#I actually think he might be one of the most tragic characters in the story

[vaugarde]

havent seen this take in a while thankfully but it popped up in my head and i wanna post this anyways. i think everyone who talks about how siffrin “got off too easy” at the end of isat and his friends should have abandoned him should go read warrior cats if they want an example of a character using their trauma as their god-given jailbreak card to treat their family and peers (a good amount of whom who were completely innocent) like dogshit, and who faces zero consequences from the narrative for it (and in fact bends over to blame their peers). like read all the shit jayfeather does while the narrative sobs over how tragic but awesome and quirky he is and then look me in the eye and tell me siffrin’s ending was poorly written.

[ajdrawshq]

i finished 7th dragon a lil while ago n some of the worldbuilding is so funny i cant stop thinking abt it. why is the lost city of atlantis populated by catgirls

[im-subtextsexual]

I’m glad so many people picked up on the vibes between Eloise and Cressida. Not a ship I ever considered before, but the tension was palpable. I’ve been a Queer Eloise truther since reading the books. Her portrayal on the show only made it more obvious in my mind. I didn’t think the writers would ever go there, but the set up is just so explicit, now I’m not sure. I don’t think they’d actually make Eloise / Cressida canon, but I do think they’re testing the waters for wlw Eloise. And it makes perfect sense. 

First off, the character is queer (I’ll hold off from labeling her a lesbian outright, because there’s definitely room for other identities like bi, demi, ace…. etc.) Even in the books. I legitimately think Julia Quinn accidentally wrote a sapphic character and then didn’t know what to do with her. So what we got is “To Sir Phillip, With Love”, widely considered to be one of the worst in the series. Believe me, if there’s any story that could stand to deviate from the books, it’s this one. And the story could so easily be adapted to a wlw romance, it would be a wasted opportunity not to do it. Like… the story would be better if they tweaked it to fit a queer canon. AND it could be done in a historically accurate way to shut up the naysayers that “a lesbian storyline wouldn’t fit in this universe.” How? Allow me to explain.

*SPOILERS FOR BRIDGERTON SERIES BOOK 5*

In the book, Eloise strikes up a correspondence with Sir Phillip Crane. Yes, THAT Phillip, the one currently married to Marina from season 1&2. Marina kills herself because she can’t stand to be married to Phillip and deal with their children in the wake of her lover / his brother’s death. His initial interest in Eloise is to find a mother for his children. She is intrigued by his intelligence and decides she doesn't want to be alone, but isn’t necessarily eager to marry or have a family. Due to romance novel shenanigans, she runs away to Phillip's house and is forced to marry him. Even as they grow to kind of love each other, it's far from some grand romance. It’s the very definition of “settling”. The most interesting part is the narrative structure of their story being told through letters in the beginning. We could keep all that, but make it gay. 

*Imagine*

Eloise meets some dapper gentlemen new to the marriage mart. We’ll call him Emmett. Very little is known about Emmett and his family as they keep largely to themselves at their estate in the countryside. The only thing that’s widely known is the family suffered a tragic accident where the man of the house and his oldest daughter died, leaving his son (the other twin) to take on the responsibility of rank and title very early. Emmet is making a rare appearance in London to find a wife (there are rumors of stipulations in his inheritance requiring a match). ALL the debutantes are fawning over him because he’s mysterious and extraordinarily good-looking. One might even say “pretty”… To everyone’s great surprise the season’s most eligible bachelor takes a special interest in Eloise after overhearing her talking about her disdain for the social convention of marriage, and how she would only consider it if it were an in-name-only, marriage of convenience. Emmett strikes up a conversation with Eloise and she is taken by his humor, wit and shockingly deep empathy for the limitations society puts on women. They continue to gravitate to each other through the first few events of the season, but Emmett has to return home suddenly because of a family emergency. Eloise is shocked to find herself disappointed, but they promise to write. Cue the correspondence romance.

Eloise grows more and more smitten with Emmett every letter she receives, but still has the same reservations about marriage especially when she thinks of the intimacy a relationship like that would require. When Emmett hints that he may want more than friendship, Eloise's feelings get the better of her and she goes to visit Emmett unannounced. He is shocked to see her, but let's her stay and she gets to know his mother and two younger sisters. The Bridgertons go looking for Eloise, worried something has happened to her. When she is found to have been staying for days in an unwed man's home without a chaperone, the potential scandal causes Anthony to force Eloise and Emmett to marry. Surprisingly, Emmett actually agrees so Eloise does too (all of this is essentially what happens in the book).

Eloise confesses to Emmett that she's nervous/resistant to physical intimacy, but he assures her they never have to be together that way. In fact, he would prefer the marriage of convenience they always talked about. Eloise is relieved until their kiss at the wedding sparks an attraction she wasn't expecting. They spend the first month or so of their marriage sleeping in separate rooms, enjoying each other's company, and letting the tension build. One night, Eloise's control and curiosity finally snaps and she goes to Emmett's room to initiate a physical relationship. She catches Emmett off guard in his sleeping clothes which makes it VERY clear... Emmett is a woman (cliffhanger of episode 4, and where we deviate from book canon to make it queer).

After the initial shock, Eloise allows her new "husband" to explain. Emmett is really Emma, the daughter believed to have died in a carriage accident with her father so many years ago. It was her twin brother that actually died, but since there were no other male heirs, Emma's family fortune would have gone to a distant uncle who is cruel and abusive. To save them of that fate, Emma's mother conspired with the local coroner to make it look like Emma was the one who died, so "Emmett" could inherit everything. Emma has been living as Emmett ever since, successfully keeping up the deception by keeping a low profile in society. The only reason Emma came to London that year is because her uncle died, and a cousin had come around asking questions hoping to inherit. She thought getting married would help secure her identity as Emmett and the cousin would back off. At first Eloise is outraged. She feels betrayed by Emma's duplicity, and is terrified if any of this ever got out everyone they know would be ruined forever. She agrees to keep the secret to save her family's reputation, but shuns Emma. Eventually, Emma (already aware that she's in love with Eloise) attempts to make amends and Eloise is charmed enough that she relaxes back into the relationship they had before the Big Reveal. The only problem is the attraction is still there, even more so now that Eloise knows the truth. Things come to a head, and they go at it Bridgerton style.

Emma and Eloise live happily in a true marriage for a bit until Cressida and Penelope come for a visit. They both find out about Emma, but are sworn to secrecy. Pen easily swears her loyalty (having already suspected Eloise), but Cressida is sickened. In a rage, she threatens to out them all, and storms back to London. Eloise follows her and begs Cressida to keep the secret, and tries to explain why the "wrong" feelings she has for Emma are very right for her. To Eloise's surprise, Cressida isn't upset about what she's doing with Emma, but who she's doing it with. She didn't know what they're doing was an option; that she was an option. Cressida confesses that if she'd known a life with Eloise was a choice she could make, it's the life she would have chosen. Eloise lets Cressida down easy by explaining they didn't have that choice. Everyone in the ton knows who they are. The only reason her relationship with Emma works is because of the ruse that allows Emma to be Emmett. Cressida takes this in stride, and vows to keep the secret, but her mother overhears and causes the biggest scandal London Society has ever seen.

The Bridgertons and a few friends (like Lady Danbury) are as understanding as possible, but the rest of the ton is rabid. Things escalate to the point where Emma and Eloise have to appear before the Queen. Emma pleads her case about pretending to save her family, and insists that Eloise didn't know until well after they were married so she's innocent. Eloise can't help herself and gets on her soapbox about the way society limits women, and that the Queen should understand their plight. Shockingly, she does. She annuls their "marriage" (because they didn't consummate anything... RIGHT?!) but she agrees to let Emma control her family's estate until one of her sisters produces a male heir. After that, she and Eloise will receive a pension from the Crown so they can live independently (the real Queen Charlotte actually did this for suspected historical sapphic couple The Ladies of Llangollen). Since Emma and Eloise would never be able to find husbands now, they decide that they'll just be two spinsters growing old together in their house in the countryside. You know... just two gal pals. No one believes that shit, but they rarely interact with the ton, so they're largely left alone to live as they please.

Happy ending, close to canon, historically accurate, and super gay. It's not that hard. You're welcome.

[nekropsii]

ALPHA TROLLS RANKED BY HOW WRONG THE FANDOM AT LARGE IS ABOUT THEM:

This is a personal challenge, based entirely on my own experience and perspective, and also ranked from Most to Least Correct. I was bored, and thought this might be fun.

Putting this under a cut, because it's long as hell.

MEULIN LEIJON

People get her mostly correct, from what I’ve seen… Most of the time, fan content of Meulin is absolutely recognizable as Meulin, but her pride in her deafness + joy of learning new ways to interact with the world through/due to her disability is always removed, and I do not often see people tackle the Toxic Positivity aspect of her character. That seems less like character assassination, though, and more like a combination of people not actually playing through the Openbounds, people not being able to fathom disabled people (especially those who gained a disability later in life rather than being born disabled) being happy, and general fandom distaste for the idea of touching anything uncomfortable, especially when that uncomfortable topic is highly mundane, normalized, and potentially applicable to them or their loved ones. Meulin’s toxic positivity was, of course, commentary on Tumblr’s ecosystem at the time, so… It was much harder to touch back then.

ARANEA SERKET

People tend to get her general, broad strokes personality right, but unfortunately she gets treated pretty roughly for the crime of Being A Serket. People refuse to understand her motivations, and she often gets demonized for what she was doing around/during [S] Game Over, even though that was something she’d gotten pushed to and also was cool as fuck to watch. God forbid a woman do anything.

