#I have like two other meta posts to write about her

[galaxy-fleur]

What did you think of Leon and Ada's new relationship in the remakes? Meta wise

I think it's an interesting and more nuanced take on their relationship! Which I definitely like. I see no point in judging OG RE2's love story between them, no matter how cliché and nonsensical it is. It's a product of its time, and it's charming in its own cheesy way. Teenage me cried over Ada's death in there, so I do have a soft spot for it.

But the Remakes offer a fresh interpretation of what happened between them, and I'm definitely interested to see where they will take their relationship in the future (that is if they do, because I wouldn't mind them just having separate story arcs from now on).

If we're talking actual analysis, I'll put down my thoughts. I don't know if you can call it a full-on analysis per se, as it's more just me writing out my personal interpretations on things. So keep that in mind please!

Long post under the cut. I'm talking almost 4k words and way too many shitty gifs (I have no time to make them all polished). I have way too much to say. I'll basically be going over their entire relationship throughout RE2R and RE4R so... yeah.

RE2R and RE4R are two games that offer a full story for Leon's character, and that's a very awesome thing that Capcom has done. I'd even say it's one of the best things they've done with RE recently. Making RE4R feel like a direct continuation to Leon's arc in RE2R makes total sense, and it makes many scenes in RE4R that much more satisfying to play through.

While RE2R does end on a somewhat positive note (much like every RE game has to), Leon's arc in it is very much negative. He loses more than he gains, he's unable to save anyone, and his good intentions end up being used against him. Claire ends her RE2R story by saving a little girl she has come to care for. Leon ends his RE2R story by losing the G-sample, 'losing' Ada without getting much, if any, closure from her, and not saving even a single person he has encountered. Claire and Sherry don't really count in Remake-verse (which I kinda don't like) because their storylines mostly happened separately from each other.

And that's not mentioning that he gets (assumedly, and I am very much hoping we'll finally see more concrete scenes of how it all happened in Remake-verse) pretty much kidnapped and forced into a life he never wanted right after. To say that Leon can't get a break in RE2R is like saying nothing at all. Poor guy gets put through the wringer on every level.

Now, onto his relationship with Ada, and how it ties into everything... It should be said that, while he obviously grows to care about her throughout their short time spent together, he remains suspicious of her. RE2R Leon is naive, but I often feel like people make him too naive. He's not an idiot. He tries over and over again to get answers from her, and he clearly feels apprehensive with her. And I mean... that makes sense. While she does save him multiple times, she keeps her distance from him.

I'd say he starts opening up to her on an emotional level after witnessing Robert having to kill off his own daughter. He directly confronts her, demanding for answers and voicing his drive to do what's right. In a way, that's him showing his vulnerability to her. And Ada uses it against him. After all, it's a perfect opportunity to play on his (rather naive) determination to be the hero to help her achieve her own goals. Ada is also the only figure of 'authority' he has at the moment. Even if her claim of being FBI seems kinda off, she's the only one he has.

And I'll go over Ada and how I interpret her later. For now, just keep in mind that her using Leon is more of a gray area than just some horrible, disgusting thing. I'm just going over the events from Leon's viewpoint here.

So, they team up. Ada starts softening up to him. They share light banter with each other: 'A: After you. L: Gee, thanks.' She expresses concern over his safety (the alligator scene). I'd say that's the point where he starts to care for her on a more personal level from before. As you would.

Him taking a bullet for her was instinctual. I'd say it's a more pivotal moment for Ada's character here rather than Leon's. In Leon's case it's moreso her taking care of him right after that matters. He directly mentions it to her later on (at least I'm pretty sure his 'you protected me' referred to that). I'd say him waking up to find himself tucked in with her coat and his wound taken care of was the moment his 'I care because it's another person who's in this with me' turned into 'I care because I feel genuine attachment to this person'.

