if it was so we could get some game version of him. Viktor was right in bringing progress and his discoveries to The Lanes instead of devoting his efforts to Piltover, the fake city of progress.

-While I am annoyed that the climax of the show hinged on Jayce and Viktor and hextech (a tool to explore the inequalities of Piltover and Zaun) instead of Jinx and Vi, I think it kinda makes sense. Hextech built what Piltover has now become. Jayce, Viktor and hextech kinda represent Piltover (what it could be) and Jinx and Vi represent The Lanes (and the Zaun it could be). Both would have been integral, but the story shouldn't have hinged on hextech, IMO. Hextech should have remained a tool to explore the politics of both cities, but instead it overshadowed everything, cheapening the story's themes, characters and world-building.

-Jayce calling the Zaunites to arms was downright absurd. But not as absurd as Zaunites volunteering.

And Then There's Jinx:

Jinx and Isha:

Isha's only use, as far as I'm concerned, was to be a reconciling force between the sisters. When Cait was willing to shoot her to get to Jinx, that should have stopped Vi right there and brought her back to defending Jinx 100% I DON’T CARE. When Isha sacrificed her life to save Jinx, that should have been Jinx's wake-up call right there and helped her understand why Vi kept leaving her out of missions as a kid. But instead what do we get? Depressed, suicidal Jinx and an astoundingly even more resentful and indifferent Vi. Now Jinx sees herself as even more of a poison to those she loves (because she can’t protect them like Vi can and frequently kills them while trying to do so). Jinx, who has always wanted to be useful to those she loves. Who pursued her own hextech inventions in order to give her siblings a fighting chance when facing down Silco. Who wants to give Zaun a fighting chance as Silco's daughter (and Isha’s surrogate mother). To be useful to the goals and dreams of her family. Isha was the perfect opportunity to bring the sisters together and get Jinx to embrace all she is (both the Jinx that Vi rejects and the Powder that Silco rejected), but no. Instead, the kid was some kind of foreshadowing to Jinx's own heroic self-sacrifice for her sister (a message that left both sister's arcs unfinished). Or perhaps, Isha was a commentary on the cycle of violence. But that this sub-plot really wasn't needed given what we'd already established in Season 1.

Why do I say this?

Because the cycle of violence is not a "Jinx" issue, but a Piltover one, and the writers making it an interpersonal issue instead of a political/sociological one damaged the story and what Jinx's character could have meant to mentally ill people like her. It wasn't illogical storytelling, just far less meaningful than it could have been. It would have been more powerful and moving and impactful for Jinx to realize where the true cycle of violence (as established the whole fucking show from the dead parents on the bridge, to Vander and Silco, to Jinx and Vi, to Jinx and Ekko, to Isha and Warwick, to Cait and Vi, etc) was coming from.

Jinx needed to accept herself and the love others showed toward her (Silco, Vander, Ekko and Vi). Jinx keeps blowing things up because she repeatedly rejects herself (both Powder and Jinx), ignoring the good she's done and tried to do. Isha was a call back to the good Jinx has done and can continue to do for Zaun and others. Isha and Sevika understood (even though Silco unfairly set it up) that Jinx was actually their good luck, their hope, more than just a hex (pun intended) on the city. After all, Jinx made Sevika her new arm (even though she's the reason Sevika lost her arm in the first place), which further proves that Jinx had the capacity to fix some of what she broke. It would have been better for her to embrace responsibility and have the faith to try and fix things (ESP her relationship with Vi). While it is not unrealistic or necessarily bad writing that she would fake her own death to run away and start over (or just die) trying to save Vi, the arc people she represented deserved was her embracing Vi back, not accepting that she was a curse in Vi's life. And most definitely NOT romanticizing her pain.

Jinx and Ekko:

Ekko's and Jinx's relationship is precisely an exploration of how Piltover's violence against Zaun forced these children with entire futures ahead of them (they are both child prodigies) into endless war and hellish heroism. Ekko and Jinx are repeatedly shown to be hesitant and even unwilling to participate in violence against others, especially their own. Ekko does not hate Jinx, though he wants to, and Jinx does not like who she is when she's violent. She is trigger-happy because she already expects Vi and Ekko to want to kill her (projecting her self-loathing on them, but not entirely unreasonably). She doesn't have faith in their love or mercy because she doesn't see any part of herself as redeemable or loveable, which is why she consistently sabotages her life (but not without help from Vi and others).

Ekko and Jinx are symbols of progress for Zaun AND Piltover (and Heimerdinger saw that, especially when Ekko insisted he had to go back to his timeline, even if the one he had landed in was better). Heimmerdinger saw what they could have been in the alternate timeline, all the genius that was squandered in The Lanes. Jinx and Ekko are the ones most willing to put an end to violence and injustice because both of them are nostalgic for their families. All that’s ever kept them going is the love of their families. Jinx just doesn't have the same faith in her ability to be their hero as Ekko does, but Ekko manages to convince her for a moment anyways.

Ekko recognizes (like Silco, Viktor and Isha) how integral Jinx is to the creation of a new world. She injects colour and life and hope into Zaun and is the only one who can unite all warring factions in Zaun in the first place. I know people have gripes with this Jinx being the hero of Zaun when she literally killed Silco, opening the market for other gangs, but her most famous act is the bombing of the Council, which pretty much all Zaunites were unaware was about to grant them independence. To the average citizen of Zaun and Piltover, Jinx was the symbol of a revolution (even if Jinx didn’t see herself that way and didn’t really want to be). Both her and Ekko are rebel leaders, but that is hardly used in Zaun's interests in the end. (ALSO THAT WHOLE CONVERSATION WITH VIKTOR AND JINX WHERE HE SAID SHE COULD BE USEFUL TO HIS WORK. This show would have won with a Viktor and Jinx team-up to unite Zaun--also in parallel to Jayce and Vi's team up. We could have had it all!)

