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

[lyxthen]

I want to write an essay on how the Book of Bill expertly subverts the "villain with a tragic backstory/antisocial protagonist" narrative by portraying its main character as evil, trying really hard to look cool, and failing pathetically. The book is making fun of him, and that is actually kind of revolutionary, because most stories with evil, pathetic main characters tend to take themselves, and by extension, their protagonist, way too seriously, with way too much dignity, which leads to people misinterpreting them as heroes or idealize them in some way, and then replicating these harmful attitudes. They follow life coaches that will teach them how to be "alpha males."

Bill presents himself as one of these "life coaches," he will teach you the secrets of the universe, he will help you to game the system in your favor, to manipulate people to get what you want, he will free you from the shackles of society and reality itself-- but he is lying. The success rate of Bill's evil schemes is laughably small. He's a manipulator, to be sure, an incompetent one. His dimension rejected him, his friends don't actually like him, throughout the ages humans have found him insufferable, and to top it all off he ruins the relationship with the only being in the history of the universe he has ever truly felt understood by.

And instead of going "gee, maybe there *is* something wrong with me, after all" he doubles down on his harmful ideas. He doesn't have a problem, everyone else is the problem. Nobody gets his vision. They are all small-minded creatures of no value. His failures are always somebody else's fault. He didn't want to hurt anyone, he was forced to. It's not that bad, he's just being silly, he's having a laugh.

And we, as readers, we are horrified at all the bad things he does, but we also laugh. Not with him, but *at him.* He is being constantly ridiculed by himself, and the funniest part is that he doesn't even realize. He thinks he is absolutely acing this.

He isn't.

Eventually, it is revealed that Bill has no idea what he is talking about. That he has been defeated, rendered powerless, stuck forever in interdimensional therapy. The book tells us, "This is what happens to people like Bill if they don't change. They end up with nothing. No riches, no fame, no loved ones. They will be unhappy forever unless they realize there is something about them worth changing and decide to act on it."

This is in contrast to Stanford, someone who, just like Bill, was deeply hurt and rejected by society, struggled to feel understood, and took refuge in a narcissistic (bear with me-) view of the world. Diagnostic labels aside, Ford genuinely thinks he is better than everyone else for being smarter. He is a textbook Aspie Supremacist that swears by IQ tests because it's the only thing that has ever validated him. That's why he gets along with Bill, I think, they really *have* compatible mindsets. Ford really thought Rudolph should've killed the other reindeer. He constantly dismisses Fiddleford in what feels a very classist way (even if he grew up working class himself). Ford isn't manipulative and malicious in the same way Bill is, and I don't want anyone coming at me for saying Ford is evil. He isn't. He might be a bit of an ass, but he has a moral code, he knows that what Bill wants to do is A BAD THING and dedicates his life to trying to stop him. Stanford's biggest flaw is not appreciating the people around him more for their inherent value (not that he doesn't love them! he does!), but he learns, and he changes. He is more considerate of other people's needs and their perspectives.

And by the end, he is happy. He is free from Bill, he has his family, people who will support him unconditionally and will put up with his nonsense because they love him.

Stanford will never find someone who is as smart as him, who has been ostracized the same way he has. But that's okay. He has an inherent value as a person that has nothing to do with how smart he is in comparison to other people. He doesn't need other people's approval to be happy.

That is, I think, what the book wants you to take away. Don't be like Bill. Don't fall for the Alpha Male scam, or eugenics, some new age cult or multilevel marketing scheme, reject the ideas at the base. Talk to your family and friends, touch grass, find a group that shares your interests, but don't dwell endlessly on resentment, and don't follow people that tell you that the only way to be valuable is to be "superior" in some abstract metric, and that they can teach you how.

(As a kid, I almost fell down the alt-right pipeline-- and I am Mexican, transgender, and autistic. I fantasized about blowing up the school every day. I know what the fuck I am talking about when I tell you this.)

They are lying. You don't want to be like them.

You don't want to be like Bill.

[drabbles-mc]

don't mind me getting to this ages after i said i would. merry chrysler to all of us we are catching UP on fics today!!!!! johnny davis first and foremost!!!!!!

OHmg you're just gonna kick it right off with Benny Cross Tension Hours???? absolutely devouring

And you really would never say it to his face, or anyone else’s for that matter, but you’ve even been considering the possibility that Benny might be part of the reason things with him and Betty didn’t work out. <- OHHHHOHOHO READER!!!!!!! YOU JUST MIGHT BE ONTO SOMETHING HERE!!!!!!

Stuff, and other things and what not. <- idk if I've said it out loud before but i definitely say it in my head all the time: i fucking LOOOOOOVE the way you create such unique voices for all of your reader characters. you have so so many talents as a writer and this is DEFINITELY one of them!!!! each of your readers is so unique and fit so well to their respective stories i could weep

The way even you might’a liked him, had you never seen Johnny, of course. <- reader is so real for this. i, too, might have been bewitched by benny if i hadn't rolled up to that film in love with johnny davis six ways to sunday before the opening credits even came on-screen

Sure, you can share as long as everyone’s playing nice, you’re not spoiled or nothing. <- mmmmm this feels like a Famous Last Words typa moment but I've been wrong before so i will 👀 continue to watch closely 👀

Or if he does, he’s still two hundred miles back from dealing with the meaning of it, and you know he’s not planning on running nowhere on those knees of his, so it’s whatever, right? <- the way i spit my fucking drink out over this description of it all. mj you have THEE most way with words I'm kissing you on the mouth right now

“and I never come off no more, so don’t worry about it.” <- first of all, i love the whole leadup to this, of him showing them around like he's giving them a museum tour of Vandals History. on his tour guide shit forreal in the cutest way. but this little add-on had me cackling and kicking my feet. benny's the one flying over the handlebars now etcetc

“Hm, think I have maybe three ‘just under six foot jokes’ left in me,” you promise, “but I’ll spare you today.” <- I'm obsessed with them. if benny gets in the way of reader and johnny, EYEEEE will gladly date reader instead

Yeah, Vandal stuff and you stuff. Two hands at once. No more juggling. But, obviously, there are some Benny shaped parts of that, that don’t seem to be mixing too well at all. <- i am gnawing my way through this paragraph in my mind in the most satisfying way possible. i love the turmoil of it all.