DAMARA MEGIDO

People are right about the racism, 100%. It is completely despicable, hard to look at, and extremely blatant. She does, however, have character outside of that. No, it isn’t “whore”, it’s more like “angry, dysfunctional abuse victim”, and she’s genuinely a very interesting and tragic character. But, again, people are right about the racism, so she gets to be placed way up here.

MEENAH PEIXES

She is such a chaotic little bastard. I love her. I really do. Please understand that she genuinely does not understand the concept of consequences. This girl didn’t have a Lusus, she didn’t have parents, it was functionally illegal to tell her “No, you can’t do that.” That would fuck up literally anyone’s moral compass. That’s not me hand waving away all the fucked up and bad shit she’s done, we all know what she did, but people tend to forget this aspect of her character and it pains me deeply, because it is a very genuinely interesting concept that I want to see more of. She’s capable of regret, we’ve seen her feel it, I just don’t think foresight is her forte. No one raised her to consider consequences, or help her experience them in a healthy way, because nobody raised her period.

Also, her ass is not butch, she is the girliest girl in the entire comic. She is about hot pink and glitter and kiss marks and unicorns and cute little puns and you will respect that. She is not masculine. Her ass is not masculine nor is she butch. Let her be her hyper-feminine self.

LATULA PYROPE

Please for the love of god there is more to her character than “Gamer Girl” and “Mituna’s Girlfriend”. You are falling for her fucking ruse. Please. Please. Please recognize that her entire character is about internalized misogyny, and being forced to overcompensate for misogyny in gaming circles as a gamer who happens to be a woman. Please. I’m begging.

KURLOZ MAKARA

His character is not that deep, it’s mostly just a string of events he is mysteriously, inexplicably involved with. The Makaras are extremely Function Over Form- their characters practically do not exist, they're mostly just plot devices that exist to push the story along. I'm sorry to Makara fans. You just invented a guy in your mind and decided he was real. He is also not that soft, though, and his relationships with both Meulin AND Mituna are not healthy. Hard to stop people from ascribing cutesy squishy lovey dynamics to random men who happened to have looked at each other once, though. Some people truly haven't graduated from 2012.

HORUSS ZAHHAK

I am begging people to consider that maybe the biggest issue here is not that he is “Bad Otherkin/Therian Representation” and is in fact maybe the fact that Hussie was actually making fun of Systems when he was writing Horuss. Because Horuss is canonically a system. He uses the word system. He uses the word switching. He uses the word host. He literally talks about his Plurality at length in extremely upfront, plain terms. I don’t know how him being “Bad Otherkin Representation” was and still is the main discourse about him. It makes me insane. That is a commentary that truly writes itself. Talk about having your priorities out of wack, honestly...

PORRIM MARYAM

No, she is not a MRA, she’s just a regular feminist who happens to live on a different planet with different politics and social hierarchies from Our Real World Earth’s USA. Whatever argument you’re about to pull out of your ass to say that she sucks is bad. She already explained what she meant by that, in more detail, very clearly, and she was right. Half the time she’s literally just giving you factual information about what Beforus was like, and literal plot synopses. She isn’t saying anything insane. She’s literally normal. I don’t know why people cannot handle or process this. Porrim has not ever said anything controversial. If you disagree with this you’re either misconstruing her on purpose or you fell for Kankri’s bait, and that’s just fucking sad at that point.

Also, she’s more than a sex object, and her tits are not huge. Honestly, half the shit she was saying was just “I am more than my sex life”, and so many people took that and made her main character trait her sex life. Just pathetic.

RUFIOH NITRAM

This man is a fucking war criminal and I will stop at nothing until he is behind bars for his crimes against Damara. Raging misogynist. Total fucking cunt. Just the worst. If I talk any more about this, this part will be 1,000 paragraphs long. But also, I’m begging people to recognize his relationship with disability, too. He was similar to Meulin in the sense that he didn’t mind his disability, and his biggest gripe with it was the way that Horuss tried to “fix” it… Which is an interesting way to expand upon how Beforus’s culling system is not only very explicitly ableist, but mimicking real world systemic ableism. I also want people to recognize that Hussie is actively having a conversation about the reclamation of slurs with Rufioh’s character, and how not letting people reclaim such language is doing nothing but giving the word power against them while stripping away their own personal agency. Rufioh’s a complicated guy, and he’s interesting and also the worst, and I am really tired of how he gets watered down to nothing but “Pretty Boy Victim Of His Inexplicably Psycho Ex”.

MITUNA CAPTOR

Holy Fucking Shit, You Guys Are Ableist.

KANKRI VANTAS

To this day I see people saying he was just Hussie making fun of SJWs. To this day. To this day people think Hussie was trying to make Every Tumblr Leftist look bad, and that he hates them Because They Are Leftists. When will people recognize him as a bootlicker to the oppressive class and the violently bigoted. When will people recognize that. When will people recognize that this is more of a commentary on the legitimate real flaws of Tumblr’s politics at the time. When. When.

When will people stop portraying him as a lovey-dovey Catholic Whore. I’m going to stab my fucking eyes out and then kill everyone in this building. Me when it's based and cool to ship an aroace character with a sexual predator. I GUESS.

CRONUS AMPORA

I say this with every ounce of sincerity I can possibly muster as a person: What the literal actual fuck.

[spocks-evil-godmother]

To just uncritically enjoy Strange New Worlds for a second... I love the way that they are intentionally and seriously playing with Pike's arc and specifically drawing out the implications of what it REALLY means to not be the protagonist in this story. It's all well and good to say that there are no no-win scenarios when you are, in fact, the protagonist, and you and your crew merrily sail along at the end of every hour-long episode. But they aren't writing a character from scratch. They're pulling from this one moment, really, where the TOS writers were like, lol what if we made this fucked up thing happen. And unlike the Kelvin timeline, they don't sanitize it down to "oh, he just uses a wheelchair and then is tragically killed womp womp." No. Here is a character who suffers, in perpetual pain, with little means to communicate, in a world with such significant medical advances as to make this injury one of the most profoundly isolating experiences possible. And Pike chooses it.

He doesn't choose it just once, the first time, when the vision is offered to him. It is something he chooses again, to save Spock's life, and then to save all the lives that Spock will save by ending the conflict with the Romulans, when he is granted that knowledge. And there's something really delightful in that they CAN'T bend this narrative. Spock really is that important. He's the protagonist. He has things to do, you might say. They've spent 60 years establishing this. And that puts Pike in this position of having to humbly step back, and choose something painful for himself out of his own commitment to service, sacrifice, compassion, and love--and be satisfied that it is the RIGHT choice, whatever it means for him.

And I think I also love that it then it kind of answers this mysterious question presented in "The Menagerie," which is, of course, why does Spock go to all this bother for this guy? And sure, it's one thing for Spock to say, "I just respect the hell out of this dude," but SNW is really making a point of solidifying that yeah, he does though. Christopher Pike has a heart so big it changed everything, actually. And that's a story worth telling.

[bonefall]

Clear Sky is a Monster.

Of all the characters in Warrior Cats, I think Clear Sky was the most heavily mishandled.

At every turn, the narrative begs you to sympathize with him, to "understand" the "misunderstood." To this end, his brother Gray Wing is used to "keep faith" in his inherent goodness, his abused son, Thunder, is forced to go back to him over and over, and his second dead wife is completely lobotomized in death to absolve him of all sin.

Because of this, of all this set-up for the "redemption" arc they're trying to tell in the last three books, DOTC is Clear Sky's story. Everything primarily exists to benefit and serve his arc. Thunder and Gray Wing might have POVs, but HE is the character who truly drives the plot. So in order to HAVE conflict for that back half, two evil foreign cats, Slash and One Eye, are summoned to act as contrast.

Their narrative purpose is to display "true evil" to make Clear Sky look less bad in comparison. Unfortunately, Clear Sky is the most malignant, deadly character who has ever blighted Warrior Cats.

The "pure evil" examples they summon aren't effective contrasts because they're flat. Clear Sky is what real abusers look like.

His rhetoric is what it sounds like when a cult leader is trying to keep control over a group. He lies when it benefits him, justifies his actions with his tragic backstory to assuage his guilt and manipulate others, and violently lashes out when his feelings are hurt before blaming his victim for making him angry.

He only made "some mistakes" in that SOME of his actions were accidents-- the vast majority of them were malicious, self-absorbed, intentional choices to punish, hurt, and kill others.

I've spoken about Bumble. I've tallied his body count next to Tigerstar. I've talked about how his infant son's death was his fault in sequel books, and called attention to the infected wound face shoving scene that no one talks about. I can't fit every detail into a single post-- because he's so rancid that I would practically be posting entire books.

So what I want to do here is tackle the heart of Clear Sky. Everything he does, everything he's motivated by, is absolute and utter control over other people. He leverages his "trauma" to evoke empathy from his targets to make them easier to manipulate. He's a dirty liar. He breaks down to physical violence when all other tactics stop working.

He's one of the most severe and realistic abusers I've ever read about outside of very adult literature-- and when I read the reasons why he's attracted to Star Flower, my stomach immediately lurched.

The Killing of Misty

Starvation Rhetoric and the Memory of Fluttering Bird

Aside; a question

Hunger as a punishment; he doesn't care about starvation

Exoneration arc

Predation: Star Flower is a replacement for his son.

I think that index is an evocative content warning. But to say it again; this post contains child and domestic abuse, physical assault, public humiliation, incestuous grooming implications, and a lot of murder.