Jinx and Silco:

This, is only second to Vi in the most FUMBLED things about Jinx. Silco was her guide once Vander died and Vi ran away. Silco not only took care of her, but gave her purpose (someone to love and be loved by and protect) and nurtured her talent (one that many others scorned). Silco accepted Jinx even though he weaponized her (which backfired for him). As much as Silco WAS WRONG to lie about Vi (manipulating Jinx) and even try to kill Vi (which was a dumbass move on his part), he wasn't wrong about Jinx's path to healing: self-acceptance and self-forgiveness. And even though Silco's own stupidity led Jinx to "embrace" Silco's version of Jinx to the point that she bombed the Council right when they'd granted Zaun independence (I wanted to fucking kill myself watching that), Jinx was still not ENTIRELY a jinx as Jinx (e.g. when she rescued Zaunites from Stillwater Prison). This fucked up dude did a whole John-the-Baptist thing where Vander tried to drown him with Jinx so she could embrace her Jinx-ness. But I don't think he was telling her to embrace that she was a curse like Vi meant it, but to embrace her new life (baptism is all about death and rebirth) and her new self and take responsibility for it.

Silco, like Ekko, was the one who saved Jinx from death and offered Jinx a home. While everyone else patronized Jinx for her own childhood trauma, Silco was gentle, understanding and provided space for that, even when her psychosis killed him. He showed zero resentment toward her. But when Silco dies and Vander returns, Jinx just . . . oopsie, doopsie! Forgets about Silco until one final hallucination she has of him in the jail cell. The only one she has where he talks. And what does he say? She needs to break the cycle. How? Not by eliminating Piltover or gaining Zaun's independence like he'd talked about and dreamed about. Not by accepting herself as Jinx and Powder, the inventor, the fighter, daughter of both Silco and Vander, but by offing herself? Leaving her family to think she's dead? Embracing the lie that she really was the poison in their lives and the reason none of them could be happy? The reason they died? NICE! SWELL! WHAT A SATISFYING, INSPIRING CONCLUSION! Even worse, they made her "death" staged. I'm sorry, but do we really believe that this same girl who killed herself multiple times in front of Ekko just 24 hours ago somehow found the will to live and escape into air ducts when she was falling with Vander? She decided to live right when she was about to die? And let's not forget that she was falling to the same song that was playing when she was trying to commit suicide. Why? And why would a heroic death (staged or not) be any form of character growth for Jinx in the first place? When her whole thing is distrusting the love offered to her? Or was she accepting herself by being the one to kill Vander because she knew Vi couldn't? Either way, it's cheap!

I Wonder Who Put All Those Holes In You (Fumbling Summary):

-Vander's letter to Silco could have been why she hallucinated Silco talking to her about forgiveness, but breaking the cycle here is about forgiving (unapologetic) Piltovians instead of herself, which needed to happen to complete her arc.

-Isha and Vander misery porn

-(above is an excerpt from Amanda Overton's TheGamer interview) to paraphrase: "SO OUR GRAND CONCLUSION TO VI AND JINX'S ARC WAS TO CONFIRM THAT YES, JINX WAS INDEED A JINX (AND NOT PILTOVER OR ANYTHING HAHA) AND THE SISTERS WOULD ONLY HAVE PEACE IF THEY NEVER RECONCILED - JUST LIKE THEIR FATHERS BECAUSE THAT WORKED OUT SO WELL THE FIRST TIME! :D THE REASON THEIR LIVES ARE IN SHAMBLES ARE PURELY BECAUSE OF THEIR OWN PERSONAL FAILINGS AND NOT AT ALL BECAUSE OF THE SITUATION PILTOVIANS HAVE PUT ZAUNITES IN! XD WE THINK THIS IS ALSO A FANTASTIC THING TO TELL MENTALLY ILL PEOPLE." :)

-Jinx being the reluctant Girl Saviour of Zaun after clinging onto her identity as a jinx so she didn't have to take responsibility for Zaun should have been the completion of her arc, IMO. As far as Jinx's arc is concerned, she was meant to reject the identity of jinx that Vi gave her and embrace the identity of Jinx that Zaun gave her. Loveable and capable of doing the right thing and saving others. Using hex-tech, something Jayce and Piltover had levelled against her people, against them. And she does this to some extent, but we don't even get a hint as to why Ekko's speech worked (and how he got her to fight alongside him and the Firelights in the first place). We know she does so for Vi, but she so quickly gives up once she and her sister are back on the same team. She allies herself with her sister just to die and then fuck off to another land? BRUH! Like act 3 is SO FRUSTRATING!

Conclusion

If the focus had been on the coming war between Zaun and Piltover, then we could have better explored the internal struggles happening with Vi's and Jinx's characters. Using Isha and Vander as misery porn for Jinx was a bad move. I stand by that. Isha didn't need to die that uselessly. Jinx did not need more "trauma" for any character development (positive or negative). It's not unrealistic that Jinx would be depressed after Isha's death (and that Isha was likely meant to symbolize the constant cycle of violence), but that this sub-plot really wasn't needed given what we'd already established in Season 1.

These are where my gripes with Jinx's and Viktor's arcs in S2 really lie: the story tries to strip the political from the personal! Viktor, on waking up with the arcane in him, goes back to The Lanes, and what does he see? The cycle that Silco mentions in Jinx's hallucination in the cell. This cycle is not merely coming from the interpersonal struggle Zaunites have, but rather, the forces behind those struggles: the starvation, the lack of resources, the poverty. All caused by Piltover. Where Season 2 fails while Season 1 succeeded, is it points the camera away from Piltover as the origin of all this mess, and instead, makes it a stupid cosmic clash between chaos and order (kinda fascist ngl). Zaun lost, and Arcane Season 1 had the tits to show why those in The Lanes were always on a losing streak: Piltover. The commitment to saving Piltover instead of destroying it ruined so many arcs, most notoriously Vi's and Jinx's. This should have ended in a war between the two cities, not one where both fought against robo-people and Ambessa.

But what, instead, do the writers brandish as this solution to the cycle?