Was it romantic? I'd say that's left for you to interpret how you wish. I like to think of it as him just caring for her as a person. Leon is someone who cares very deeply for others, and he's always striving to be the protector to those around him. I kind of think that someone caring for him when he's weak and vulnerable is something that is very meaningful to him. Now, Ada saves him multiple times at that point. But that's the first instance of her arguably going beyond what's needed. Sure, taking care of his wound was necessary, although she could have just let him be as he was for all we know. But tucking him in on top of that? Yeah, that's an obvious 'I care' gesture.

From then on, Leon is following Ada because he wants to trust her. And I do want to ring this home. He wants to trust her. Doesn't mean he does trust her. Because even though he shows genuine care for her, it's clear that he knows she's might not be telling him everything.

He wants her to trust him, so that she'll tell him what she is keeping from him. So that he can trust her.

The kiss scene is a perfect representation of exactly that, I'd say. Honestly, I'll just link this analysis right here, because I pretty much interpret it in almost the exact same way. But I'll go over it in my own words as well.

Leon's growing frustration is in full display here. He turns around from her, he paces, he tries to appeal to her. To just trust him enough to be honest with him. It's clear that he knows Ada might not be telling everything, but he chooses to believe her regardless.

Hence the exchange that follows this:

Ada: 'Hey Leon, trust me?'

Leon, walking up to her: 'Trust me?' (Reversing her question)

Ada: 'Honestly, if I didn't, you'd probably be dead.' (A genuine answer as far as we know, but it's not one Leon wanted to hear, so he shakes his head, mutters 'Right.' and walks off.)

And I do feel like Ada knows that Leon is suspicious of her here. Her reaction once he walks off comes off as kind of panicky to me. She knows she might be losing him, and she can't have that. So, she once again appeals to what she knows is his weak spot. His drive to help others and 'save' the city. It does work. Somewhat. But he's still swaying, so she does the first thing she thinks of. She kisses him.

She, quite literally, cuts off his line of thought so he stops thinking about it. Because him thinking is dangerous for what she's really doing here.

I think it would be very disingenuous to say that that was a kiss of love or affection. It is not presented as such, nor is it addressed that way in all. It was Ada's last attempt at stopping Leon from questioning her any further. How much of it was her focusing on her goals, and how much of it was her effort to 'protect' him from potentially figuring out the truth, is left to your interpretation. But whatever intentions she had, good or bad, it was a kiss of manipulation.

It does shut Leon up, as he's visibly stunned. He doesn't even say anything at that. He just stares at her, then at her hand on his knee. Now, here's the tricky part of it all. Do I think Leon felt romantic affection/attraction to her here? On some level, I'd say yes. But it's definitely no 'love at first kiss' or anything like that. He's confused, mostly. While he spent arguably little time with Ada, it was a time full of meaning. Surviving side by side and protecting one another is no small feat. And Ada did show her care for him.

I think, he chooses to trust her in that moment, because he, once again, wants to believe in her. Even if her kiss felt out of nowhere, and so much of what she says (or rather doesn't say) makes no sense. He chooses to trust her because he wants to think that she's a good person who cares for him.

And so, we come to the pivotal bridge scene once he learns the truth. I do like how he confronts her in a blatantly emotional manner rather than logical. It's not so much about her being a mercenary itself, as it is about her using him and lying to him. That's what he's actually confronting her about, whether he realizes it or not. That's exactly why he tells her to shoot him, fully resolute as he holds her gaze. He wouldn't do that if he was just trying to apprehend a criminal like a good cop would (as he tries to present it at first).

But, he never gets that closure or resolution he was aiming for. Ada lowers her pistol. He breaths out shakily, probably wanting to continue talking, to figure this out. But he doesn't get that.

I do think Ada telling him to take care of himself as her 'last words' is a very painful thing for him. Because it leaves him with no actual closure on what happened between them. Ada chose to not harm him, and her last words to him are ones of selflessness. But she also lied to him and used his vulnerabilities to achieve her goals. And it's not like Leon knows anything about her occupation, and just how much she's involved with it on an emotional level. Maybe she's someone forced to do this against her will. Or maybe she enjoys doing such dirty jobs for all he knows.