I need to start with the death of Misty. I see a few people saying that Clear Sky killed her for "being on his land" or trespassing, but this is actually a misstatement that I feel is important to correct.

Misty and her children were on their own land. It was her house. Clear Sky killed her to take it.

This is one of the most important details to remember about Clear Sky, that this is the consistent end point of his obsessive need for power and control. By harassment, by violence, or by death, he will brutalize anyone who does not give him what he wants, or who makes him feel bad, and find some way to justify it.

This territory expansion was for no logical reason. There was plenty of food and plenty of land. Any aggression that's happening on this territory is in response to how he's been stealing land and mauling people.

When it's found out she was fighting to defend her children, Clear Sky's immediate response is to slaughter them too.

Petal doesn't have milk either. It wasn't about the logistics. He wanted to kill the kids, because looking at them made him feel bad, and she just managed to stop him.

Starvation Rhetoric and the Image of Fluttering Bird

It is often said that Clear Sky is doing this because he's "traumatized" from how his little sister, Fluttering Bird, starved to death in the mountains. That the emotion came from wanting to feed people. That's incorrect. It wasn't about food. Fluttering Bird's death, and all the "starvation" he's faced, are used as manipulation tactics to guilt, influence, and control other characters, particularly when he might meet resistance or be held accountable for something.

It was always, ALWAYS, about control.

He does not care about actually helping people; "Starvation Rhetoric" through Fluttering Bird is an image he can invoke to justify the actions that are as bloody and cruel as the one this post starts off with. Either in his own mind, or in the minds of the cats he's manipulating.

He does this to Falling Feather, before slicing her face open in anger when she doesn't buy it. He does it to Rainswept Flower, before he strangles her to death. And he does it in the chapter just before Misty's murder, both to his Clan and then to Thunder,

Clear Sky climbed up in front of an entire crowd and gave a grand speech about hunger and "adjusting" the borders around territory he plans to conquer. When he gets to "forgiveness" he feigns pain to make his point because he is performing. If the sentiment is not a total lie, then at bare minimum, he is intentionally playing this up for the crowd.

He is rallying the Clan to support his violence against the cats whose land he wants to steal, and selling it with his life's hardships.

The audience is clearly well-trained, because several cats recognize the cue, particularly Frost who is praised for loudly comforting him. This signals "loyalty" because showing your sympathy towards his "suffering" is how this type of emotional manipulation works. It creates a persecuted, righteous in-group.

He's also apparently used this tactic before, since this entire crowd knows what "I Would Never Forgive Myself " means.

He's made sycophants out of his followers. Like a cult leader.

His abused son, however, hasn't been fully indoctrinated yet. Seeing Thunder uncomfortable with the idea of expanding the borders for no reason, Clear Sky calls him over for a personal propaganda session.

Clear Sky begins the exchange by calling this a "duty" and a "great honor." Immediately framing what he plans to do as righteous.

He puts on the act when Thunder shows resistance, dramatically pausing to let the guilt trip sink in.

"Thunder waited, realizing that he said the wrong thing."

And then Clear Sky launches into infantilizing Thunder, talking down to him like a child who's too inexperienced to see the "signs of starvation," acting like he's being "patient" in "explaining" it.

And then we get it. "I know what starvation looks like (so stop trusting your own eyes) because I have been through more than you (so shut up and do what I tell you), and I'm being a HERO for what I'm about to do (so opposing me would make you a bad person)."

Thanks to these crocodile tears, looking "moved," the act works. The victim is immediately wracked by guilt because the abuser seems genuinely emotional.

He even lovebombs him over the corpse of Misty in the next chapter, making Thunder feel threatened.

Thunder doesn't have the words to describe what is happening to him, but he knows that this sudden snap to praise isn't natural. That something is very wrong.

A Question.

Before I move on to show that this IS an act, and that he is lying about how important avoiding starvation is to him, I will ask a question. Please think about it, because I promise I mean it genuinely;

Why does it matter if Clear Sky actually believes this or not?

The victims are just as dead either way, yes? Thunder is just as abused and guilt tripped. The entire Clan has been driven towards violence while coddling and cooing at their Supreme Leader. Clear Sky is slowly annexing the entire forest. If you have ever accepted that he had "good intentions" as an excuse for the harm he did, or that abuse and murder was what he imagined was "the right thing," or that his trauma justifies the way he leverages his own pain to make cats do what he wants... why do you think that?

Why does that make it morally better, as the narrative concludes? Would you accept the same for every other WC villain or antagonist? Tigerstar? Slash? Tom the Wifebeater? Brokenstar? Rainflower?

How could you tell the difference, if you couldn't read their actual thoughts on the page? ...are there any other "good intentions" you've accepted, somewhere else?

Don't share that answer with me. It's a question for you. Sit with it.

Hunger as a punishment; he doesn't care about starvation.

...but, regardless, Clear Sky is not deluded about starvation. It's a justification for his obsessive need for control, and always has been. There was no shortage before stealing Misty's land and kits, he is fully aware that there's more prey than they can eat.

He punishes Falling Feather with hunger and harassment for thought crime, by briefly thinking of leaving. But first, he invokes Fluttering Bird at her like he did before, flying into a screeching fit of rage when she doesn't buy it,

"I'm sorry I hurt you... BUT" is THE wifebeater phrase. THE stereotypical line of a domestic abuser. "I'm sorry I hit you... but it's your fault for making me so angry."

She went through the same exact starvation he did, calls out that he's just framing his greed as being for the collective benefit of his subjects, and is assaulted for that.

When we're in his head, we see his REAL concerns are not about hunger. He invoked Fluttering Bird to try and make her shut up and bow down to him; what he's focused on is her "gossiping" and "whining" about the open wound he left on her face. He's still furious at Fircone and Nettle for how Thunder QUESTIONED him. So he will "strengthen their commitment."

When "starvation" DOES enter his thoughts, it is to assuage his own guilt and JUSTIFY what he already did. What he already WANTS to do. It's post-hoc.

He had to suppress his own guilt at how his greed and ambition made these children into orphans, completely unable to admit that he's ever been wrong or has a change to make, so he invokes the starvation rhetoric at himself to excuse it. So he feels less bad.

Everything, EVERYTHING, in this confrontation is about his pleasure at being able to torment his subordinates. To continue the abuse when the initial confrontation is over. If it isn't pride in his power and control over them, it's plain sadism.

He invokes starvation in front of the crowd, again, after being pleasured at the guilt in her eyes, hoping that everyone sees her writhing with shame and embarrassment. Fear wasn't at the root of why he assaulted Falling Feather; rage was, and now he feels better that he got to humiliate the person who offended him.

Starvation Rhetoric is a manipulation tactic.

It goes RIGHT BACK to his twisted idea of "loyalty." Obedience.

A cat who's actually, primarily concerned about starvation wouldn't encourage other cats to steal her food if they feel like it. He wouldn't be using it as a weapon to retaliate against her because she hurt his feelings.

This is paired with the fact he restricts and monitors the diet of his cats. They eat when he allows it, and only what he gives them, in spite of there being piles of dead animals rotting, going to waste.

We then find he personally doles out food from these piles, plucking carcasses off them and flinging them at his cats, one by one. Probably so he can watch how grateful they are to him and make sure they stay a little hungry-- and definitely because it means he can control WHO gets to eat at all.

If Clear Sky chucked a mouse at Falling Feather and someone took it? She would have gone hungry. For not groveling to him. Like when he decides to starve her brother; a hostage who he promised to feed and care for.

He's a dishonest snake. He lied about abandoning baby Thunder, calling it a "test of strength," he lied about Bumble's death, he lied about keeping Jackdaw's Cry fed.

And he lied about starvation to Thunder, because he was just making up an excuse to steal more land.

He wasn't "seeing the signs" of starvation when he moved to "adjust" his borders. Even FURTHER into this so-called "delusional slip" into tyranny, he's freely admitting that it takes months for a person to starve when it benefits his sadistic need to punish undeserving cats.

"Dumb moor cats, always expecting more than they DESERVE."

Not need. DESERVE. It's not a delusion about starvation and it never was. STARVATION is how he CONTROLS SkyClan, and once again he's angry that his pleasure has been sullied.

The massacre at Fourtrees was started over Jackdaw's Cry catching a bat after being starved, on land that Clear Sky has decided RIGHT NOW that he also owns, because it mades him think about being disobeyed.

The bat is forgotten as Clear Sky pivots into a tantrum, wanting to make his family HURT for being 'disloyal' and 'ungrateful.' For leaving him. He LIKES seeing people grovel, cower, and beg, getting PLEASURE from watching how he can hurt and command other cats, and if you don't give him what he wants he will kill you.

Which, make no mistake, is what the "First Battle" actually is. Clear Sky attempting to murder those who don't worship him or swear their undying fealty to him and his twisted dictatorship. Particularly his own son, the most prominent victim of his emotional abuse.

It's not about the bat. It was never even about food or starvation. It's about retaliation for any perceived lack of control.

Once again he breaks out starvation rhetoric to try and manipulate someone, and when Rainswept Flower doesn't buy it just like Falling Feather didn't, he murders her in another fit of entitled rage.

Exoneration arc.

At the end of this battle that was entirely his own fault, we're introduced to the hollowed-out ghost of Storm. She has been flushed of all personality, so that she can be the perfect narrative mouthpiece.

She accepts yet another Fluttering Bird Invocation in spite of how we saw it's not sincere. He was lying the entire time and using starvation rhetoric as a manipulation tactic to get control over his victims.

And that's it.