Fucking forgiveness (of those who harm and oppress you) and acceptance of your (physical) imperfections (like that's what we were apparently talking about, which no, it wasn't). By refusing to acknowledge Piltover's hand in the desperation and violence and struggle the Zaunite characters find themselves, the show inadvertently ends up excusing Piltover.

TLDR: Bad message to send to oppressed people, mentally ill people, and people dying of terminal illnesses, lmao. The Zaunites ALL LOST with this one.

And I'm going to make a Part 2 to really get into it, but from the perspective of three Piltover characters (and one Zaunite) that really prove my point: Jayce, Mel, Caitlyn and Ekko.

P.S.: It's okay if you think the show is good because it succeeds in many other things, I just think it drops the ball in the places I've mentioned. But if your main criticism of my criticisms is going to be defending your ships, please find another post. Oppression is a serious reality that deserves serious depiction and it's insulting to have such necessary political discussions devolve into dumbass ship wars.

EDIT: I honestly did not expect this post to get more than 20 likes lmao, and i must admit that this was more of a thought dump than a super-deep analysis, but i'm glad a lot of it has resonated with so many of you!

EDIT AGAIN: Here's PART 2.

[linkcharacter]

Oh I have so many thoughts on aroace Curly, I think it brings so much on the table when analyzing the game's story.

Amanormativity ties in with the reoccurring mentions of the nuclear family, from Wrong Organ making 1950s mock advert posters, to Swansea talking about how getting a wife and kids didn't bring him any fulfillment in life.

In the cake cutting nightmare sequence, where Jimmy talks with Dream Curly about the mediocre cake, Dream Curly begins to talk about how sometimes you can only get the subpar stuff in live. Sometimes he'll get promoted, buy a house, fall in love. But other times he'll just have some awful fucking cake with his friend.

I think there is that subtle implication that Jimmy does buy into Amanormativity, with him projecting his beliefs on Dream Curly that a platonic relationship is lesser then a romantic one. But we never see Curly suggesting that he wants such a thing in the pre-crash.

With Jimmy thinking that Curly has everything in life, except for the desire (although I think Jimmy would view it as Curly not having the skills for it) to get a romantic partner, he would heavily lean into getting the one thing that Curly couldn't get in life to one up him.

THATS EXACTLY WHAT IM THINKING!!! AMATONORMATIVITY BE DAMNED!!!!

Looking at Mouthwashing through an aroace lens is interesting

"Jimmy thinking that Curly has everything in life, except for the desire", well said, well said! And references to the nuclear family fit in very cleanly thematically for Mouthwashing.

Jimmy leaning into amatonormativity is a smart observation. Jim internalizes all the social norms and standards on what you have to do to have a normal and desirable life, who sees everything Curly has and what Jimmy wishes he had, and is offended that Curly isn't satisfied, that he has the "audacity" to be unhappy. Curly meanwhile only wishes for his life to be something he doesn't have to run from, because by all means, he has already reached a point where he should feel accomplished, but isn't. Curly doesn't want to be a freighter captain his whole life, he doesn't want to settle with his sustainable position, he just wants to be happy. Like Swansea who has reached the "ideal" outcome of his life, having a wife, kids and a good career, it will never feel as good as embracing all what society deems undesirable yet right for you.

Jimmy does imply to seeing himself as lesser as a friend, "fall in love" being a goal and a "cake with a friend" being something he "has to settle for", it's all in the subtleties with underlying themes of "what you're "supposed to want" by society's expectations" against "what feels right for you". Jimmy is frustrated that Curly is going to "leave the dirt behind him", when in actuality, letting the crew and him go is the last thing Curly wants. Curly wants to be with his friends, he deeply cares about his crew, and about his close friend.

Mouthwashing as a whole reads to me as platonic through and through. Swansea and Daisuke having such a meaningful familial bond, Curly and Anya being sweet, playful and caring without romance, Anya and Daisuke having something of a siblings dynamic are dear to me. Also it's really rare to get to see representations of "toxic friendship" in media. Its always toxic romance this, toxic yaoi that, toxic family there, however in reality, friendships aren't excluded from being as rotten and abusive as the others, yet they're often overlooked. Jim and Curly are especially unique in this way. It's very impressive how they managed to showcase Jimmy's mistreatment of Curly in such a platonic way (at least that how I read it). Jim too, like Curly, in general avoids hints at romance and attraction explicitly related to him during his gameplay, not with Curly, nor with Anya (dear god thanks for that at least). It's all spite, annoyance and parasitizing off of these two. (That man's dry and lowkey hates everyone and everything) No attraction attached, no desires except hoping it hurts.

Curly to me is very much aroace, or at least on the spectrum. Like, the trivia fact that one of Curly's fondest memories is that of his friends putting in effort to make a shitty awful cake, tells us all we need to know on how dear his friends are to him. Platonic relationships mean so much to Curly, even when it's Jimmy fucking Mouthwashing, the worst friend ever imaginable.

[swampjawn]

Dungeon Meshi episode 21, being heavily dialogue-driven, was pretty straightforward animation-wise and let Ryoko Kui's stunning art speak for itself for the most part, but that doesn't mean that there aren't still some GENERALLY-INSIGNIFICANT-DETAILS-TO-SCRUTINIZE-AT-ARGUABLY-UNNECESSARY-LENGTH.

There was a strong emphasis on hands in this episode, particularly the second half, starting with this cut of Laios resting his on the Minotaur's snout.

The animators have taken this simple little panel (on the right) from the manga (btw, people who know more about this than I do, is there a name for this type of panel, which in film would be called an "insert shot"?)

and turned it into this highly detailed tracking shot that heightens the emotional impact of this moment for Laios. It feels very similar to the shot of Kabru bringing a piece of fish to his mouth that introduced him to the series!

The theme comes up again when Laios does a little bit of blair-witching in the corner after being rejected by house-kitty-pilled Izutsumi,

and once again a few seconds later with this added close-up of Marcille's hand when she tries to read the magical aura of the area.

This one clearly makes heavy use of reference footage, to the point that it almost looks rotoscoped until you notice little details like this line that warps unrealistically at the heel of her palm.