That's the thing. Leon doesn't know. And that must be both frustrating and painful. He's basically left questioning all of his interactions with her, how much of it was genuine, whether she was honest with him at all.

And, most importantly, his time with Ada basically proves to him that his drive to protect and save, his willingness to give people the benefit of the doubt - is a flaw, and a weakness. It directly ties into his arc in RE4R. (And his relationship with Krauser, in a way, but I won't go over it here.)

He throws away her bracelet on the train, and I think that kind of shows that he chooses to believe in the pessimistic way of interpreting their time together. He throws it away because he doesn't want to hold on to something that reminds him of her. And, simultaneously, of his mistakes.

Now, let's go through the same events from Ada's POV, shall we? It's a bit more challenging, since we don't get to be in her shoes, but it's still a fun exercise.

Ada's initial interactions with Leon are ones of annoyance. She basically scolds him like a kid for always getting in danger and acts like saving him is a chore. But chooses to help him out regardless. I think it speaks of her humanity despite her line of work. It's an interesting dichotomy that follows her every single appearance pretty much, though not much is done with it (thanks Capcom). But yeah, despite her visible annoyance with him, she saves him time and time again.

She doesn't visibly soften up to him up until that same Robert scene. She's pretty observant from what we can tell, and she probably already had a good idea of Leon's righteous nature, but it's the first instance of her actively playing into it instead of making small snide comments about it ('Trying to save the world?' 'Good luck with that.'). That doesn't mean she doesn't care, though. It's subtle, but the little sighs and changes in her facial expression do show that she's at least a little bit conflicted at the prospect of lying to him on such a huge level (though you can't see most of it with her sunglasses).

It's one thing to say a passing lie about you being an FBI agent, and it's completely another to play the long game by using someone like that. But she needs to accomplish this task, and it already proved to be more difficult than she expected. Remember, Racoon City was Ada's first time dealing with anything of this sort, too. She might be a mercenary, but it's not like she had to deal with zombies and B.O.W's before that. She's out of her depth, and she has someone pretty much offering themselves to her as her assistance.

So, she takes the risk.

While she does join in some passing banter with Leon after that, she still keeps her distance. She's dry and mostly unemotional in her mannerisms. Remember how I said that Leon taking the bullet for her was more pivotal to her in the story? Let's go over that.

It would be disingenuous to say that Ada is a complex character, unfortunately. Most of the complexity she does have, we pretty much have to add on to ourselves. Hell, I'm doing it right now with this entire section! Capcom is doing a way better job with her in the Remakes, but she's still pretty flat as a character. Maybe this'll (hopefully) change in future installments. But for now, we work with what we have.

Either way, we do know that Ada is someone who's self-sufficient and chooses to work alone. She keeps her distance from everyone, and she lives by 'everyone for themselves' ideology. Basically, a total opposite of Leon's 'protector' role. All that to say... someone taking a bullet for her is definitely not something she would expect. On some level, specifically because she would never do that herself. Especially for someone she basically just met. But Leon risks his life for her. Furthermore, telling her to go ahead instead of anything else.

I think that's the moment Ada starts caring for him on a personal level. Maybe she feels like she should repay him for this. Or that she owes him a debt. Regardless, she takes care of him and tucks him in, before proceeding further.

That care only grows once they reunite. Now she's the one injured, and he takes care of her, despite her protests: 'I can do it myself'. Ada is self-sufficient, but Leon offers her his companionship time and time again. We don't know whether that's something she lacks in her life or not. We don't know enough of her as a character to say that. But she's obviously someone who's not used to getting help from others. Again, on some level, because she doesn't do that herself.

Remember, while Ada did save Leon numerous times before, she always acted visibly frustrated by it, like it was a chore she was forced into, despite her choosing to help him herself. Leon, on the other hand, is quick to offer and insist on helping out, very much eager to do that for her. She already made the choice to use him, but now she learns that he's a genuinely good person with a kind heart, and not just some stupid naive rookie.