That's the consequence. Storm's a little mad at him until he says "Buttering Flird" and she swoons.

He doesn't have to be ""afraid"" anymore because the cats just invented an afterlife to believe in. He keeps all of his power and influence and gets off scot-free, because "guilt" (which we SAW him repressing anyway) is supposed to be the best consequence for murder, abuse, and tyranny.

The husk of Storm even materializes again at the end of book 5 to say it outright; he "never drove anyone away." Not even after Book 4 where it's also his fault One Eye took over his Clan for 5 minutes. It was just destiny.

His "redemption arc" is just an exoneration arc. The narrative doesn't think he really did anything wrong.

EVERYTHING about Clear Sky has ALWAYS been about making grabs at power, but since the narrative didn't see a problem with him extorting his personal tragedy and the death of a child, his own sister, he continues doing it. As if these behaviors are normal personality 'traits'.

Even when that sister COMES OUT OF HEAVEN TO YELL AT HIM DIRECTLY,

He finds a way to COMPLETELY miss the point, so he can interpret her words in a bizarrely specific way that will conveniently end with him being the supreme dictator of the entire forest. Just like he ALWAYS does.

It's the entire 5th book. Clear Sky trying to convince everyone, including himself, that it's Fluttering Bird who wants him to grab at power, NOT himself and his own ambition, that THIS time, he promises, for realsies, it's actually about keeping everyone safe.

But just like ALWAYS, because he does not change, when this tried and true tactic manages to work on Thunder, during ANOTHER exchange where he's dramatically pausing and using the cold shoulder to make his pitiable act land harder,

He lapses right back into bullying his child, creating situations where Thunder will have difficulty or be put in pain, so that he can have an excuse to mock and belittle him.

And this all comes to a head when Clear Sky takes romantic interest in Star Flower, his abused son's previous romantic interest.

Predation: Star Flower is a replacement for his son.

Direct parallels are drawn between Thunder and Star Flower. Star Flower contrasts her loyalty to her father to Thunder's "disloyalty" to his own, in an appeal to Clear Sky.

Clear Sky brushes it off for now, citing that he cannot accept her because of who her father was.

But then, Thunder makes the connection between himself and her, because he knows what it is like to be a victim of parental abuse and correctly clocks that they have this in common,

On his vouch, Clear Sky accepts her into the group. She starts trying to offer himself to him; hunting twice as hard as the others, self-imposing harsh conditions like taking a wet sleeping spot. In their second interaction, Clear Sky begins to take interest in her.

Thunder himself points out that Star Flower is seeking an abusive tyrant to replace her own father, which reads like he's deflecting the stress of how his father is abusing him to deny a connection he already made. As if Thunder sees so much of himself in Star Flower that it makes him (rightly) feel sick that his father is romantically invested in her;

Thunder then goes on to follow his own advice and form his own Clan, because Clear Sky IS like One Eye... while Star Flower remains here. At Clear Sky's side. Because she feels like this is what she "deserves," that she "understands" him, truly believing that her crime (warning her father that Clear Sky brought an ambush in case he lost the 1 on 1 death match he requested, which he did) are on the same level as his abuse and murders.

Clear Sky is attracted to Star Flower because, in his own words;

She is young.

She will not betray him.

She won't question him,

and she obeys him.

We've seen what "betrayal" is to Clear Sky-- not taking his excuses or his beatings. To "disobey" is betrayal. To "question" is disobedience.

These are ALL things he's tried to drill into Thunder. We saw him happily exploit their difference in age to tell him he can't have an opinion. He constructed humiliating games in retaliation for ever being questioned. He tried to murder Thunder and his friends for their "betrayal." Even now, being disobeyed causes explosive reactions.

He was previously grooming the things he now identifies as attractive in a young woman into his child.

If your body becomes too useless to serve him, like Frost and Jagged Peak, you're thrown out. If you don't unquestioningly follow his bloody commands, like Falling Feather or Thunder, you're subjected to abuse and public humiliation. If you're in his way, like Misty or Rainswept Flower were, you die.

If you meet all of his expectations...

You will be in a horrific position where you will never have agency over your own life ever again. Every move, every word, will have to be carefully crafted so that he feels like you're "loyal" to him by the arbitrary standard he feels that day. Never step out of line, never doubt his decisions, never live for anyone except him and the children you will give him, not even for a moment, because then you will not be "worthy" of his grace.

Star Flower would be in serious danger if this series wasn't written by abuse apologists. They accidentally wrote a perfect reflection of how child abuse victims often find themselves in unsafe and toxic romantic relationships with large age gaps which mirror what they went through as kids; but this team doesn't clock it, playing this relationship as wholesome and genuine.

He finally has someone who ""understands"" him. Because they think the character they wrote is misunderstood.

but reality is plain to see.

Clear Sky is a monster. The most realistic monster in all of WC-- far, far closer to real life predators and domestic abusers than the "born evil" rogues like Slash and One Eye. The Erins seem to believe that what separates Clear Sky from One Eye is "fundamental" good and "fundamental" evil, when the truth is that they'd be separated by very, very little.

If they had realistic motivations, they would be exactly like the character their existence is meant to excuse.

Slash and One Eye HAD to be kept flat and one-dimensional. If the book was more earnest, the only difference between Clear Sky and One Eye would have been that One Eye is stronger. So strong that Clear Sky needed to manipulate the other groups into helping him.

While anyone can change, not everyone will, and Clear Sky has no reason to. He sees no consequences. He has everything he wants; power, a pretty and obedient young mate, and unchecked authority over a brainwashed forest cult. There is always a victim on a leash, a naive enabler, or a bunch of desperate and gullible marks somewhere in his proximity to bully into doing his dirtywork

Whether his "intentions" were sincere or not (evidence points towards not) at its root it was always about control. Power is something he perpetually keeps, and continues to violently use.

[ofswordsandpens]

I've enjoyed episode 3 the most so far, but I think the show is still struggling to find a good balance between taking itself seriously and the absurdist humor that RR writes with. My main takeaways:

The Fight Scenes (or Lack Thereof?)

It seems very peculiar to me that the show is just speed running through its battle scenes. Again, it feels very much like the product of Disney trying to sanitize anything that's too extreme?

The trio fleeing from the kindly ones in the book ended with Percy taking control of the bus and then crashing it. It explodes. They lose all of their stuff (money, food). In the show, they simply bail out the back window. No true panic. No tension. Just, okay :) we're leaving now :)

The Medusa Scene. I'll speak more to this later, but in terms of the fight we get to see... well we get to see nothing. Apparently this fight required us to view it through the lens of the invisibility cap (ie. not at all),

I understand this show is intended for a younger audience, but the books are as well. Even the movies, which are pg, came up with better ways to show things without necessarily showing things. As a result, it feels like anything that might induce the slightest bit of tension or fear are sanded down and its honestly doing such a disservice to the books and the audience.

Medusa

I actually really liked this portrayal of Medusa. The 1950s housewife vibe landed well for me. And I loved the actress's voice -- very soft and soothing but always sounding as if she were just about to cry.

Also, I really liked her dialogue. Her digs at Athena and Poseidon were perfectly tragic.

That being said, I really prefer the trio's arrival to the emporium in the book. In the books, they've been wandering the woods and are lost and exhausted and hungry because of the battle/bus crash where they've lost all of their stuff. It almost feels like the emporium popping up "out of nowhere" was more of it finding them.

Meanwhile in the show, Grover finds it through scent on a satyr path and they immediately know its Medusa, which imo takes out so much of the fun of it all??? In the books, they dont know. Grover's just like, freaking the ever living fuck out, and clearly Percy and Annabeth have let him take sole custody of the shared brain cell, cause they're more concerned about getting some food than anything else

Just... RIP dumbass shenanigans

And honestly, I'm not really sure what necessitated the change here in the show (of them not being tricked). It would have been one thing if they were going to change Medusa entirely to not wanting to harm them at all, but imo, I think its arguable/evident that show Medusa was looking for an excuse to petrify Annabeth and Grover (at minimum) regardless of anything.

Honestly, I would have had the show loosely play it out as: book arrival (they dont know its Medusa), keep the dumbass energy and banter, the trio figures out it Medusa while they're eating, Medusa is the more sympathetic version we see in the show, regardless it still ends with the battle.

Also, I do mourn the book battle. The panic and absurdity is just handled better imo. Annabeth shoving them off the bench, Grover flopping all over the place with the shoes but actively getting a good few hits in, Percy having to use to the reflection to behead her... the #TeamWork was emphasized a little more there to me.

Characterization

I think the show is absolutely nailing certain parts of the characters.

They've gotten Percy's anger and his derision towards the gods down. But, I think they're actually underscoring some of his, idk, sincerity? His kindness? It was the line "she met a pinecone's fate" that just rang off to me. While undoubtedly funny, it's just such a stark difference from his reaction to Thalia's story in the books, where he was unsettled by her fate and felt a sincere sympathy for her. The line in the show I assume is meant to criticize the gods, but still, it feels like it comes at the expense of the sensitivity that he has.

They've gotten Annabeth's bluntness, intelligence, pride, and superiority down cold. No question about it. But I feel like they just need to let her be more of a 12yo kid?

Like. In canon she and Percy banter and argue over the silliest of things. She plays hacky sack with Grover and Percy. She blushes and hyperventilates when Luke interacts with her. Episode 3 is like the first time we've gotten to see her do something remotely childish (buying all that candy) and I'm just dying for more of that!! She's not the "mom" of the group and she has her canon dumbass moments. I'm hoping more of this is captured moving forward. They've gotten a good start on the banter, but let Annabeth be more silly! Cause she is!