Like Benny was some sort of mystical kind of guy, like he wasn’t really all the way real, or something. <- let's be real, benny is an ethereal thing right out of johnny's dreams that he doesn't remember having

You know which ones you prefer just by looking. And you really know which ones you wouldn’t be caught dead riding on. <- oh they are SOOOO real for this actually 😂 only one type of bike is passenger-friendly and they figured that out right quick lmaooo

So you stand, and it’s quiet, and he looks at the guys getting onto their bikes, engines growling and barking all at once, and you think, my God, you have never survived a silence like this. <- YODELING at the mental image of this. just. reader and benny. 🧍🏻🧍🏻. real shit lmao I'm weak i love them

or maybe he’s from Europe <- MJ YOU CANT DO ME LIKE THIS 😂😂😂😂 I'm fucking weak bro i cannot. i love this so much. i love that reader went from "horrible tragic accident that damaged him forever" to "European". bikeriders was a comedy before it was a tragedy, after all

“I know,” he says back. “Johnny talks about you.” <- OHHH LETS FUCKING GOOOOOOO!!!!!! benny speaks!!! benny spills the beans!!!!!!

To your surprise, Benny laughs at that, and shit, he’s as movie star pretty as you’d expect with a smile on his face. It just gets worse with this dude. <- oh i love this. i love this adventure of reader trying to figure out benny and just having the "oh no he's hot" moment 😂😂 plot twist: johnny and reader have to fight (fists or knives style) for benny 😂😂

“You been with the club long?” / “Feels like it,” he says. <- obsessed with this Old Man Trapped In A Young Man's Body type of answer. benny. a man of multitudes

“You never figure they don’t give names to people that might not stick around?” he says. <- the way that reader and i both went from cackling to real pensive over this

his thigh’s resting against your shoulder and your neck’s half breaking just to look at him <- the way that if i was ever put in this position with him i would instantly be copping a public indecency charge for the things i would do next

🚨DANNY LYON SPOTTED IN THE NARRATIVE!!! THIS IS NOT A DRILL!!!!🚨

but now you’re learning that this whole time they’ve had a walking talking wire tap rolling with them? Asking Q’s and getting A’s? <- crazy that you just come sweeping through here and decide that no one else will ever be able to match your prose. left none for the rest of us!!!!

“Nah. Spends a lot of time over at Kathy’s place.” <- the way I'm well and truly :smugpablo: rn despite the fact that also just....canonically....that's exactly what fucking happened 😂 but kay's dannykathy is in my head giving me brainworms so we are just going to have to run with that!

“I don’t want you talking to him,” he says, “about us. Can I ask that? Am I allowed to ask that of you?” <- i simply cannot piece apart all of the feelings that this little set of statements gave me. much to think about!!!!

“Well, usually,” he says, “when a guy’s going steady with someone—not to assume or presume, Johnny, every journey is a beautiful one—but, well, usually they bring ‘em along to these things.” <- mj the laugh i let out at this was so loud and genuine justin poked his head out from the next room over to ask me what was so funny 😂😂 i can HEAAAAR cal's voice in my head I'm fucking screaming. i love this so so much. kissing him and kissing you.

OHHHHH MJ WE ARE SO BACK, BABY!!!!!!!!!! this was so fucking phenomenal, not that i expected anything less. I'm taking the bikeriders away from jeff and giving it to you, actually. merry Christmas. 😌

white room - pt. 5

johnny davis x gn!reader, 18+, canon typical themes and language, 5.8k words, 5 of ? ao3 link | previous part a/n: hellow :3 we are back after an unexpected hiatus and lips finally gets to meet benny ! very exciting all round <3 i hope you like it and forgive me for falling off planet earth for a bit

Might sound kind of stupid, but recently, you been thinking that you’ve finally got it all worked out—about Benny, that is. Somewhere between the last time you saw him, and the Saturday of the picnic, Johnny’s weird kinda way of talking around him started making a whole load of sense. And it wasn’t just some little joke when he said he didn’t want you knowing Benny, it was pretty much sort of the truth, you think, hidden under all the hums and grumbles of him. He actually was cut up about it a little. Nervous, though someone like Johnny never aught’a be nervous about nothing. And you really would never say it to his face, or anyone else’s for that matter, but you’ve even been considering the possibility that Benny might be part of the reason things with him and Betty didn’t work out. 

Fuckin’ rat up the drain pipe sort of shit, right? Never saw it coming ’til it started scratching at your head one night. You were lying there staring at the ceiling and thinking, huh, Johnny talks about Benny the way you’d be talking about Johnny, should anyone ever ask you about him when you didn’t really wanna say nothing. Eh, he’s just some guy, you’d say, yeah, we hang around with each other, you know, doing stuff. Stuff, and other things and what not. 

Like, he’s got a hold on him, alright, the same one Johnny’s got on you. A real, steel grip, hold. You started off thinking well maybe it’s a jealous type of thing, you know, old guy wanting to step into the young buck’s riding boots, but it ain’t just that. Can’t be. Half of Johnny’s crew are ten years younger than him, but well, they aren’t Benny, right? And there’s something about the way he looks at him—the few times you’ve been around to catch it—something ‘bout the way Johnny watches him. And talks about him. And makes excuses for him, and the way he is. Sure, he may like him like he wants to be him, you know, foot taller, blonde, pretty as anything, but by the time Saturday rolls around and you’ve really sat on it for a while, you’re starting to think: well, what if he likes him the way every girl that ever meets Benny likes him? The way even you might’a liked him, had you never seen Johnny, of course.

Seems obvious once you’ve really put some time into the idea. Nothing about Johnny says he couldn’t be liking men the same way you do and, jeez, maybe you’re dumb for it, but even with all of that, you can’t find a single part of yourself that seems to mind. Johnny still treats you good, still makes the nights feel longer than the days—and he invited you to this picnic of theirs, which he says is only ever for wives and girlfriends and serious things like, so you figure you’re someone real important to him now, cause even if you aren’t one of those things, you’re something, right? And he did all of that with Benny around, so what difference does it make to you? Sure, you can share as long as everyone’s playing nice, you’re not spoiled or nothing.

Well, alright, maybe not share, you aren’t an angel—who is?—but right now, if Johnny likes Benny like he likes you, he sure don’t even know it yet. Or if he does, he’s still two hundred miles back from dealing with the meaning of it, and you know he’s not planning on running nowhere on those knees of his, so it’s whatever, right? Can’t fix nothing if it ain’t broke yet.