And so, the kiss scene, again. I already said that her kiss feels like a last-ditch effort to stop Leon from questioning her any further. And I do think she acted on impulse. Thus why she follows up with a hand on his knee and the: 'I'm counting on you'. And I, personally, think she kind of regretted doing that right after. Or maybe felt extra conflicted about the whole ordeal as a whole. The way she slouches and sighs heavily once Leon leaves is very reminiscent of that. It's kind of a mix of 'Fuck, I messed that up, didn't I?' and 'What the hell am I going to do after this?'

It also should be noted that Ada never meant to tell Leon the truth. It would be convenient for both of them. Leon would feel like he did something good, and she would complete her mission with no further issues. Both sides win. But... things go haywire. And she's confronted with the consequences of her initial choice to use him.

It'll be silly to say that Ada doesn't care for Leon. If she truly was this heartless mercenary some would like her to be, she would shoot him on the spot. Her pistol being empty doesn't really matter, either. Leon was basically offering himself up to her, again. Even without any bullets on her hands, she could have easily knocked him out or something.

But, she can't bring herself to hurt him. Because Leon really is a good person that doesn't deserve that. And she knows that, and she cares for him on a personal level on top of it all. We don't know what she was going to do, before Annette shot her. Maybe I'm actually talking out of ass here, and she really was planning on knocking Leon out cold. But, we'll never truly know.

And her last words for him are to take care of himself. Because, in a way, Ada, more than anyone, knows just how selfless Leon is. On some level, it's a wordless 'I'm sorry', if you wish to interpret it that way.

Boy, was that a lengthy mess! Their first introduction to each sure was tumultuous. But we still have RE4R to go through! Though it'll be more about Ada than Leon.

Nevertheless, let's talk about Leon's interactions with Ada. I think we all know he's noticeably harsher and colder to her. It's an interesting change, and it does show that he feels resentment towards her for what happened in Racoon City. We don't know how his initial conflicted feelings morphed into this resentment, but they did.

I don't think nearly enough people mention that he's genuinely being very damn rough with her in their little sparring session. While yeah, you could make an argument that he's holding back, he's not being careful either. Ada has to put in actual effort to fight him off, which she doesn't even succeed in because he takes her off-guard with his intensity.

And he also puts the sharp end of his dagger to her throat. Just to rub more salt into the wound.

I don't think this was him wanting to hurt her or threaten her, though. It was more of a show of strength. Ada approaches him by taunting him and teasing him, like she can do whatever she wants to him. But he's not that same naive rookie anymore. And he shows her exactly that.

A kind of: 'Don't think you can play the same trick on me twice, or you might get burned' message. A message that I think Ada does get.

As for him smirking at her, I don't think that's him being 'happy' to see her or anything. I think that's just him being amused that she still thinks she can play him like that. He grows all cold and distant with her right after.

Leon obviously has a grudge that he hasn't let go of. I actually like how he's almost needlessly petty with her in RE4R. Making snide remarks, calling her heartless and dismissing her on numerous occasions. It shows that he does care. If he didn't, he would cooperate with her with no further complaints on his part. He's purposefully being cold to her to show that yes, he is still upset about what happened, and he will use every opportunity to demonstrate exactly that. It's petty and kind of childish, in a way. But it makes sense for him, and it adds extra flavor to their relationship at this point in time.

Though, he does offer an opening to her in the boat.

'Have you changed, Ada? Or are you trying to use me again?'

It's a good parallel to his: 'Trust me?' In RE2R, and both phrases are used for a similar purpose.

He gives Ada an opening to trust him and be open with him. One that she doesn't take, again: 'What do you think?'

She gives him no answer. Just like she didn't in RE2R. I think, in a way, that kind of gives Leon an answer by itself. He trusts Ada and relies on her when push comes to shove, but he doesn't give her any more openings from then on. I'd say that's his 'I think we both know this is where we go our separate ways' moment.