But with smooth, realistic motion like this, little details like that are much less important than the overall feeling of authentic shape and movement. This can be seen in a lot of Masaaki Yuasa's work, which often favors consistent motion and more frames over super polished individual drawings. Here's a thematically appropriate cut from Ping Pong for example:

(This one might actually be rotoscoped, I'm not sure)

If you pause on any individual frame, the lines look wobbly and inconsistent, but it comes together as a whole to create something that feels authentic - real.

The heavy detail in the hand anatomy and the way the skin wrinkles around the knuckles in these cuts feels like a hard departure from Studio TRIGGER's signature heavy stylization, but these realistic cuts have popped up here and there since the start of this show, and I think they fit Dungeon Meshi really well! It can be jarring go straight from wacky bombastic cartoonsmanship to realism, but while it is a show about the hungriest hungriest himbo and his family of weirdos, it's also simultaneously a show about anatomy, ecology, and the horrors of the human mindbrain.

This was expanded from an excerpt from this video where I break down the whole episode, so if you want to continue wallowing in the sludge with me, consider checking out the video!

Thanks for reading.

[azsazz]

Over Ice

Hockey!Rhysand x Reader

Summary: Anon Req: I think we could really have fun with the different courts and Illyrian values on a thematic basis but ALSO if the reader is in something very artsy and hasn’t really been into sports and then she’s walking around Campus and BOOM right smack dab into Broody McBrooder!! She THEN finds out he’s the tutor for one of her hardest courses (personally Psych would be a good one) and they become super duper close with him and the team!!! She decides to wear Cass’ jersey to make him mad and when he finally gets a hold of her after the game: *cue innocent shrug* he asked me to!

Warnings: None.

Word Count: 3032

Notes: While I work on a plot for an azzy hockey x figure skater au, please enjoy a rhys hockey au 🤪

This was originally an Az idea but I thought it fit better for Rhys bby so here we are. I feel like I've forgotten how to write and this is shit (dont judge me im going thru smthin rn)

_________________________________________

A giant FU stares up at you.

Well, actually, it’s only an F, but it may as well be the former with the way it’s circled in thick, red ink.

Three. Fucking. Times.

Tears sting the back of your eyes but you refuse to let them fall. It never feels good, failing, and even if you’d gotten a C+ like you hoped, you would’ve still beaten yourself up over the grade because plain and simple: that’s who you are.

Two months ago, at the beginning of the semester, psychology had seemed like a breeze. The lectures were easy to listen to and intriguing, and you had no trouble following along with the professors’ slideshows as you took detailed notes of everything on the screen. Your assigned readings were completed in a similar state, though they weren’t graded but included important information you’d find on the tests.

Somewhere along the line, your grade slipped, and you don’t remember if it had been between studying for Biology or reveling in your newfound freedom away from your parents, partying and enjoying a true college experience with your roommates.

Whatever happened, the repercussions are hitting you right in the face, the taunting letter you have never seen before on any of your assignments throughout all your years of learning.

If your parents saw this, they would bring the entire house down with their scolding.

It’s not like you didn’t try. You studied, even if the word is a loose term for what material you used. Things started piling up this month, with it being a new semester and all. You didn’t schedule out the time to focus on psychology when the classes you were really interested in—Introduction to Nutrition and Kinesiology—took first and second place for your attention. Plus, with the number of social events your best friends—who are also conveniently your roommates—invited you too, it was almost impossible to say no. Friends are a vital part of the college experience and you were in desperate need of some fun after having spent the summer lounging at home with your parents.

You found a psych support group that met at the library once a week to study together. It wasn’t anything like you thought it would be, a bunch of clueless students with grades similar to yours. All they seemed to want to do with your precious time was bitch and moan about the professor instead of actually trying to conquer the areas of study for the upcoming test.

And now the consequences of your actions have made themselves known.

Grumbling, you shove the test into your binder before shutting it with a snap that does nothing to ease your frustration. A few students still trail from the room, though most bolted right after being released. Some linger at the bottom of the lecture hall where the professor sits, answering their questions.

You have about a million-and-one of your own but you’re too worked up about your grade to go down there and hash it out with Mr. Hybern. His peppery colored hair is perfectly coiffed on this terrible day, his beard trimmed close to his jowls. His gleaming, golden skin makes you think that maybe he’d spent his weekend grading tests out in the sun, and you have half a mind to stomp your way down the stairs and demand a second review of your test.

It wouldn’t solve your irritation, and it would certainly be embarrassing if in fact your F is correct.

Placing your binder, notebook, and pens back into your bag, you zip it, sling it over your shoulder, and make your way to the exit, holding your chin high because if there’s one thing you’re not going to do, is cry over your terrible, awful grade in public.

The waterworks will just have to wait until you’re locked in your private bedroom in your shared dorm.

There is good news. It’s Friday, which means you can snag the pint of your favorite ice cream that your roommates won’t dare touch because ‘no ice cream that’s worth it should have fruit in it, that’s like asking for a steak on your spaghetti.’ You have no idea what Mor—one of your roommates—was on about when she brought up the awful comparison, and in reply all you’d done is scooped out a chunk of cherries embedded into the creamy, pink goodness and stuffed it into your mouth.

With it being the weekend, you can also wallow well into the night without having to worry about hiding your puffy eyes in the morning. You’ll have all day tomorrow to figure out a plan of action, once you allow yourself the time to properly grieve and process…and maybe have a drink or two.

You shoulder through the heavy lecture hall door with your head down, hiding the red stain to your cheeks. So, maybe you’re not going to hold you head high as you trail back to your dorm, but you will not cry.

The door swings open and you barely catch the noise of surprise before you’re barreling into something that’s akin to a brick wall. Your breath leaves your body in a whoosh and your balance slips out from under you, arms flailing as you fall.

You squeeze your eyes shut, bracing for impact, but it never comes.

Slowly, mortified because you know exactly what’s cushioned your fall, you peek your eyes open, carefully meeting a sapphire gaze that surely would take your breath away should you have any left.