“You like dirt bikes?” he asks, while he’s dragging you across this damn field that you spent all morning riding for, grass wet from yesterday’s rain still. No place for any sort of picnic you’ve been to, but for Vandals, sure, it’s like a natural haven to them or something. 

“I never liked any sort of bike ’til I met you, Johnny.”

“Yeah,” he winds, like he knew as much but didn’t really care in the first place, “few of us are gonna race ‘em. See that track there?”

You see nothing but a whole load’a mud on top of another bunch of it. “Mhmm.”

“That’s where this whole thing started.” 

“And when you go spinning over the handlebars, that’s where it’ll end it up,” you say.

He laughs, but he goes on, “I’m serious,” through the smirk of it. “That’s where me and Brucey got the idea for the club in the first place. Well, that and, yeah.” He nods. “Here, when we was racing.” He waves toward the tracks in the dirt, and the bikes in the dirt, and the men that are fifty-percent fuckin’ dirt, like the whole lot is some sort of sacred ground to him, like he’s just a humble guide blessing you by bringing you here, then he says, “and I never come off no more, so don’t worry about it.”

And you like him enough to go along with it, cheesy Colby Jack that you are. “It’s something special,” you tell him, mostly meaning it. Well, all the way meaning it, but only in the way people look at scraps of metal in a museum cabinet, and think that it’s really something just cause the guys in tweed say that it is. 

“Benny race with you?” you ask him.

“No,” he shakes his head a little, “not his kind of…”

“What, you gotta be short like jockeys to race or something?” 

“No—“ he shoots a confused look at you, then realises that you’re joking, at his expense, and forgives you for it too, all in the same sort of moment, “—would you give it up with that?”

“Hm, think I have maybe three ‘just under six foot jokes’ left in me,” you promise, “but I’ll spare you today.”

“Yeah, you will.” And it’s as much a threat, as it is an invite, cause he’s smiling like a little something or other, and your lips find his in a real awkward, bumpy, kind of way, noses knocking as you walk, you know. Giggling and stuff. Real cutesy lovebird shit that you wouldn’t be repeating to no-one, if you wasn’t, well, you know.

“So where’d he come from then?” you ask, wrapping your free hand around the arm that you’re already attached to. Half-way close to crawling under his leathers, under the shirt and undershirt too, right under the curl of hair beneath that chain that he wears, if you could. “If it wasn’t the racing, I mean.” 

“Benny?”

“Yeah, Benny.” 

You should probably not be asking so much, now you know what you think you know—even if you don’t know it, and have just convinced yourself that you do—but it’s bothering you, well not bothering, but toying with you. He’s never wanted to say much about him and you figure you should take advantage of that sentimental look in his eye, for research purposes, of course.

“He just. He’s just always been around,” he says. “Came through one time needing something, yeah, and he stuck around when he found it. Like any of us would.” 

“You mean Kathy?” 

His face screws up, sort of like a wince almost. “No—me, the club. He needed someplace to be. Something to belong to, you know?”

“Yeah.” You know. 

“All just gotta have somewhere to belong.”

“And you ain’t let go of him since,” you think, not meaning to say it aloud, but saying it anyway, cause Hell, it’s the truth, whichever way you wanna look at it. 

He don’t like it of course. Tightens up right to the sides of his neck, and wrings his hand around the strap of the bag on his other shoulder. “What’s that supposed to mean?”

You shrug. “Nothin. It’s good he’s got you guys. And Kathy.”

Johnny nods. That, he can agree to, though he don’t look happy about it. You caught him and let him right back out again, cause you’re not looking to pick fights, and that bothers him as much as if you were, apparently. Keeps him all quiet and rigid as you finish up the trek to where you oughta be. 

The closer you get, the less barbaric it seems. Picnic benches, coolers, brave sorts on tartan blankets right on the rain-wet floor, but still, that sticky, dirt bike track in the middle, winding all over the place.

Not bad, all in all, suppose it is somewhere you don’t mind spending your Saturday so much. 

“Sorry,” you tell him, “for always poking my nose in.”

He squeezes your hand. “S’nothin. We’re mixing it up, right?”

Yeah, Vandal stuff and you stuff. Two hands at once. No more juggling. But, obviously, there are some Benny shaped parts of that, that don’t seem to be mixing too well at all.

You know, you and him haven’t talked once, or so much as breathed the same air at the same time, right, which isn’t too crazy, but would be if it goes on much longer than it has. Cause one time, when Johnny came by, he had Cal with him. And you said hi and stuff, before he went on again—well, it was real heavy on the stuff cause Cal talks exactly as much as you do—and another time, Wahoo and Corky were with him, yeah? And sorta, somehow, you met a few of them; not all, not properly, but a few, and never having more than a bit of small talk, you know, but it was something. 

But you never even got introduced to Benny, so you asked him once, and Johnny said that’s cause Benny is either with his lady, Kathy, or with the guys at the club, or on his own, doing something he shouldn’t. That’s it, supposedly. Course, you said, wait, what? You ain’t never gone nowhere alone with him, just you two? And he just shrugged and made a noise like you should quit talking about it, like you were asking something of him that he couldn’t explain. Like Benny was some sort of mystical kind of guy, like he wasn’t really all the way real, or something. Just a guy you only see when the light’s hitting the right place, or the stars are in a line, or some shit.

Well, today, you decided it’s gonna be different, and you’re gonna talk to him. Properly. You don’t got a choice, right? Cause you figure, you don’t know Johnny ’til you know Benny, and you’re getting real hungry for the full picture of him, if he’s gonna be around so much, that is.

“You mind sitting here while I…?” He points to the bikes, angling you toward the bench he’s apparently picked out for you. Front row, not even a splinter. High prize for the VIP. 

“Yeah,” you throw him a good smile, an easy one, “you go ahead. I’ll watch.”

He looks back at you, all sweet, lips curling, then pulls a helmet from that bag of his—cause apparently, these ones need ‘em, but the other kind don’t—and then he’s off, going like a kid. Half jogging, half walking, and heading right over there to the rest of them. 