(Absolutely none of my personal qualms about the characterization are Walker or Leah's fault. They've done amazing. It's the writing/directing I'm side-eyeing).

OH! And I'm sorry but Percy being like "Annabeth we're going to bury medusa with your hat on" would have never ever flown with Annabeth. In no world.

But Grover eating them up at the end? Iconic. Good for him.

[birder-of-remnant]

A Story Done Right

Kill Bill, The Princess Bride, Blue-Eyed Samurai, Wrath of Khan. Our media is saturated with revenge stories. Even children's tales often have revenge as a sweeping premise (e.g., the countless Star Wars villains as a modern example, but older tales such as Cinderella were even more rife with vindictive messages). And to be honest, I have never cared for this plot type.

Revenge stories are usually violent, merciless, myopic, and pretty disregarding of 'collateral' losses. Not all, but most lack any type of interesting moral symbology and substitute dynamic storylines and complex character development in lieu of exciting action scenes and a prosaic fixation on bloodshed. There are certainly exceptions to this, many of the titles I listed above actually have a lot of great things going for them. But I would say that these qualities are in spite of their focus on revenge and not because of it.

And there are an endless number of animes, movies, books, and other stories based on revenge that simply do not appeal to me (not judging other people if they like violent action media, just not my personal taste). Most of the time, I am just left feeling empty at the end, like Neo after volume 9.

But there is one exception to this theme. One revenge story that leaves me feeling whole, not empty. From the banner image, I think it is pretty obvious which story it is. This is my own highly subjective opinion, but I truly believe that the fight with Adam represents the perfect revenge story. And here is my reasoning.

Revenge is Not The Hero's Purpose

In too many stories, the premise begins with douchebag 'X' killing damsel 'Y', leading to hero 'Z' killing a lot of henchmen and blowing up a lot of buildings all for the singular purpose of making Mr. X pay. Once they achieve this purpose, they look around aimlessly before wandering off to have a milkshake or play golf or something. Yeah well, this story does not do this. Killing Adam was never the objective for Blake and Yang, because they have actual goals that involve saving people and not just executing some vendetta.

Don't get me wrong. I love redemption stories, I find them so much more satisfying, especially when the character in question has to struggle to overcome the gravity of what they have done (note: a redemption arc does not mean instant forgiveness, it might never end with actual for absolution for what they have done). I love Emerald's story and think it has a lot of interesting twists that it can take. But there are some characters who are just too far gone to save. And Adam fits that perfectly.

He has a tragic backstory and I truly pity him. But he is also an abusive, murdering shitlord who manipulated and groomed Blake (I wouldn't be surprised if he physically or sexually abused her, which is somewhat implied by her frequently defensive body posture, but is not definite). He kills out of spite and represents Yang's demon, who she could have become. It was cathartic to watch him fall, but I am ever so grateful that his demise was not the purpose of Blake and Yang. Because killing him out of spite for what he did to them would not be much different than the way he lashed out at others for the traumas that he has endured. Some might call it justice, but justice and revenge are two sides of the same coin and the edges between them can be blurry.

The point is, Yang and Blake are so much more than Adam. They killed him out of necessity, not out of hate.

They Are Set on the Future

As I mentioned, I often feel empty at the end of a revenge story. When the villain lies dead within a pool of their own blood and the hero has achieved everything they sought to accomplish, what more is there really? Often, I feel like the story has reached its ending without really achieving anything of note. Often, without really making the world a better place. A plot about revenge is not the same as one about taking someone down to save other people. The former is what Adam wanted and it would have made the world a worse place. But Yang and Blake are protectors. The fight was exhilarating and satisfying, but it ultimately humanized these characters whereas most revenge stories do the opposite, treating human life as cheap entertainment to be killed in the most 'epic' way possible.

But more important, the fight left me feeling excited about the future, rather than feeling burn out from seeing the villain die. Adam was fixated on the past. He was a character of the past. He represented Blake and Yang's trauma, their old demons and fears. He had no further place in their character arcs, because they had evolved into something so much more. Killing Adam was not the end of their story as it is in so many revenge plots. It was simply a new beginning. It felt whole and wholesome. Past, present, and future.

Because it is the People Who Matter

Ultimately, the fight was never about killing Adam. It was about bringing Yang and Blake together. About having them overcome the demons of their past. About the importance of mental health. About their individual traumas (abandonment issues & PTSD for Yang and Blake's fear of hurting others). About the challenges that LGBTQ+ people face in finding security in a hostile world. It was about these two, fucking amazing characters and the ineffably wondrous relationship that forms between them. One based on actual fucking support, equality, and love.

That is all I have on this right now. Hopefully, I did not offend too many people by criticizing typical revenge stories. But I have been wanting to talk about my love and appreciation of this scene for years. I know there have been so many more people who have discussed these same themes and points before, probably more adroitly than my rambling mess, but this is my rambling mess. Thanks for reading!

Random side trivia 1: Mandy Patinkin, the actor who played Inigo Montoya in The Princess Bride, is famous for his iconic line, "Hello. My name is Inigo Montoya. You killed my father. Prepare to die." Mandy felt that the scene was symbolic of feelings towards the illness that took his father. But regarding revenge against people, he actually dislikes his iconic line and how it idolizes revenge.

Random side trivia 2: I love Jeff & Casey William songs and I just love BMBLY (except or that creepy line about the birds and butterflies knowing, wtf). But as an ecologist, I should note that bumblebees do not make honey. Jeff was thinking of European honey bees. Bumblees are cute, fuzzy, chunky super pollinators that live in the ground, in hollow plant stems, or other obscure spots and are either solitary or have very small hives. They virtually never bother people and are super pollinators, actually much better pollinators than honeybees (which are super awesome cool in their own right, but also highly invasive in the western hemisphere and hurt our native pollinators D: And yes, I cherry-picked the ugliest picture of one that I could find). Many bumblebees are endangered, just like our beloved Bumblebees. Save the bees! AND THE BEES!

[essycogany]

Rare But Not So Rare Sonic Moments. Character Analysis.

Crying

A weird topic I’m more then happy to discuss.

Mandate: “Sonic’s not allowed to get overly emotional.”

I’m starting to think the mandates do break in a few instances. This one specifically is something I’m quite interested in because this is probably one of the rarest emotions Sonic displays. Getting sad/emotional.

Hopefully this essay will be a positive outlook on the mandate.

(Despite being a discussion about negative emotions.)

Examples Of Sonic Getting Emotional

I might not include everything, but the examples I have knowledge of will be stated. If you have anymore examples, I’d love to see them.

SATAM: Sonic cried when he and the Freedomfighters had to leave his Uncle Chuck in Robotnik’s lab.

Archie: The times Sonic cried/teared up was when the weight of a situation got to him, when something tragic occurred and all hope was lost, or when he was filled with joy after those instances ended. Those moments like others, didn’t go too far. (For the most part)

Pretty sure he never out right sobbed.

Underground: I think Sonic only cried when he was a little kid.

Correct me if I’m wrong.

X: In episode 52 Sonic allowed his tears to shed with his head turned away from us. He and Chris ran one last time before Sonic left through a portal to go home forever. It obviously crushed him even if we didn’t see his face.

Boom: Sonic cried/teared up in two episodes of the show. First when Tails was reminiscing about the Tornado and noticed Sonic wiping his eyes. Sonic replied, “What?” Then he, Knuckles, and Tails all cried when they thought the baby they took care of was gone. Also, in Archie when Stick’s rock friend broke or “Died,” everyone in team Boom morned it. Sonic included.

IDW: Sonic shed tears in the Scrapnick Island Issue. Even if it was “Mecha Sonic’s” tears I’ll count it anyways because it’s a good loophole and it came out of Sonic’s eyes.

Movie 1: It’s implied he indeed cried during the baseball scene. The sources being a deleted scene and story-board of the film.

Prime: This doesn’t really count, but Sonic teared up in the first episode when he was held captive by the Chaos Council and had light blasted in his eyes, when he was in darkness. Then Sonic actually cried in episode 7 when he ate a seadog. Either because he was home-sick or starving.

(In the last episode of season two it’s implied he might cry in the next episode. Especially with the shot of him looking on the verge of tears and then covered his eyes in the background of the last shot, but we’ll see.)

By the way. You can see the instant improvement from episode 1 to 7 of the tears animation. Just thought I’d say that.

My Overall Thoughts

Hold on because this is going to be a long ride.

First thing I’d like to discuss is the mandate itself.

I personally don’t believe it means, “Sonic shouldn’t cry.”

(Which has been stated a bunch)

If that were the case, I don’t think this majority of moments (specifically the recent ones) would’ve happened. I think the mandate meant Sonic couldn’t and or shouldn’t go too far with his emotions. I don’t think the mandate existing makes any since, but I won’t get into that.

My point is, Sonic can cry, just not in an overly dramatized way unless it’s done for comedic purposes.

(I say that because of Sonic Boom and the 7th episode of Prime examples. Which are obviously not meant to be taken seriously)

My opinions on Sonic crying.

It’s not necessarily needed, but I don’t mind if it’s done well. I do believe Sonic shouldn’t go too far unless the situation does.

One Issue in Archie when Sonic’s entire life was basically ruined, is a good example. If you’re going to have such calamities happen to him, especially since he has zero ego or mask to hold onto, I think it’s a fair enough scenario for him to react as drastic as his misfortune.

But I believe if he were to cry in something like the Metal Virus. (Just for an example) it could be like how Espio teared up after Vector’s sacrifice.