This close, you can see the perfection of his angular features: a long, straight nose, high cheekbones under the dusting of pink that caresses his own face. His lashes are dark as charcoal, the same color of his hair that looks as soft as silk.

Whatever it is that has you entranced by his beauty, the sentiment seems to be mutual. Those bright eyes trace across your features, carefully drinking you in. You don’t know if you’re thankful that your face is already as red as the marker on your test or if you want him to see the way your cheeks go molten.

There’s a warmth against your hips that you don’t notice until he speaks, his hands that have a solid grip around you, keeping you steady to his chest. His whispered breath brushes across your lips. “By all means,” he teases softly, “Take your time.”

“Oh, my Gods, I am so sorry,” you squeak, rolling off his chest. You can hear his chuckling as you scramble to climb to your feet, but your knees are so weak at the sight—and touch—of the most handsome man you’ve ever seen lifting gracefully to his feet, holding a hand down to help you up.

You try not to notice just how big his hand is in yours, and for the second time today, you fail.

“Don’t worry about it, darling,” he says, displaying an easy grin that makes your heart stutter in your chest. The door opens with a loud click and the both of you startle. His hand comes down warmly on your spine, ushering you out of the way of the student that’s beaming grin falters into apology at the idea of almost running you down, already on the phone with someone and gushing over their test result.

It’s hard to reign in your glare.

The student’s conversation seems to jolt the man out of his stupor. He blinks, shaking his head as if to rid him of a spell you might have cast on him, or maybe he’s testing to see if he has a concussion from the fall.

When he returns his attention to you, it takes everything in your power not to melt into a puddle beneath that gaze.

“Is Mr. H still passing out tests?” he asks, and you swallow the sourness that accompanies the name of your professor. You and he are not on good terms right now, not that this boy knows that.

“Yeah,” you answer, remembering you saw him sitting on his throne (desk chair) with his loyal citizens (students) kissing his feet (talking through their tests). “I think so.” Then, because you’re pretty sure you would remember a face like his if he were in your lecture, you ask, “Are you in this class?”

“No,” he answers with a scoff that tells you he breezed by this class. “I took Psych 101 freshman year, but I have Professor Hybern again for Cognitive Psychology and I need to turn in my paper early.”

Turning in a paper early? What is he, some kind of genius?

“Oh,” you answer lamely, “Cool.”

His answering grin cracks open the casing of the butterflies you didn’t know were living in your stomach, taking off in a flurry of emotion.

He shrugs like he couldn’t really care less about any of it, but to you, the fact that he’s managed to pass Psych 101 at all is an impressive feat, though you don’t know why he’d sign up for even more torture. “Sure. Look, I’ve got to run, but are you sure you’re okay?”

It’s nice of him to ask if you’re okay when he’s the one who had his back painted to the floor only moments ago. “Yeah, I’m fine, but I should be the one asking you that. Are you okay?”

His laughter is rich and warm, and you want to melt into it. Before you have the chance to make even more a fool of yourself in front of this handsome stranger, he answers. “I’ve been checked harder, darling. You have a nice day now.”

“Thanks, you too,” your words trail off as he catches the door on its next outswing, ducking inside without waiting for your response.

Jeeze, he must really be in a rush, then.

It’s when you exit the doors to the psychology building that you curse yourself. You should’ve gotten his number, his name at least. You could’ve invited him over for something more distracting and yummier than the ice cream you’d planned on demolishing.

At least you have something better to think about tonight than your test.

With a heavy sigh, you allow your backpack to fall off your shoulder. Now that you’ve arrived back to your dorm, you’re suddenly feeling more exhausted than ever.

The walk home from class had been nice, your time spent thinking about the boy you’d run into. The broadness of his shoulders you didn’t seem to notice until he turned away, stretching wide beneath his tight t-shirt. The bulge of his biceps beneath said t-shirt, flexing as he pulled the door open for himself. The shape of his ass in those snug jeans.

The sight of that is what had your eyes nearly popping from your head. What’s he doing that gives him such a bubblicious ass? Squats? Lunges? You can do those. You choose not to, but if there’s a guarantee that you’d have an ass like that, you’d start right this second.

Tucking your lip into your mouth in concentration, you plant your hands on your hips, making your way to the refrigerator that your ice cream is housed in, lunging your way there.

It’s not that far, the communal space in your shared dorm is small, but your heartrate is elevated by the time you’re two lunges away from your prize: your ice cream.

“What the hell are you doing?”

“Mother!” You shout as the voice of your roommate breaks your concentration. Your knees wobble and your thighs shake, unable to hold you up from the burst of exertion you used. You clearly need to get into the gym more, another thing to add to your already busy schedule. “You scared me!”

Mor rolls her chocolate-brown eyes, sliding into one of the stools at your counter. It’s not built for it, the laminate countertop doesn’t hang over the island far enough for your legs to fit, but you and your roommates thought they were cute, nonetheless. You can suffer having to hunch over your knees to reach your cereal bowls in the mornings in favor of having more space for company to sit.

When you haul yourself off the ground, you take in your roommate. She’s wearing some kind of jersey, one you’ve never even seen in her wardrobe before, and you probably spend more time in there than her because she has every item of clothing you could ever imagine. The top she’s wearing now totally clashes with everything that screams Mor: silk scarves, tight bodice tops, leather pants, and what she has on now isn’t even red, a color that’s a staple in her closet.

“Well, if you were paying attention,” she scolds playfully, flipping open the compact in her hand, checking her makeup in the tiny mirror. She makes a few faces that would make you chuckle if you didn’t notice how she looks like she’s ready to go out, and that means she’s going to try to drag you with. “You would’ve heard me walk into the room. I am wearing heels, you know.”

Of course you know. Mor doesn’t do sneakers, only when it’s five in the morning and the sun is still sleeping, the perfect time for working out where nobody will catch her. Maybe I should join her, you think, mind wandering back to that boy’s butt.

“Why are your cheeks all red?” She asks, planting her palms on the counter and leaning towards you, eyes narrowed in inquisition.