They’re skinny bikes, these ones, kinda looking like street dogs. All wiry and bite-y, and a whole world different from the big, hulking, spoiled dogs of his usual sort. No shiny curves and nice painted metal here, just rahh, and grrr, and all that sort of shit. You know which ones you prefer just by looking. And you really know which ones you wouldn’t be caught dead riding on. 

You put your hands in your pockets and wait, looking all sorts of all over the place, cause the racers are chatting still, and no-ones going yet, and that bench actually looks as wet as it is rotten, so you got nothing much else to do other than stand there, looking about you some. 

This can’t be all of them, you don’t think, cause you see some faces you know, and a whole load that you don’t, but no where near enough to be their chapter and the new one combined. But then, is it really all that surprising that Vandals, wherever they’re from, aren’t used to turning up on time? It’ll be nearly evening before it’s a full turn out, no doubt, and, God, standing in a field that long? You had no idea what was coming when you agreed to this.

You look down at your boots, splattered with mud, and try to remember the last time you wore them for longer than a few hours. Which was a long while ago, or maybe never—though you do remember how bad the blisters were, whenever it was, so it must’ve happened once—and you suppose Johnny’s worth living through that again, just about, so you decide to stick with what you were doing. Accepting your fate and that, in with a bunch of people you barely know, looking round ’til one of them knows you too—and then you spot Benny.  

And he must’a saw you before you saw him, cause he’s coming right on over. 

He doesn’t say nothing, so you stay standing with your hands in your pockets, wondering if he was looking at you at all, or if he thinks you’re just some tagalong from Milwaukee, waiting for a bike to polish. But then he stops right next to you, and turns back facing the way he came, and puts his hands in his jacket like he’s copying you or something. 

So you stand, and it’s quiet, and he looks at the guys getting onto their bikes, engines growling and barking all at once, and you think, my God, you have never survived a silence like this. You wanna wait him out, but he could be a mute for all you know. You never even thought of that. He could’a taken a hit to the head coming off his bike and lost his nerve for speaking, or maybe he’s from Europe. Maybe he don’t know a lick of English, especially not the kind you’re gonna be talking, you never even thought to ask Johnny about that—what if it’s that? 

And the longer it goes without him saying nothing, the more certain you are that whatever you end up spitting out is gonna be the most insane thing a person could say to someone they never spoke to before. Like how’s your relationship with my maybe sort of boyfriend going? Anything I should know?

“Think the green’s got this one.”

“What?” Not mute. Not mute, and not European. Talking and pointing and waiting for you to say something back, even though he’s not looking at you, up there, under the flop of his dirty blonde hair, but waiting all the same. Like he’s fly fishing and you’re ignoring the lure no matter how much he flicks it. “Green who?”

“The bike,” he says, “don’t know his name.”

“Oh, yeah.”

Green fucking bike, what do you know? You can’t even tell the colour of the one Johnny’s on, you can’t even see him no more really, not when they go up there by that corner there. 

“Sorry, wasn’t paying attention,” you tell him, and you know you don’t sound sorry, but him talking like he knows you has thrown you all the way off. Your big scheme to get in and get cosy now seems real dumb and real pointless. “You’re Benny, right?”

He nods. Then he pulls his arms tighter, denim pockets bunching above his waist, like he’s freezing—which he might be, cause his jacket don’t have sleeves like Johnny’s does. 

“Feels like you’re the last one of them that I ought to be meeting,” you say, and cause you’re still good mannered and things, you throw your name out for him afterwards. 

“I know,” he says back. “Johnny talks about you.”

“He does?” 

He nods again, which is real great, cause it means he talks just as little as Johnny does, but instead of humming and making noises, he just nods and looks at you. Jeez, he really does look at you. Not too long, nothing creepy, you know, but long enough like he might’ve flicked through the file-o-fax in your head and plucked out exactly what he wanted. 

“Johnny doesn’t talk about anything,” you tell him, hoping that whatever he thinks he saw, is the opposite of what you actually said. “What’s he say, ‘I’m seeing somebody’?”

To your surprise, Benny laughs at that, and shit, he’s as movie star pretty as you’d expect with a smile on his face. It just gets worse with this dude. “Yeah,” he says, “thats, er, that’s pretty much it.”

“Figures. I gotta get him in a headlock before he says shit about you—or anyone else that means something to him.”

He’s looking ahead again, but you can see he’s smiling still, even if it’s small. He really is a quiet type, two minutes in and you’re realising as much already. Even when he’s talking, or doing anything, there’s a real quiet to it, which is probably the last thing you expected to learn about him. None of these biker guys are ever like that, not even Johnny, somehow, he’s loud even when he’s saying nothing. It’s in the face, in the way he carries himself. But Benny? You could switch his colours for a church suit and believe that he was a good kid Sunday through Friday, never speaking back to no-one.

Which makes no damn sense, and can’t be the fucking case, and makes you realise all at once that he’s the sort of person you keep around just to try and solve the puzzle of him. Shy smiles and listening ears in a guy like him, riding bikes like that? Yeah, sure. The club might not be doing much as far as you know, but it sure is doing more than that, and yeah, you remember, he said it once, Johnny said Benny got all wrapped up with some cops a few times, so who the hell is this?

“You like the picnic?” he asks, flicking his head that way.

“Depends on whether there’s any actual picnicking, or if it’s just standing around watching stuff.”

“Yeah, there will be. Kathy, she uh,” he rubs his face on his shoulder, like he’s getting an itch and the itch is small talk, “she brought some stuff,” he says. 

“Then I guess I like it,” you say back. “Skipped breakfast.” And real surely suffering for it, stomach aching like you’ve not even sniffed food in years. 

He puffs a short breath through his nose, like he’s laughing without trying to. “Don’t think I’ve had breakfast since the fourth grade.”

You can’t help it, you answer like you’d answer anyone else, Benny or no Benny. “That’s sad. You know that’s sad, right? No breakfasts, not even as a kid?”

He shrugs, and he don’t seem offended, but he don’t seem amused so much anymore either. He certainly ain’t knocking back with a joke like Johnny would have. 

“I think waffles are a fundamental necessity,” you say, just to say something again. Then you put your focus on the track, cause the wheels are back now, spinning and spitting up wet dirt, and the looped route they took might’ve gone around a couple times without you noticing, cause it seems like they’re done. Like someone’s kicked a stand and thrown his helmet and started shouting like he’s a winner.