Crazy idea. Let’s talk about Shadow for a minute.

Shadow is one of the most stoic characters in the entire franchise. He barely smiles, gets excited, or displays any overly positive emotions. While Sonic rarely cries, gets angry, or shows any harsh negative emotions. Shadow and Sonic are opposites because of that.

Sonic’s overall a positive and outgoing guy who wants to keep moving forward. Whenever he has the time to worry, he runs. Faces his problems head on. Sonic only let’s a small amount of his true emotions out when helping someone else. In general Sonic’s a pretty optimistic character.

Shadow on the other hand is a reserved and serious guy. Who wants what’s best for the world too, but in a more calculated and planned out manner. But for some reason, in Sonic Adventure 2 after Amy encouraged Shadow to save the world, (Which reminded him of Maria’s real wish) He sheds a tear.

I repeat. Shadow is the most stoic character in the entire franchise. Who rarely shows his emotions. And yet he cries.

Why can’t Sonic? To be fair, Sonic usually doesn’t have time to think, let alone worry about how he feels. But if Shadow himself can have a short moment of releasing his emotional baggage, why can’t the blue blur?

Is Sonic even as happy as he let’s on?

I’d say he’s genuinely happy half of the time. Then the other half Sonic’s internalizing everything negative in him. Everyone knows Sonic’s overall upbeat, but we’ve seen plenty of times (In the Metal Virus specifically) when he’s thinking, or enduring the chaos around him, he doubts himself. Sonic has these insecurities and emotions he barely let’s anyone see.

Besides Issue #24

Even in Sonic Prime while Sonic shows the most guilt, sincerity, anger, fear, and sadness in the show. He sometimes still puts on a front and acts like everything’s fine.

Sonic Unleashed I’m pretty sure was the first and only time we’ve seen him mope for a minute. All because Amy didn’t know who he was. So, he does have some level of insecurities lingering every once in a while.

Can Sonic crying even work?

How I interpret him crying is when he’s alone. Some people theorize in certain instances like SA2 and Unleashed with Shadow and Chip’s sacrifices, he cried a little. I’m fascinated by this idea. I believe it’s the most in character way to let him cry. Maybe even something like X when his face isn’t shown, but you know how he’s feeling.

Even if we do see Sonic’s face, him crying or tearing up could be shown without being over the top. Normalize it in a way that doesn’t fly off the handle. His expression could have a hint of frustration, anger, or exhaustion. Crying is normal and I don’t see Sonic crying as out of character because it’s been done plenty of times.

It’d be nice if it happened in order to make Sonic feel more believable and sympathetic. As long as the dude’s not on the floor whaling, I’m sure it can work.

Final Thoughts

There are other ways to show Sonic’s emotions. Again, crying doesn’t have to happen, but it does help the writing feel less unnecessarily limited of what kind of emotions can be displayed on this character.

Though there are benefits too. Like finding fun loopholes or small animated details like in IDW and Prime. Sonic not crying so much makes the times he does (or may do in the future) feel earned and impactful. The examples before prove it can be done without taking away what makes Sonic who he is. It just needs to be subtle, quiet, and quick. (Or humorous) Depends on what you think.

At the end of it all, Sonic’s a tough hedgehog. Him shedding a few tears won’t ever change that.

Stay Creative! 💜

[littleblackraincloudofcourse]

My thoughts on the lives and deaths of the House of Usher

Prospero - I almost feel sorry for Perry. His ideas weren't bad and unlike his siblings he was doing them himself. I also found it hilarious when he tried to fuck his brother wife. If nothing else that kid had confidence. Fredrick was dick to both of them anyway and she deserved to have fun. If you remove the blackmail and acid rain and that would have been one hell of a party.If Perry hadn't been planning to blackmail everyone he wouldn't have deserved his death. But his death was EXQUISITE. Everything about that scene was so perfect I can't find words to describe it. Everyone involved in creating that scene deserves an award

Camille - We actually got to know very little about her. Her whole story was about finding dirty on the others and managing crisis for the family. Even her death isn't shown. I think the point was that she never got to just be. She lived and died for others but never connected with anyone.

Napoleon - Leo was to me the closest to likable of any of the siblings. He clearly loved them and that may have been the only love he way capable of. He certainly didn't love his boyfriend or anyone he had/was having sex with. He treated people like objects. His death is tricky to categorize. On one side what he did to Pluto was horrifying and anyone who treats animals that way deserves the same fate. But he never actually did any of those things. It was all hallucinations and illusions first from drugs then Verna. He was stressed and grieving and kept finding dead animals everywhere. I would be ready to smash walls in that situation too. He definitely didn't need to be a pet owner but I think his death should have been less torturous

Victorine - I wrote this one last because it was my favorite Poe story growing up and she played it beautifully. That slow steady decent into madness I should have hated this character most of all. Those poor chimps and who knows what other innocent creatures she killed with experiments she knew wouldn't work. Even with her father constantly pushing for progress she should have stopped. Verna gave her so many chances, she wasn't even there when Vic killed her girlfriend or herself. She could have stopped at any point. Yes she still would have died but it could have been painless and less tragic. T'Nia Miller's performance was so good that I actually felt sad for her in that final scene. At least until I thought of the chimps again.

Tamerlane - Knock off Madeleine. Where her sisters hid and guarded their personalities she never had one. Her entire existence was for appearances (hence the ridiculous amount of mirrors). Even when she tries to show emotion she couldn't look at the person she was talking to. Her death might have seemed the most passive but it was shoot beautifully. It was also the only thing she actively accomplished on her own.

Fredrick - Fuck you Frodrick. When his siblings said he was just like their father they didn't even realize how right they were. He might have been worse. His poor wife deserved so much better. I genuinely enjoyed watching the pendulum swinging towards him as he was paralyzed beneath it. I only wish there was more than one so he could feel more pain. He was so much a piece of shit Verna enjoyed killing him. Everyone else got warnings, chances to walk away and have peaceful deaths But this asshole, she knew he didn't deserve one. He got exactly what he deserved. Lying in a puddle of his own piss waiting to die. Seriously fuck that guy

Lenore - This sweet brave girl was the only good the Ushers ever brought into the world. So pure and good even Verna mourned having to take her. I loved that she got to know how much good she put into the world and how many lives she saved. Even knowing from the beginning she would die, it was still heartbreaking to see. At least it was painless and instant

Madeleine - She was cold and selfish but she was also usually right. I respect that even when making a deal with the devil she still had standards. She at least made sure not to have children incase. There is a bit of irony in the fact she didn't want to spend her life serving a man then chaining her destiny to her brother. Gave of serious twincest vibes that I am glad where not explored. Her death seemed a fair balance for her past and mirroring her mother's death brought everything full circle. She fell with the house of Usher. Also sapphire is a good color for her.

Roderick - Without doubt the worst of them all. He knowingly killed millions with his drug. He destroyed any shred of humanity in his children. Possibly worst of all, he knew the damage he was causing and who would have to pay for it but he didn't even blink. Being mentally tortured by his dead children was not enough. He deserved the worst death of all. I understand the poetry of him dying the same way his father did but I wish he suffered more.

[prettyboykatsuki]

wyll, in my opinion, gets the standard fare treatment for characters that are unequivocally good. i.e. people think he's boring and uninteresting. standard fare might be kind actually given the level of racism and unexplained slander (which is often just more thinly veiled racism). his reputation about being boring is not helped by the very blatant neglect of his storyline post his rewrite and release. as a wyll enjoyer i am hyperaware of the sorry state of his current story in all three acts

despite all of that and the glaring flaws - i still believe that wylls storyline is worth of being engaged with and explored.

one of the reasons (not the most major one, but one) i think wyll experiences so much neglect as a companion stems from a wider idea that "goodness" is always the uncomplicated, easy choice.

it's something i see a lot. wyll is boring because of his archetype as a princely and universally righteous guy. and this is interesting, because it always seems to functions under the assumption that wylls moral character is innate. that his heroic and righteous actions are in some capacity, uncomplicated.

uniquely among the male origin companions, through the course of wylls story - there is never a point in which he is at risk of making a truly 'bad' choice. both gale and astarions story have them at risk of making choices that are ultimately bad for them and others (especially tav when each character is romanced). gales godhood and astarions ascension are their in game moral failings. they are the result of having not broke the cycle and are 'bad' choices for the individual character.

wylls main choice is however his pact and the choice to break that pact. notably - wyll is never at risk of making a bad choice, only a selfish one.

from the critique i see of wyll - it seems like this is the element of him people find most egregious. he's too smooth, not rugged enough, not gritty enough. but i don't think wyll's character needs grit, necessarily.

if you take any time to dissect wyll at all, based on dialogue and character interaction, many of his choices put himself at the forefront of sacrifice. the game strips wyll of a lot of agency, but wyll also always abides by and sticks to his core belief. so often towards his own detriment.

not only does wyll bear the consequence of being turned into a devil (stripping him of the last remaining shred of identity he's ever had and one of the most important things in his life), he bore the burden of being banished when he made his pact, and was willing to do the same for the sake of his father when he is taken to moonrise.

and unlike gale (who i adore, to be clear) who's concept of self-sacrifice stems mostly from a low self-worth - the belief that dying is the best he can do - wyll truly views that it's better him than them.

wyll does not think twice about allowing himself to be the one to take the fall. he can play any part, take any role, even when these choices haunt him so obviously. wyll claims that he forgives his father, but opens up to you about fearing his feelings of missing him are one-sided. he believes that making his pact was the right choice, the one he would make again - but doesn't deny the obvious pain and solace that came along with being a wandering traveler and banished son.