“Nothing,” you wave her off, reaching for the door to the freezer. It’s the last thing between you and the cherry chunk ice cream calling your name.

Before you can open it more than an inch, it slams closed, Mor’s sharp, bright red fingernails splayed out to stop you.

Damnit, how does she move so silently?

“What do you think you’re doing?” You question each other at the same time, biting back your smiles at the mistake.

She answers first. “Why do you look like you’re about to get the ice cream, put your pajamas on, and wallow in bed all night?”

“Because that’s exactly what I’m going to do,” you cross your arms over your chest defiantly. “So, if you’ll excuse me…” You trail off, hoping she’ll step away and leave you to your peace.

She doesn’t. That’s not Mor.

“I had a rough day!”

“You say that every day,” she whines, stomping her heel-clad foot. “Don’t you even want to know what I’m inviting you to tonight?”

“From the look of your clothes, no, I don’t want to know what you’re doing tonight, Mor, and no, I don’t want to join you, either.”

Your roommate scrunches her nose, tipping it towards the ceiling. “I’ll have you know that this outfit is cute.”

“Yeah, if the definition of cute changed to ‘not pleasing or appealing to look at.’”

“You take that back,” Mor shouts, full naming you.

As your lips part in apology, because that was rude of you, your other roommate pads out of her room. Her reading glasses are perched up on her nose, blue eyes round and wide, and it always looks like she’s looking around the room in wonder. She has a blanket thrown over her shoulders and looks every bit of cozy you wish you were.

“Gwyn,” you sigh in relief at the sight of her. “Please, help.”

“I already said no,” she offers you a sympathetic wince. “I don’t think there’s any getting you out of the hockey game, sorry babe.”

Now it’s your jaw that falls to the floor. No, it falls through the floor and about five more floors down, hitting the lobby with a crack that echoes through the building.

You whirl on Mor. “Hockey game? Since when have you been interested in hockey?”

“Since my cousin got named team captain this year,” she says smugly, and you don’t know why she’s acting vain, it just means that he’s captain of the douchebags now, even you know that. Mor turns, showing off the back of her jersey. The number one stands out like a beacon, and you brush her blonde hair over her shoulder to read the smaller patches spelling out what is in fact, her family name.

Cunningham.

“Think of all the parties we’ll get into,” she says over her shoulder, and she does have a point there. The athletes at your college are a group of students that you don’t ever interact with, nor do you care. Mor is all about connections though, and if she wants to go to the hockey game, then it looks like you’re going with her.

You wonder what excuse Gwyn used to get out of it. She looks mighty comfy right now, slinking over the plop down on the couch and turn on a movie.

“Why do we have to go to the game? Can’t we just go to the parties?” You ask, grasping for anything to get out of this. You don’t want to go sit in the cold arena and watch a bunch of guys wearing full-body padding slide up and down the ice. Why couldn’t her cousin have been on the baseball team? They have nice, tight uniforms.

“Because,” Mor emphasizes with a glare, spinning to face you once more to give you the full effect of her irritation. “I’m a good cousin, and if we don’t attend the games, we’re going to be blacklisted from the parties,” she grumbles, the fight leaving her a little bit. “I’ve already argued about it with Rhys, I don’t want to have to argue with you too.”

It’s with your sigh that Mor brightens. “Fine. I’ll come with you, but I’m not going to be happy about it. And don’t expect me to cheer.”

Her squeal pierces the sound barrier. What the fuck have you gotten yourself into?

Mor grabs your hand, dragging you towards the empty single room that’s left in your dorm. She uses it as an extension of her closet until someone else gets placed with you. So far, you’ve been lucky, living here since freshman year, just the three of you. “Great! I got you a shirt!”

_________________________________________

Over Ice Taglist:

[jibunbosh]

Mesmerizer is a satire of TikTok, YouTube Shorts, and the rest of the modern short-form vertical video format

A brief thematic analysis.

I'm sure there are countless people already interpreting the imagery and details in this wonderful song & MV, like here and here, so I won't spend too much time retreading that ground. Miku and Teto are dancing. Miku gets hypnotized. Teto signals for help, but gets hypnotized at the end as well.

That part is obvious enough, but that's still pretty surface-level. What is this seemingly hyperspatial horror scenario supposed to mean to us?

While checking to see if anyone before me's already come to the same conclusions as I did and if I should bother not writing this text post at all (lol), I came across udin's great analysis video. She comes to the conclusion that the song tackles themes of disillusionment with reality and the ways we indulge in escapism to relieve ourselves of the pains of the world.

I agree with that reading! From practically the very beginning, we have Miku call to us - the viewer - to push away our true feelings. Teto comes in to peddle a solution, inviting us to surrender and empty our minds - in her words, "pretending to know nothing."

You, the viewer, are a critical character in this masquerade. For nearly the entire video, Miku and Teto's eyes are unfailingly trained on you. Or, well... perhaps they can't actually see you, but they can see a camera, or whatever other aperture the point of view is supposed to be from. And they know they're being watched. (Who else would Teto be sending distress signals to?)

Let's put a pin on that for later.

udin notes very early on that Miku and Teto are, conspicuously, kept in vertical frames - very similar to the video formats of TikTok (and Instagram Reels, and YouTube Shorts, and whatever other clones of the format exist.) You know, just like the animator Caststation's Rabbit Hole fan MV that went viral some months ago.

Hey wouldn't it be crazy if the song's producer, 32ki, released Mesmerizer shorts too haha. Wouldn't that be crazy.

Wow, wild.

These short-term vertical videos are captivating & alluring. If you're reading this, it's more likely than not that you've also found yourself caught up in them at least once, scrolling through the infinite algorithmic slurry and forgetting about the real-life issues you have at hand. Would you say, then, that you felt hypnotized? Mesmerized, even?

And so these two invite us to join their world and focus on the... uh... rectangle.

Their dances are repetitive, following the same loop. Their outfits are distinct, but their choreography isn't. They're copying the same formula, repeating it ad nauseam to the best of their ability.