“Green,” Benny says, like you might’ve been betting against him. 

“And Johnny—?”

“Third place.”

You find him in the group, grinning like he’d won, helmet on, goggles pushed up over the curve of it. “Used to be faster, right?”

Benny shrugs. “I wouldn’t know.”

“You been with the club long?” you ask.

He chances the air, pulling his hands free and a pack of cigarettes along with them. “Feels like it,” he says.

You laugh, though it’s mostly sort of a scoff, and probably sort of rude, but, come on, what’ve you gotta do to get a real answer round here? “Jeez, between your riddles, and Johnny’s half sentences, I don’t know how you guys even found yourself to be friends.”

He cracks a light and takes a drag and you’ve pretty much given up on getting anything more out of him, when he says, “Johnny’s only like that when he’s talking to someone with more to say.”

“Yeah, yeah,” your eyes roll, “Lips, I get it. Course he’s been spreading that around already.” 

“Lips?” He tweaks an eyebrow, looking at you through the smoke.

Great. So you really are just like that. “Dumb name he’s come up with,” you say, though you’d rather not, considering he didn’t know about it until you brought it up. You and your lips. “Why don’t you have one? Don’t seem fair to me. I mean, you got Cockroach, walking round with a name like that, and you get to be just Benny?”

“Things like that aren’t planned.”

“Feels like they are.”

He smirks like you’re real crazy. “And you think I’m a special case?”

“I think you’re the favourite,” you tell him. May as well come out with it.

He snorts. The cigarette smoke goes like an ink spill around his head. “You never figure they don’t give names to people that might not stick around?” he says.

Well, that gets you, because no, you never did think of that. And now that you are thinking bout it, the truth feels like a jackhammer against you and him both. Him, who hasn’t got a name and you, who has one already, willing or not. Johnny wouldn’t stumble into a thing like that by accident, would he? 

“You move around a lot?” you ask, with all interest and no attitude. Cause if he’s right, and that is the reason, he must’a done something to make them think as much.

“Used to,” he says.

“Me too.”

“You miss it?”

“Fuck no,” you laugh, “no, I’m planning to spend a real long time in one place from now on.”

He nods, but he doesn’t comment any more on it, and you take his quiet to mean that he thinks the opposite—well, that and the way he’s looking off now, smoking like he never asked in the first place. All of that seems to you like someone who’s planning on moving around some more, some time, whenever it is, and, if you’re real honest, for a second it reminds you of Mom, and that way she’d be when she started itching for it again. Something new, something unattached. You near enough shiver at the thought. Last thing you want is to be drawing a line between Benny and your mom, at your first big meet-the-family picnic of all places.

“I better check on Kathy,” he says, pointing that way with the red end of his smoke. 

“Yeah,” thank God, “yeah sure, nice meeting you.” You smile, waving as he goes, and he takes all that weird, creeping feeling along with him. 

Half successful, half fucking weird. Benny ain’t the sort you thought he was, but you don’t like him and you don’t dislike him neither, which is probably music to Johnny’s ears, should you ever tell him that. But as he walks away you find yourself watching the back of him, and as dead-ended as the conversation was, you feel like you’re wanting to make some more sometime. Just to work him out, you know? Just to see what Johnny sees. 

* 

“You could’a gone again, if you liked.”

“What? No, nah, one’s alright by me.”

“Got it out your system?”

“Yeah, yeah, couldn’t spend all day away from you, could I? Leave you standing up there all alone.”

Couldn’t, but would’ve, if you hadn’t caught his eye over the way there and given him a look like you were real thirsty for him. Took some fighting inside, you know, to take his helmet off and leave the racing to the rest of them, but he did, sweet as he is, and came and swept you up with all the other guys that are more keen on picnicking like you are. 

And he’s sitting beside you now—well, you sat down on one of them benches there, expecting him to come right up next to you, but he went and sat on the table part, still clearly with you but above you, you see, so that his thigh’s resting against your shoulder and your neck’s half breaking just to look at him. But you kind of like it. Having the head dog sitting over you like that, hand resting on the little bit of skin between your hair and the collar of your shirt. Sure, maybe it’s possessive, and maybe he really is worrying about you seeing something in one of these other guys that you’re never gonna see. 

But the more he does that, running a couple fingers over your neck like that, the more you’re thinking he’s worked out that it gets your stomach doing all sorts of summersaults, and that’s why he likes sitting up there like that. Hell, he can sure enough feel how hot your skin’s getting, so it wouldn’t take a scientist to figure out what it’s doing to you, and at the end of the day, a man’s a man, you know? 

“You not finishing your…what was it again?”

He’s pointing over your shoulder now, at the napkin-rolled parcel of good fucking food waiting there on your lap. You had only put it down for a second to get yourself situated. Would’ve eaten it in two bites if you didn’t have Johnny to think about. “Some kind of sandwich,” you answer. “Though it’s more like a burger in a home that don’t fit it—and yeah, I’m finishing it. It’s good. It’s alright.” 

You can hear him smiling, feel it without even looking back at him to check. “Just alright?” he asks. Then his head’s down by your head, ear by your ear, eyes across the way to where Kathy and Benny are snuggling on the opposite bench. “Now don’t let Kathy hear you saying that.”

Which he says altogether too loud, exactly as he planned to do. 

“Hey, no!” And you hate to admit it, but you’re talking louder like she might’ve heard, just to cover your back that don’t really need covering in the first place. “I mean it’s good. It’s real good! They ran out of regular buns is all.”

Kathy smiles, you think, and Johnny laughs at you relaxing at it—and you would’a liked a kiss or something as an apology for getting you to fret like that, but he just leans back again and runs a thumb down your cheek at the same time, like that’s near enough the same thing. Real charmer. So comfortable already, you know, so sick that he thinks that’s enough, and so perfect and fine and sweet, that it has you smiling while you un-peel the damn napkin. You seem to be taking turns these days, over who has who wrapped round their little pinky, and today it’s your go around that bent little finger of his. Broke it coming off his bike, he says, but you know a fighting injury when you see one, and he’s certainly no type of guy to be avoiding a bust up when it’s put in front of him.

“John, who’s that skinny, mousey looking dude over by Wahoo?” you ask, before taking a mean bite of your sandwich-burger. Then you chew and chew and and God, if Kathy weren’t married, you’d be asking her yourself, before licking your lips and clarifying who you mean, “The one with the camera and the tape recorder?”