wylls goodness is so deliberate. he is so staunch in upholding and acting on his beliefs that it is always narrative to his own detriment. when you view wyll like this , and view his choices with regards this character attribute, it is imo very hard to hate him.

wyll's goodness is his double edged sword. it makes him heroic, brave, fearless. and it makes him scared, uncertain and lonely. again, the story itself is bare bones and i understand that - but it is so very beautiful to me thinking of him and tav or just his general romance.

as wylls romance partner, encouraging wyll to break his pact is as tragic as it very beautiful. tav is wylls one selfish thing. one of the only reasons that would move him to not give himself up. one of the only reasons he is okay with forgoing his beliefs. he loves tav enough to break his own oaths, and make choices for himself and no one else. not as the blade, or as a ravengard - but just as wyll.

and that aspect of him is in my opinion, enforced, by the mindflayer tav ending. in which wylls monster-hunting and morals are made exceptions with / for tav. my enjoyment of hero corruption might be speaking for me, but i digress.

in every way though - i truly love wyll as a character. and while im well aware of the critical flaws in his in game story state, i think it's both unfortunate and unfair that people call him boring. to me he is anything but

[rayroseu]

"you are just as guilty" ⚔️🥀

last cough of art before the update ahkdhkshsksh AAAAAAAAAAA i dont wanna leave Briar Valley yet 😩😩😩😩 Lilia don't gatekeep all the lore,,, dang it,,,💔💔💔💔

sometimes i really do wonder what Meleanor or Dawn's last thoughts before dying..... ESPECIALLY Dawn... Bro rarely has the chances to express his individuality, he's so tragic to be with the Silver Owls sm.. 😭who suppresses all opinions as seen with their soldier garments (all of them basically have the same motifs and design) in contrast,.. Meleanor's army has differently designed mask to highlight the unique faes they are--

I have this thought that like Silver, he cries about the sins of his nation as well... 😭I think he has regrets that he made Meleanor overblot and blames himself for it 😭 (Like how Silver was the last straw to make Malleus overblot-)

I think its a common interpretation that Dawn is heroic, but I don't think of him that way KSJSKS, not because he's not a hero, but because he's a failed one. In the story, it felt like he was "just a person". He's not perfect, he's flawed.

And, I think the existence of "failed heroes" like Dawn is really intriguing in TWST,,,, because the heroic characters here are depicted as "never failing at anything". Like how RSA characters are. They never lose at anything, but ironically the character most inspired by this school (RSA) failed at "being a good hero."

I'm interpreting he failed because he couldn't make his mission come true; peace between fae and humans, in fact he might have worsened it with the passing of Meleanor 😭😭💔💔

The most tragic thing of all his life, was probably the part where he died, not because of the faes, but of his own fellow countrymen... I imagine in this image, what did he even kill Meleanor for? He couldn't make any peace between faes and humans, he couldn't save his country, we're not even sure if he did use Meleanor's magical stone to save the Human King and if he was successful with it, so if he has failed at everything he aspired to achieve, then what else is the point to all the bloodshed he has faced and committed?

In a way, his "punishment" is similar to Rollo's, celebrated by the achievement he didn't want to commit (except its the good guy this time adskjs)

(Thats why I'm sold at the idea of Dawn just giving up fighting at his death bcs theres no way if he did actually had the motivation to fight, he'd lose against fellow humans when he fought Meleanor on solo akhdkhs... unless they reveal how he died as well next update---🙏🏻✨😳/copium)

In a way, its similar to Silver's disappointment too, that he worked all his life to make Lilia proud, to make sure that faes like his Father can be understood better, only for Lilia to leave him all alone yk... 🥹

But on the other side, I don't think he failed too much... because of his losses, Silver was brought to Lilia 🥹🥹

I feel like Lilia will relate to Dawn as well,,, He said in the story that he sympathized with Dawn because he spared tamago Malleus, but I beg to differ.

I think its actually because like Dawn, Lilia is also a knight who failed at everything he aspired to commit to (he took so long to hatch the egg and he failed to protect Meleanor and keep his promise with Levan that he'll take care of his wife and son-) so at that realization, Lilia probably sees that there's no reason to hate him, they had the same fate, so why would he hate his child as well?

He's not living anymore but I think Lilia could see that Dawn probably awaited for centuries to wake his son up from sleep,,, like how Lilia desperately waited and wished that something would hatch Malleus already 😭😭💔💔

JUST... KNIGHT OF DAWN I'LL REMEMBER YOU FOREVER SKDJSK 😭😭😭😭🫂🫂🫂

[meanbossart]

do you have any thoughts on cazador as a character? personally i really loved the parallels between him and astarion & the way that the master/spawn relationship is used as an allegory for cyclical abuse. the scene with cazador’s master’s skull where you find out that he was once victimized in the exact same way that he later victimized astarion was really a lightbulb moment for me re: what vampirism represents in this game.

BOY DO I, i don't think much of it hasn't already been said, though. He's a tragic character in his own right of course, not that that takes away from the awful man he is.

Me and my boyfriend make fun of him a lot, we call him "the best BG3 character" as a little inside joke between us and come up with ridiculous scenarios of things that might have occurred throughout those 200 miserable years the spawn had under his command lol. Maybe he had a month where he was really specific about the shoes everyone wore, maybe once every other decade he had a weird week where he tried to be "nice" only to become frustrated when his efforts weren't immediately met in kind by the rightfully-terrified spawn, maybe between all the torture and horrific-ness he just did some plain weird shit like making someone crouch by in his fainting couch and wait by open-handed for grapes that he dramatically chewed on and then spat right out since he can't actually eat them lmao

And that's hysterical but I think we also started doing that because when you meet Cazador, when you first hear his voice and see his demeanor in person your immediate reaction is probably somewhere along the lines of "THIS is the clown you were so scared of, Astarion?"

And the answer is, of course, yes. This embarrassing little man stuck in a cage of his making instills fear beyond comprehension in Astarion and all his siblings. This man who undoubtedly showed all these spawn, inadvertently, the strangest, most arguably "human" aspects of himself at some point or another during these two centuries they had together is also an absolute monster. And i really like that! I think its far more effective and fitting for his story than if he was, lets say, a Ketheric type.

(this got very long so, more under the cut)

Look at Ascended Astarion in the epilogue now, for example. Everyone agrees that he's an absolute fucking dork - and I think we all also agree that he will go on to destroy the lives of many people beyond repair, especially his own, until the day he is killed.

In the topic of vampirism as an allegory for abuse, I both agree and also don't, at least not exactly - i just think it's deeper than that. I've spoken about this in another post but i find it incredibly refreshing how, to me, it seems like Baldur's Gate 3 has no interest in painting vampirism as sexy or fun past a surface level. It's a curse that nobody asks for unless put in a situation where they feel as if they have no other way out, and it shapes and haunts you for the rest of your undead existence.

Even if you enjoy its benefits at first, that has a time limit. You will see your family and loved ones die, you will see culture evolve while you stay perpetually the same. You will experience so much hurt and pain because the only thing that makes life truly sweet is knowing that it is finite, and eventually it will wear down all of your humanity. And since you can't die unless you are scorched by the sun, staked, or dismembered, you must live with the knowledge that you will never have a peaceful death - and since you won't have a peaceful death, you better not die - and if you don't want to die, you better not be weak - and if you don't want to be weak, you must seek out power at all cost and slash things like love and friendship out of your life.

And what is funny, is that in his attempt to be more like a mortal - to eat, drink, walk the sun, such incredibly simple desires - Cazador (and Astarion, if he ascends) is accidentally only drawing further away from the person he supposedly once was, because that fear of weakness has already utterly corrupted his soul.

That's quite a grim way to look at it, of course. But I genuinely think that it is the natural conclusion of something like immortality.

That's why I quite like that, even after Astarion has found happiness, even after he finds his peace, he still doesn't exactly embrace being a vampire - because It's not something he should be expected to embrace. I think it's a very unique take on the trope.

I also want to leave here this message written by his character writer, which really got me thinking about him on a deeper level since i saw it months ago. It is specifically about the sexual aspect, but I think it branches beyond it too, when you think about it.

[zvtara-was-never-canon]

Have you noted that no one from Azula's family was shown to express love and affection towards her?

That is mostly true. Ozai's affection is clearly conditional (and full on manipulation at worse, like we see in the finale), Ursa canonically favors Zuko to the point that we never see her spending any alone time with Azula like she did with Zuko, and while Iroh gave her a toy like he did to Zuko the toy in question was so OBVIOUSLY wrong for a kid like Azula that it's comical AND show's he did not really know his niece at all.

But there is a constant exception.

Zuko's relationship with Azula is complicated. He clearly admires her strength and power, but he hates how she uses it. She lied to him many times, was seen apparently cheering Ozai on during the Agni Kai, tried to have him imprisoned and even said she'd celebrate being an only child - and then allows him to come home as a hero after Ba Sing Se, even though SHE had the control of the Dai Li and was not yet aware Aang could have survived, meaning she had nothing to gain from it.

And when she lets him know that if he's caught talking to Iroh people might think he is a traitor too, and explicitly says "Believe it or not, I'm actually looking out for you" Zuko drops his innitial suspicion that she wanted something and that's why she was helping him.

On The Beach, he just follows her when she say their old family home is depressing and they shouldn't waste their time there. When she's asking him who she is angry at, she mentions herself and Zuko explicitly says that is not the case.