They're doing a fucking TikTok dance.

Back to the pin I told you about earlier, with Miku and Teto looking at a camera.

Miku sways with the camera, eyes looking directly at it like a swinging pocket watch. She's been looking at it the entire time, after all. We've been seeing her via our screen this entire time, but, again, she doesn't necessarily see us. She's beholden to the camera, which she dances for day after day, caught up in its spell. She's hypnotized by it. Eventually, she breaks.

Teto, on the other hand, resists. For a while, anyway.

Despite her being the one jumping to us with the "solution" at the beginning of the MV, there's very quickly good reason to question how much agency she has in this. She dances for the camera as well, but she doesn't want to. She's signalling for help. She wants out.

Many content creators (as much as I personally loathe the non-specificity and soullessness of the term) have struggled with the adaptation to the short-form video format, and the preference the algorithm has had for these captivating, bite-sized videos. They're catchy, and easily drive up metrics. Practically anyone who's publishing their work via video format online needs to learn to adapt or fall behind, even if that means whittling their content down to fit the frame, the time, and people's shortening attention spans. Sometimes, that means compromising on specificity and completeness... or, in other words, the true representation of a full work.

The song's writer, 32ki, has been releasing songs on YouTube for several years. Their first YouTube Short, however, was posted only a year ago: a short, whittled-down segment of their previous song, CIRCUS PANIC!!!, hoping for it to win the ProsekaNEXT song contest. It was their first song to achieve widespread popularity and hit a million views.

The shorts, however, aren't the "true" versions of the song. The full song just won't fit.

We're being mesmerized as consumers of this endless stream of content, rather than appreciators of music and art. However, that relationship isn't completely symmetrical across the plane that is the 4th wall. Miku and Teto are trapped not by their attention spans, but by a compulsion to project their "truthful acting" and peddle that window into a colorful, problem-free world.

We, as the collective audience, need not dwell on any one thing for too long - we need only swipe, and move on to the next video. However, Miku and Teto are trapped behind the screen for eternity, day after day.

They're the only characters we get to see, of course. There's no evil 3rd voice synth character that's plotting to keep them trapped in there. We can't put a face to whatever force is hypnotizing them and trapping them behind the screen. It's faceless - like the inscrutable algorithms of YouTube recommendations or the TikTok For You page, or the impersonal corporations that develop & maintain those aforementioned apps. Miku and Teto's likenesses, on the other hand, are being exploited and extracted from for their entertainment value, being strung along by that metaphorical hypnotizing force like puppets on a string.

Many people, represented by Miku, enjoy their success on such platforms. It's freeing and liberating to throw oneself wholeheartedly into such an endeavor, of course! Others, represented by Teto, harbor their doubts of the emotional veracity of such a medium, but know they have little choice lest they face destruction... perhaps not literally as a person, but as an idea.

Wouldn't it be easier just to let oneself be swept away by it and give in?

[impperfectcritiques]

Beelzebub Redesign

Ramble/rant below

I made this design while keeping in mind some of her roles and themes of her character.

That said, I'll go over the parts of her character I HATED/sucked in general.

Her hair and tail were far too confusing for what it was meant to represent, shes supposed to be a fennec fox, bee, fly, demon, and her having lava lamp hair is cool, but steals the fennec foxes iconic tail and doesnt scream insect either. This along with the mess of hair at the front of her head just ruins the overall silhouette. The spikey mess of hair is one of the only places, outside of her snout and fingers that shit sharp and its just ew.

That said the lava lamp idea is very nice and I love me some lava lamp vibes!

Fennec foxes were chosen for her species due to hell hounds, which is odd coz theyre not canines? AND coz theyre, quoting viv, "Greedy". Thematically this is stupid, coz shes the sin of GLUTTONY.

"She cant be fat, coz its fatphobic to have the sin of gluttony be fat" I disagree, over indulgence of food is a leading factor for obesity, and that shouldnt be a controversial thing to say! Over indulgence doesnt make a person horrible, gross or evil, but thats what people who argue this point seem to try state. This along with the constant fat phobia from both Vivs shows and how Mammon is allowed to be fat, supposedly because hes a man, is horrendous.

Shes so fake and the writing tries to make it seem like shes not?? like she's toxic positivity and that isnt bad, like???

The lore with the hell hounds and bee annoys the shit out of me. Like HOW THE HELL are hell hounds the bottom of the heirachy?? Theyre the guard dogs, they are the enforcers of hells boarders, they are simply the most powerful creature, aside from the kings, they keep everyone in check, like?????

My rewrite and redesign:

Shes a horse, as stated in the image, to fit the circus theme, and to reference some play on words and quotes. Y'know, some actually smart themes. Also horses have a lot of flies around em soooo...

Shes A FAT PARTY QUEEN AND THATS WONDERFUL.

MLP inspos coz Blitz loves horses and Celestias and Lunas hair were inspos for her in the first place.

Leg fluff is a reference to bees and how they hold pollen, along with Clydesdales to further the horse theme. The texturing and colour is to hint towards her being a mass of flies. Also leg warmers for a 80s vibe.

Actual antennae, insectoid feet, larger wings. She is a shape shifting mass of flies.

Kept the colours coz orange is the colour for gluttony, and blue is a nice accent colour. Added some more dark colours too to balance out the bright and light colours.

More references to party culture, with the beads and binky!

She does pig out (like eating contexts and gets messy! wish i could over indulge like that but i'd totally vomit + i find it wasteful, but power to her!) < This is to be opposed to Vivs ver where shes hypocritically disgusted by mammon doing the same.

I think out of the sins, shes the most agreeable, along with sloth, who is the least demonic. But dont touch her food, YOU WILL DIE. But you can ask for food, she caters so well! No one in her ring goes hungry!

Cerberus would actually exist and be in charge of boarder control and the hell hounds. He gets mad at her for over feeding his denizens.

She wouldnt have that stupid human trafficking bullshit that makes no sense for her character.