“Oh.” He clears his throat, fidgeting enough to make his leathers creak. “That’s Danny. He’s a… I dunno, a sort of journalist, I guess. Yeah. Scouting out stories and things. Been riding with us for a while.”

“Yeah?” Your brows go up, ‘cause that’s the last sort of answer you thought you’d be getting. “He’s out here interviewing you guys?”

“Putting together a book, he says.”

“Hmm.” S’all you can manage to say to that, Hmm. 

On that second or first date of yours, Johnny was real antsy about the idea of you going home and typing out his secrets, and you had to be seeing each other for weeks and weeks before he wanted you to really meet everybody here, but now you’re learning that this whole time they’ve had a walking talking wire tap rolling with them? Asking Q’s and getting A’s? Yeah, feels like something that makes no sense to you, coming from the big boss himself. 

“He’s from New York,” Johnny adds, like he don’t like your silence. Like he thinks you’re weighing this Danny guy up, or something. “S’a good kid.”

“You speak to him much?”

“Nah. Spends a lot of time over at Kathy’s place.” 

Figures. He probably wants to work Benny out the way you and everyone else does—and what better way to work him out, than to get talking with his lady like that?

“Maybe he’ll want to talk to me,” you say.

“Why’d he wanna do that?”

And you don’t like the joke in his voice, so you turn right round to face him, elbows sitting on his thighs. “Why wouldn’t he? I got stories to tell.”

He’s not looking at you, but looking over your head at Danny and Wahoo still. “You’re new to the Vandals,” he says, “you don’t know nothing about it. What’ve you got to say to him about all this?”

You agree as much as you don’t. And you’re itching at the principle of it anyway, so you were planning to keep on going, agreeing or not. 

“I know you, don’t I?” you tell him. “Plus new people got as much to bring to the picture as old people, you know, and when you’re writing something up you gotta have the whole entire picture from as many people as you can get, right—and I know, I like to write too, remember?”

“Yeah, I remember.”

“So why wouldn’t he wanna talk to me? I could tell him a whole load about all sorts of things—how someone like me got all wound up with someone like you, for starters—“

“Alright.”

“And how it feels to be fitting in with a bunch of people that are as much like you as they aren’t like you, you know?”

He’s looking at you now, and in the break you take to get some air and another point lined up, he asks, “You done?” Like you’d been talking forever or something.

And you’re surprised enough that you can’t say whether you are or not. 

“I don’t want you talking to him,” he says, “about us. Can I ask that? Am I allowed to ask that of you?”

“Sure you are, Johnny.” That was beside the point. You was just giving an example, you know, of why Danny might wanna point that microphone of his in your direction. 

Johnny’s looking down at you in one of those sorta ways that reminds you he’s a father still—and a father of two girls at that. The kind of look a guy might give a lion after kindly asking him to put his teeth away. “Feels like maybe you got a problem with it,” he says.

“You don’t want me talking to him about you? Fine.” You shrug. “I don’t mind.”

“Yeah?”

“Yeah, I mean, come on, I just don’t like the implication that I got nothing interesting to say to someone like that.” Which is the truth, and you aren’t anyway shy of admitting it to him. 

He hums in response, and you don’t know if it’s a ‘you’re so funny’ kind of hum, or a ‘you’re getting on my nerves but we’re in public and I can’t say nothin’ kind of hum. And you don’t get to work it out neither, cause Cal shouts from the next table over like you’d been listening to his conversation, and not your own, this whole time.

“You coming, Lips?” he says.

“To what?”

“Car show, couple weeks from now.”

Right, cause that clears it up. “Why’d I do a thing like that?”

He looks down a little, like you caught him feeling nervous about the thing. Like it was prom and you were waiting for him to ask you, or something, lone earring swinging while he doubts himself. “Well, usually,” he says, “when a guy’s going steady with someone—not to assume or presume, Johnny, every journey is a beautiful one—but, well, usually they bring ‘em along to these things.”

You’re laughing. Well, trying real hard not to, cause he’s trying so hard to be… whatever that was, and you don’t mean to come off as rude so early on, y’know? “No, I mean, you bike guys go to car shows? Where’s the sense in that?” 

“S’more of a wheel show,” Cal says.

“S’more of a something to get drunk and start fightin’ each other for no reason,” Kathy adds from across the way, conversation travelling like a bunch of fish going upstream, “you don’t wanna be there, trust me. They just like lookin’ tough to all those nice boys in the 4-wheelers there.”

And you believe her, having said no more that a few words to her in your life, cause if anyone knows about these things, you kinda figure Kathy does. 

“You wanna go?” Johnny asks, before you can say anything about the drinking and fighting part. 

You look up, and he’s frowning like he might’ve asked you something real troubling, or like he’s trying to suss you out, even though he’s already done that and more, you reckon, sussed you out down to the parts even you don’t like thinking about. 

“D’you want me to go?” you ask.

“Well, yeah,” he says, easy but hesitant, “I do, yeah.”

“Then sure.” You turn back to Cal, who’s smoked up like a teenager in the brief moment you looked away from him. “S’pose I’ll be there, then.”

“S’pose we’ll be glad to have you,” he says back, and it’s probably only the weed, but he’s smiling like he means it. Like you’ve spent a whole lifetime with these guys, and not just one muddy afternoon in a fucking field in the middle of nowhere. 