He doesn't trust her and know she has a tendency to mock or full on lie to him... yet when he wants to know about Fire Lord Sozin he asks her about it, and lets it slide when she mocks him by saying he should make sure the royal painter got his good side - for a character as quick to anger as Zuko, that is a big deal. In Nightmares and Daydreams he also goes to her to find out if he'll be allowed at the war meeting.

More importantly:

1 - Iroh's infamous "She's crazy and needs to go down" line was only said because ZUKO, without anyone putting that idea in his head before, suddenly went "I know what you're going to say. She's my sister and I should be trying to get along with her"

2 - Zuko only jumped into the fight in Ba Sing Se when Azula was being cornered by Aang and Katara.

3 - Zuko looked genuinely shocked and even distressed when she was falling off that cliff. He just sounded so shaken saying "She's... not gonna make it..."

4 - In the writer's own words, Zuko felt no hate but only pity when seeing her breakdown. Katara tried to comfort him because, canonically, even though Zuko and Azula are enemies, this was never what he wanted because he still sees her as family. That's why the Last Agni Kai's music is not the epic you'd expect from a battle, but a tragic one.

5 - Aaron Ehasz, the lead writter for the show, probably the person with the most influence after Bryke, has REPEATEDLY said that he always felt Azula should have gotten a redemption arc, Zuko being an Iroh figure to give her advice and be the only one still by her side when all else was seemingly lost to her forever.

Even the comics (most of which I HATE, mainly because Azula's storyline checks nearly every box for "the mentally ill are inherently evil/less human, so it's fine if literally every other person on the planet mistreats them") didn't fully abandon their complex dynamic.

Zuko is not a perfect sibling, and for a long chunk of the story he seemed too focused on his own issues for Azula to ever be a factor in his mind (aside from the moments in which she was a potential/explict threat), but he DOES still feel a sense of obligation towards her, to the point that it made him do something no one else in their family had done before or since - actually look at Azula. Not the prodigious daughter/perfect weapon, or the problem child that is difficult to handle, or the pontentially deadly enemy that was in the way, but Azula.

His 14-year-old sister that got on his nerves a lot, was far from the kindest person alive, and that he had a ton of issues with, but that he could never fully hate or even be indifferent to. Because she's family. Because he remembers a happier time in which the gap between them didn't seem so big. Because if things had been slightly different he could have been her. Because he went from wanting to be her to seeing just how miserable her life ended up being - especially compared to the one he now had - and feeling deeply sorry for her.

Now if you guys excuse me, I'm gonna go cry in the corner. Have some wholesome/bittersweet fanart if you wanna cry too.

[indigo-casson]

something that i've been thinking about lately is the parallels between star wars: andor/rogue one and tamora pierce's trickster's queen duology. primarily because the star wars brainrot is real and the tamora pierce obsession is forever, but also because they are kind of both tonal and thematic departures from their main 'verses in some similar ways?

in both the star wars verse and the tortall verse, the majority of the media has focused on one individual (or a small group of individuals) who make a profound difference in the world. Whether that's alanna singlehandedly finding the dominion jewel/becoming king's champion/making way for female knights, or luke skywalker blowing up the death star, or daine and numair going to the divine realms during the immortals war, or anakin skywalker becoming a sith and dooming the republic, most of the original material has seen battle and political change as something that is affected by either an actual chosen one or simply a single very plucky and well-placed individual.

trickster's queen and andor, however, really look at rebellion as something that has to be done by a diverse group of flawed people who work together despite their differences. mon mothma knows that her role is raising money. ulasim, chenaol, and the other members of the raka conspiracy each take their individual roles in the rebellion, and recognize that even though they might not want to work with aly or the luarin nobility, they need their skills and influence to make it happen.

both stories also show rebellion as extremely costly and something that requires making tough calls. nobody has their hands clean by the end of a civil war. notably, trickster's queen explicitly narrowly avoids having the protagonists kill a group of 5 year olds. luthen is ready to kill cassian when he becomes a liability, and cassian does kill lots of people, including some allies whose only "crime" is being susceptible to giving up rebellion secrets.

in rogue one, we don't like davits draven because he orders jyn's father killed, and that just feels wrong. jyn is our heroine and it upsets her, so emotionally it's distressing. but of course, draven and cassian and jyn are all working towards the same goal. draven did what he had to--galen erso is a liability as long as he's alive. dove and sarai's little brother elsren has to die because he's a direct heir to the throne, ahead of his sisters. it doesn't matter that he's five and totally innocent. as long as he lives, a luarin has a greater claim to the throne than a raka, and as long as that's true, the rebellion can't succeed.

in the star wars original trilogy, people for sure die! i'm not trying to say that they don't, but it's definitely not something that's shown affecting our protagonists on a deep, emotional level. they're all side characters, or else they come back as force ghosts. the prequels are uh. fucking tragic, but at the end of it, almost all of our heroes make it out. even the casualties of the war are droids vs clones, which is to say, totally interchangeable cannon fodder on both sides!

the number of character deaths in the tortall 'verse is fewer, probably because it's primarily created for middle grades, but even when people do die, they're either demonstrably bad people or minor enough characters that the emotional resonance isn't the same.

by contrast, at the end of trickster's queen, almost the majority of the main conspirators die in battle, not to mention those who don't even make it to the final conflict. at the end of rogue one, all of our heroes are dead, and people aren't exactly making it out of andor s1 in good shape either. more than half of the aldhani team dies on that mission.

I could go on further, but I think my main takeaway is that once you've invested a lot of time and attention and fandom into a 'verse, you have a lot more leeway to tell different kinds of stories. tamora pierce could not have written trickster's choice until after the values and world of tortall were so clearly established, and if she had, it wouldn't have had the impact that it did. similarly, part of what makes rogue one/andor so striking is the fact that it is such a departure from the preexisting values and story format of star wars.

for every chosen one we see in media, there are hundreds of people working behind the scenes to make their big, death star destroying moment possible. the only way to improve society is through collective action, and part of that is that everyone's hands are going to get dirty. i think lots of people want to imagine that they could be like luke skywalker and swoop in 2 weeks before the battle of yavin and become a hero, but the fact of the matter is that that's not how the world works! war requires us to do things that would ordinarily go against our values, but in the context of a drawn out, bloody, thankless battle, maybe we decide the ends justify the means.

[cynthiav06]

Percy is a dude from the category of screaming "what the hell did you do!" and solve all the problems in 5 minutes. Everyone would have been dead a long time ago if it wasn't for him.

I have mixed opinions on this. On one hand, Percy is the type of person to wait about for the problem to disappear by itself just so he doesn't have to deal with it. Cause even before he found out he was a demigod, he was 100% done with everyone's shit.

But I do agree that he would be able to solve all problems because through so many books we have seen that no matter how much prior planning Annabeth or the Seven or anyone else does, Percy always does his own thing at the end. And it works out mostly for the better than whatever initial situation anyone else had in mind because Percy thinks almost too well on his feet. Every time.

But Percy has such low self esteem that he sees the fact that he has to make so many improvisations more so as his plans never working as less so as an exceptional ability to adapt. Especially when at times he can easily sense that some titan/giant is too powerful so he maneuvers around a direct fight and ends up defeating them by pure strategy and still ends up thinking of himself as "Oh shit I seriously had no plans. I am so reckless and stupid".

His whole character arc could have been evolving into a more confident and self assured but still the usual sarcastic laid back version of himself who no longer doubts his own abilities and becomes the great leader he showed many signs of being. But no, Rick had to ruin it all because, for some reason, 10+ books later and almost all the characters are still the same, just decorated with even more trauma. Rick being Rick, and instead of showing characters working out their traumas and insecurities, he just slaps a relationship on them, and lo and behold, all is better again somehow.

I am kind of disappointed that we never got to see Percy or any other members of the Seven do any solo missions(aside from Annabeth in MoA) . She almost had the very quintessential realization about she needs others and how her hubris will ruin everything if she doesn't keep it in check only for whatever she was doing in the later parts House of Hades and all of Chalice of the Gods to take away even that little bit of character development.

And cause solo missions working out perfectly well for Percy while most other demigods struggle a bit to make it work might finally make him realize that his plans don't suck and he is actually a really really good strategist and somehow an even better manipulator. (Though more on that and his observational skills later).

Or make characters like Frank and Leo whose unique abilities and perspectives on combat could have been shown off more, making them all become more self-reliant.

And even so we could finally get proper idea of limits of certain characters like Piper (cause charmspeak isn't going to get her everywhere) or Hazel (we so need more scenes of her surprising demigods and monsters with not only her unique jewel abilities and her magic.) Plus Nico's combat limits, Jason's stamina limits (no I am not considering that part of canon, you can't tell me it's true, I refuse to stand by it), Thalia's character development as well as her honing her powers and combat abilities more.

So yeah, we really should have gotten a few solo missions instead of so many short stories and all. And a bit more cross-over highlighting the power levels between the Norse, Greek, Roman, and Egyptian demigods/magicians/Valhalla residents/Valkyrie and so on.

To sum it up, tons of missed opportunities by Riordan and even more tragic and terrible progression of previously great characters who just needed a well-made character arc or even some favoritism. (I am looking at Grover and Rachel, who both could have done so so much if Rick had only realized the awesome potential they had).

I have said it many times that it's #percy jackson supremacy. So hell yes everyone would be dead without him, and he is arguably the best protagonist out of any other fantasy action book series. All hail Percy Jackson, the master of sass, and the most beloved but somehow still the most misinterpreted character in the fandom. Really liked this ask, would love more of these regarding Percy or any other characters.