Replace the hell hound who is thousands of years younger then her and literally her slave with Cerberus who is her equal and such blah blah.

Any thoughts? Feel free to share.

[sanguine-prince]

i’m sure i’m not the first to say something like this, but let me tell you about my poc-passing-as-white jay gatsby headcanon!!

for some background, in the 1920s there was an interesting shift regarding (white) skin tones. previously, tans were viewed as a sign that a person worked out in the fields, and therefore a trademark of the lower class. however, slowly after the industrial revolution, it increasingly became a representation of luxury, since the rich upper class would have the time to lounge about and sunbathe at their leisure.

i say all this to show that a poc gatsby would have the ostensible class and wealth for a tan, which would ‘excuse’ a slightly browner skin tone in the public eye.

(the 20s was also the setting of passing by nella larsen, so that’s neat.)

in my vision, he’s biracial (maybe his mother was black & his father was a german immigrant) with skin light enough to pass for white.

the fact that nick states that gatsby keeps his hair neatly groomed and cut might be to prevent it from curling up.

additionally, i think it could contrast tom’s white supremacy & his fear of poc social progress.

it would also create a deeper divide between gatsby and daisy, and once again the contrast between him and tom. in my mind, daisy wouldn’t know about it until the point where tom reveals everything about gatsby’s bootlegging etc. with jay revealing it to her in the car ride back (oops then she hits myrtle).

then, when she chooses tom and the life of comfort, wealth, status, etc that their marriage offers, she also rejects not only gatsby’s new money but also his race.

it’s a lot more thematically significant for the american dream as well—it’s still unattainable and essentially tainted by capitalism, and it also emphasizes that it’s restricted to the white upper class. social mobility only becomes available to gatsby when he disguises his racial identity.

similarly, it fits with gatsby’s identity reconstruction—the quintessential american is white, rich, and educated.

daisy and tom have that ticket into society because they have that inherent thing that he will never have—pedigree, in both class and race. that’s something that even nick has.

(in my mind, he tells nick all about it the night before he dies & nick understands as best he can and doesn’t think less of him, because it further highlights the differences between his & gatsby’s relationship v. gatsby’s relationship with daisy; namely, the transparency -> acceptance give-and-take that he and daisy never had. because of having to hide himself from daisy in order to maintain her affection, he builds an expectation that he must be someone that he is not as well as developing a transactional definition of love (he gives, and people love him as long as he can continue to give) in order to be loved. therefore, nick’s immediate curiosity and fascination with who he truly is is foreign to him. not to get too into their dynamic lmao i just think it’s really interesting.)

finally, the very last part where nick is sitting and looking at the bay and thinking about the first immigrants and their dreams and how gatsby embodied the purity and naivety of those dreams is further exemplified by his racial ‘otherness.’

and there’s,,, technically nothing in the book to explicitly refute this from what i remember!

(n.b.: it has been a hot second since i’ve read tgg, so lmk if i’ve got anything wrong!)

[onwesterlywinds]

I've been thinking a lot again about the implications of the title of "viator" translating to "traveler" (prompted by Writing Things), and while there's been a lot of discussion about its relation/parallels to Azem, I feel like I've seen a lot less, if anything, on how "viator" plays into the overarching narrative of Garlean imperialism as well. For a relatively small detail, it's honestly one of the things I really think Endwalker did really well in its portrayal of Garlemald and Zenos.

Throughout XIV's history, we've been shown countless perspectives for why the Garleans invade and occupy other nations, whether it's [insert Nael's Bahamut tempering], Gaius' claims that peace can only come from a strong leader, the racism we see entrenched in Garlemald's colonial rule in Stormblood, etc. Endwalker, however, doubles down on the role of Corvos in Garlemald's history and elevates it to a founding narrative: the idea that the Garleans are justified in invading other nations because they themselves were driven from their own ancestral land thousands of years ago.* This is by no means the full scope of Garlean history (as just one example, Return to Ivalice posited that many other Garleans are likely descended from the technically-minded people of Goug), but it's still very consistent lore-wise and thematically for Endwalker to present the Garlean people's expulsion from Corvos as a creation myth for their empire, and the way this plays out in 6.0 MSQ lets us see the extent of the damage that that myth has done to those who have made it their worldview.

And introducing the term "viator" at the end of that arc as the name for the Empire's most loathed, reviled, and shunned class - the exile - ties into this idea so well: the greatest punishment the Garleans can give for one of their own is to make them a wanderer - to ensure that person is forever denied the home that they prize so highly in their society. This is a classic example of scapegoating, which has deep connections to empire throughout history and Western literature.

It's also such a fitting conclusion to Zenos' relationship with the Garlean Empire, too! One of the reasons I've loved Zenos as an antagonist since 4.0 is that despite treating the workings of imperialism as beneath him and irrelevant to his true desires ("Ala Mhigo and Doma and Garlemald be damned!"), he has a sense of entitlement to the peoples and lands of Ala Mhigo and Doma - and to you, the Warrior of Light! - that is extremely Garlean. The fact that (to paraphrase Lyse) he did all that just so he could feel something is what makes him such a perfect antagonist for Stormblood in my book. But to the Garlean people, that lack of care for his homeland - be it because (their own) people were tempered/killed from his actions, or the very sexy patricide/regicide, or that he caused the Empire itself to fall into ruin when he "should have" succeeded Varis - was to them the greatest crime he could commit. To put it another way, he probably would not have been named Zenos viator Galvus if he had first been Zenos zos Galvus.

And despite me forever lamenting the fact that the 5.X-era plot thread of Zenos having dreams about Amaurot never actually went anywhere, even that ties into his eventual role as viator: the only place with which he has ever had any real connection is gone forever.

Which makes a grave at the end of the known universe feel almost fitting in its tragedy.

(*On a serious note: While I do think the writers were intentional - and, mostly, thoughtful - around leveraging imperialist rhetoric, the fact that this particular framing is often used to justify an ongoing genocide is one of many reasons why I would be very happy for future Garlemald stories to stay on pause for the next few years.)