Funny how it works sometimes, ain’t it? Johnny spent so long trying to balance things between you and the Vandals, when all he really had to do was stop worrying so much, and let everything fall together. One big pile of imperfection is a Hell of a lot easier to deal with, and you don’t mind being a part of that. Dirty boots and Benny included. 

~~~~~~~~

taglist: @drabbles-mc @hausofmamadas @garbinge @raven-black102 @lyralu91 @hoodeddreams13 @businesscalamity (pls let me know if i forgot you or you no longer want to be tagged!)

[perenlop]

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.

[newtkelly]

Not to word vomit on you but I can't stop thinking about Oliver wanting a love story like Tarlos and how it all accidentally lined up.

Knowing that Carlos and TK were about to move in, and then Carlos made that romantic gesture and TK got scared because it was, "too good to be true."

Carlos is left, confused, puzzled and nursing a broken-heart but still just as in love. What do you mean that TK and Carlos saw a future together, one got scared at that prospect and left before Carlos was the one to leave??

What do you mean that happened after Oliver said he wanted Bucktommy to have a love story like Tarlos; where it was always going to be them?

Then you consider Oliver saying that we might see Tommy and Buck interact during a call and it'll be awkward and who can't help but think of TK and Carlos running into the furniture store and seeing each other for the first time in weeks.

Anyways, sorry to be delusional in your ask box. I'm deep within the Tarlos trenches so this is all starting to look eerily familiar lmao (it could also be Tim is out of ideas, which is most likely the case)

Please feel free to word vomit on me always, I live for it.

Receiving this ask has actually prompted me to share some thoughts that I’ve held back from sharing, just because I wasn’t sure if it was worth it to throw more speculation into the void. But this message is so lovely, and I agree with it so much and so… okay I will share some of my mixed bag of thoughts about this whole situation.

Firstly, I adore Tarlos and LS (even if I don’t post about either much), TK is my baby, and the interesting thing about them for me is that I wound up caring for them more AFTER they broke up and got back together. If Buck and Tommy’s story is formatted as a rom-com, TK and Carlos are a tragicomedy. TK, the heartbroken recovering addict thrust into an entirely new city, a new career, who doesn’t want to let himself get too close to something good because he is misery incarnate. Carlos, the hopeful hopeless romantic who sees TK and doesn’t see something that needs fixing, but someone who his love could help heal. It’s such a gorgeous story, and the symmetry of both characters shockingly losing a parent in a tragic way is painfully beautiful. I LOVE their love story.

That brings me to Oliver and Tim’s comments. Throughout the Buck and Tommy relationship, my belief that this would be Buck’s final relationship only ever wavered twice. The first time was in the immediate aftermath of their first date (I spent the whole episode thinking that Tommy was actually reintroduced to kick off the bi awakening plotline and Buck was not acquiring a boyfriend) and the second time was towards the tail end of the summer hiatus when I legitimately began to doubt Lou would want to come back given everything that transpired. Other than that, I had full faith that this was it, this was Buck getting off the “hamster wheel”—Tim’s words, not mine.

I had confidence for a few reasons. 1 – the story was always handled with care onscreen and gave us no reason to think they weren’t going to work out. 2 – the chemistry was insane, and I knew it couldn’t just be me because an entire fandom was born. Tim and tptb must have seen what we saw. 3 – the supplementary information funneled to us through articles and Tim’s social media, literally up until post-8x06 never seemed to indicate that their relationship was headed in this direction. A big part of that was the comparison to Tarlos.

In order to protect myself (should I name the list of shows, movies, couples that I’ve fixated on that wound up playing out in dissatisfying ways?), I am awfully pessimistic. The post-episode interviews, articles, + hearing a bit from LFJ and OS has me wondering if this was some mass hallucination. Did we truly cling to something good and blow it up, run with it? Was this always the plan? I’ve wondered if because S7 was so short and S8 required that other characters get the spotlight first/other stories needed to be told and wrapped, and if because of production and scheduling and whatever external reasons, did their relationship wind up having a longer life than was ever intended. Were they ever supposed to make it to six months? Were they ever supposed to make it past the fucking wedding? I have been asking myself this stuff a lot. Alternatively, did something happen that made them want to or have to part ways with LFJ? So many questions, and I’m not sure we’ll ever know.

But… then there’s the delusional side of me, and the reason I haven’t totally abandoned hope is because when I was watching 8x06 live, EVERYTHING in me told me that this is a necessary section of the rom-com formula. Even the call-backs throughout the episode made me feel like the writers are so painfully aware, and that the narrative wants these characters to be together (Miceli’s, Abby, basketball, going to the movies, calling an uber, the loft kitchen, “you’re not ready”)—the motifs were absolutely popping off. I did not think it was the end when the episode ended. I wondered when and how they would find their way back to each other to fulfill the rom-com genre, but what I did NOT expect was to open social media and see articles framing this as the end. I wasn’t surprised when I found out who wrote the articles, and listen—if they bait one side of the fandom, can’t they bait the other? I still have some hope, because at the end of the day, anything can happen with network television. Maybe this is all part of the plan, and the interviews should be taken with a grain of salt. I just don’t know.

Interviews with Tim and Oliver from day one positioned the Buck and Tommy relationship as a queer love story devoid of trauma. Okay, well… huh. From where I was sitting, there was A TON of explicitly queer trauma exposed in 8x06. Their “hurdle” is tied utterly and completely to queerness. Tommy runs because he is a gay man who doesn’t trust that his bisexual boyfriend should “settle” for him, and who would rather be alone than heartbroken, and if that truly is the last of Tommy, it has to be one of the coldest and cruelest exits we’ve ever seen on this show. Do they simply not realize how deeply traumatized both characters come off in that episode, or is it all part of the plan? If the interviews positioning this as the permanent end of bucktommy should be taken at face value, shouldn’t the other interviews that position them as a rom-com (with the formulaic third act breakup, boils and all) be taken as the truth as well? If there was some misinterpretation, why hasn’t Tim said anything—he clearly knows a lot of fans were hurt by what they watched. He must have seen the outrage—why radio silence? Did we truly blow this out of proportion? Are the wheels coming off behind the scenes? I need a tell-all at this point lol

Thank you for the lovely ask, I’ve been sitting with these thoughts all week so this was a good excuse to finally articulate them. <3

[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.

[archivists-decay]

I've been playing Great God Grove from @limbolanegames over and over again recently (If you're seeing this, go give @yugsly and @daylane some serious love! It's a wonderful experience) and I have a very tiny headcanon that the ascended gods actually have very little influence over the world in the traditional "god power" sense.

Some story and ending spoilers under the cut.

My headcanon is that they have some influence, like Miss Mitternacht's crying leading to flooding, Cobigail's vines (which, I'm not entirely sure were even intentional to begin with,) but rather, the benefit of Godhood comes from being given immortality (read: an infinite amount of time to further develop a skill) and notoriety (read: everyone believing you are THE subject matter expert of the namesake you embody).

When Bauhauzzo talks about being only being able to assist you in BuzzHuzz with his voice, I don't think that's just because he's "only" the God of Memory – I think it's because that's about the extent of their greater influence as gods.

Their eternity spent honing their crafts makes their opinions on the subjects infallible to the people - even if we know they aren't.

Click Clack's last few scripts have been terrible? Well, we think they suck, but we have to get them to post anyways – he sees something we don't.

Bauhauzzo wants innovation banned from BuzzHuzz? Seems out of character, but he's remembering something we don't.

Their voices, or what the people believe are their voices, are listened to with reverence when it comes to their field of mastery — and I think that's one of the reasons King might have said some things to Inspekta that he interpreted as "disrespectful."

In the 30+ years of his godhood, Inspektas ideas of Leadership have clearly severely regressed from his time as a human – mostly due to his insecurities, granted – but he didn't spend any of that time polishing up what leadership meant, or helping others grow in their own leadership, instead, resting on his laurels of being adored and keeping his men down so that they continually lift him up. King probably caught on to this and tried to have a heart to heart with him, one that just...was poorly received.

My headcanon makes me think that, tragically, Inspekta had the potential to become one of the most influential and beloved gods in the grove overtime anyways if he had spent as much time working on his genuine leadership as he had plotting and being envious of the others. Not being tied down to a specific location in the grove, having a loyal group of activists willing to spread his ideas about leadership, on top of his skillset being just, a really good general aptitude that anyone can benefit from. Just some thoughts.

Addendum: Also, I think it's interesting that it almost seems like mortals have more power over the pantheon in this Universe. Sure, the gods close the rift, but the rest of the time? Mortals can exile (Huzzle Mug), abandon (Cobigail was left alone for 20 YEARS), and twist the words and intentions (Pretty much everyone) of the gods like it's nothing with very little consequences from the gods themselves — it's a refreshing approach to a fictional mythology and something I'd like to see explored more in fiction.

Anyways, thanks for letting me ramble! I've been thinking about these silly queers all week.

[explaintome]

Dear Mouthwashing fandom, explain to me, why next to the incredible fan art, I find a fuck ton of shipping content, especially between characters where this is highly problematic? SPOILERS FOR MOUTHWASHING AHEAD CN for talk about sexual abuse, death, suicide & violence

DISCLAIMER: I do not shame the general practice of shipping at all. I am a shipper myself and I think it makes up for a lot of interesting dynamics and narratives outside the canon. Shipping is an important pillar of fandom communities and I am unable to forbid you to do it. HOWEVER, in the case of Mouthwashing I want to talk about what, in my opinion, feels tone-deaf to the themes and the canon of the game. But let me start with a short summary of the game before I get into it.

Mouthwashing is basically a visual novel that takes place on the Tulpar, the last manned cargo ship of the company Pony Express. The crew, consisting of Caption Curly, Co-Captain Jimmy, Nurse Anya, Mechanic Swansea and his intern Daisuke, is confronted with a crash against an asteroid and the consequences following it. The story is told out of order to reveal the truth bit by bit. What caused the crash, what happened and how the crew deals with the time afterward being stuck on the ship. Revealing sexual abuse, tragic backstories, the horrible side effects of late state capitalism and the neglect of people in command towards the people they are responsible for.

To boil it down we have two men who, out of societal misogyny, hurt the only woman on their crew by assaulting her or not acting as they should have in their position of responsibility. All of this would not have happened if Jimmy didn't rape Anya and impregnate her, and if Curly had disciplined Jimmy in a capacity possible on the ship and in Jimmy's position as co-pilot. To be honest, with the amount of automatization the ship has, I don't think they need Jimmy if it is not a case of emergency, but I digress. Jimmy is the perpetrator of the story, but Curly is an accomplice in putting his aim of finding a solution and compromise over punishing his subordinate as he should have.

And now to my actual point: I am a big fan of the game, the narration style and the utter tragedy of 5 people losing their lives in the isolation of space, with their company not giving a shit about them. Otherwise, they might have been rescued much earlier or at all. Or had enough cryo pots in the first place. Or a nurse with experience. Or any amount of better equipment and not the most cheap shit that somehow made it through a resemblance of regulations. There are probably no regulations.

Being a fan I, of course, looked into the hashtags on several social media sites, and between the incredible art and analysis of the game, I quickly found shipping content, and I have no idea why. I have literally no idea how that narrative speaks to you in a way of shipping characters romantically/sexually. Especially three shippings really rub me the wrong way.

ANYA/JIMMY

Are you fucking kidding me? Literally, what is wrong with you shipping a victim with their abuser? There was not one interaction between them, that suggest that there was consent or affection, that Jimmy has any sympathy for Anya. He knows what is going on, he knows that Anya is pregnant and takes no responsibility. Even worse, his idea of FIXING this was to kill everyone, at least himself, to avoid responsibility! Same goes for AUs where she kept the baby and is somehow okay and happy? I get the urge to fix it, but that is not a good fix. There is no good fix if you are pregnant due to rape.

ANYA/CURLY

A lot of argument I hear for that is that "at least Curly is her friend and was nice to her" and if that is your whole foundation of argument, I want to ask what your standards for a relationship are. Please know that you deserve more than the bare minimum. Another question in that context: Is Curly really Anya's friend? His friend was abused and instead of protecting her, he tried to reason and help her abuser! That is not the behavior of a friend! There is no "but Jimmy is his friend too!". If your friend is an abuser and that does not make you stop being their friend....why?

JIMMY/CURLY

It feels like it is a law on the internet, that two men who look at least averagely handsome will be shipped, especially if they have the tiniest of connection to each other. I am not even sure if I would call them friends in the first place. It appears that Jimmy, whatever his bad life before that job was (thanks to the developers for not giving us a backstory), he is still absolutely unsatisfied with that he has. He is jealous of Curly and his position, seeing how quickly he takes on the Captain title after the crash and only realizes far too late how hard the position actually is. Curly on the other hand feels a bit like a people pleaser to me. He probably had pity for Jimmy, took him under his wing to help him? Fix him? Whatever it is, it made him ignore Jimmy's bad side to a fatal degree. I respect the toxic yaoi but are you sure?

TLDR; I am worried about how the practice of shipping developed, from a way to extend the canon, explore queerness in cis/straight dominated media, into a compulsion of where some people can't look at any form of media or constellation of characters without immediately smashing them together like dolls. If you do this, maybe step back for a minute and ask yourself if it is appropriate. On that note, same goes in case you defend Jimmy. Why?

[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! 💜

[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

[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.