With Ada, things are way more complicated, in a good way. Separate Ways gave us so much to work with, and that's amazing.

Throughout Separate Ways, we see Ada bouncing back-and-forth on what she wants to do. She's initially very cold and resolute in her job, helping Leon out more like a passing convenience than anything else. She does still help him, though. She's still dealing with the dichotomy of what she presents herself as, and what she actually acts as.

I really like her confrontation with Luis in particular. She's cutthroat and blunt. Almost chillingly so. And she only relents once Luis mentions her own infection. Him telling her of Leon's infection has little effect.

'And why does that matter to me?'

I think that's a question she's asking herself just as much as Luis here. Though, she's still in her cold, self-sufficient mercenary role here. To be honest, I find her relationship with Luis in particular much more interesting in RE4R, but since we're talking about her and Leon here, I'll just say that Luis is the catalyst to her change (so to speak, Ada doesn't really change as a character per se, I'll elaborate on that later). Not Leon.

She confronts Leon face-to-face, quickly being met with the truth that he is not as easy for her to push around now. And I do think she has zero bad intentions there. She was genuinely just playing around and teasing him. Only to figure out that that approach won't work at all. It's kinda cute, honestly. So, she gives him an opening of her own instead. She tells him to leave Ashley, to prioritize his own safety over hers. Because that's what she would have done in his place. Leon is quick to shut that down. Something that Ada probably expected, as she just huffs and gives a knowing 'Right.' to that.

That's the moment Ada knows Leon hasn't changed. Not really. He might be colder, more ruthless and dangerous, but he's still that same guy, wanting to protect others, no matter what. She knows she'll have no success in swaying him at that point. Hence why she tells him exactly that on the boat later.

The next pivotal scene, I'd say, is her watching Ashley wake up and learn of Luis' death. Ada mostly treats Ashley like a nuisance, something Leon has to protect. Because that's his job. But in that moment, she sees the genuine connection they share with each other. She sees that Leon cares. And not just because Ashley is an innocent person he has to save, but because it's Ashley.

Ada's arc throughout Separate Ways is not that connected to Leon, which is a good thing. Similarly to Leon concluding his story from RE2R by saving Ashley and proving to himself (first and foremost) that he can protect someone he cares about, and that his humanity is a strength, not a weakness, Ada learns to accept herself, too. She's visibly conflicted at the start of SW, but by the end of it, she knows what she has to do, and she made peace with that. Her hesitating before going against Wesker in the facility is one of the last moments of her hesitating with her intentions.

But, again, that scene is more about her and Luis. Luis is very important to Ada's character in SW, and I think that's neat.

While the scene itself is kinda awkward, her encountering Ashley during the final battle is another arguably important one. Her watching Leon and Ashley before that was about her witnessing Leon's care for her. Now she sees that Ashley fully reciprocates that care. They are on equal ground with each other.

And so, the final scene between them. I already said that Leon settled on his answer concerning Ada before that. But Ada makes one final opening to him. It's a selfish one. After all, what exactly would happen if Leon agreed to come with? Would they just leave Ashley to die and fly off into the sunset? On some level, I think Ada knows that what she's asking is unrealistic, especially for Leon. But I think it also speaks of her progression throughout Separate Ways. Ada learns to be more genuine with herself, even if it means being selfish or asking something that she knows will be rejected.

So, she shoots her shot one last time. Leon gives his answer. Ada is not surprised by it. But she is visibly upset by it. She knew it was coming, though.

So, they do exactly that. They go their separate ways. At least for now.

[miraculouslbcnreactions]

Since you've mentioned Scarlet Lady in one of your posts, what's your opinion on it?

I've mentioned before that I'm a big Scarlet Lady fan, which is the only reason that I'm comfortable answering asks like this one. I don't publicly criticize the content of hobby creators. That's wildly inappropriate! Punch up, not down.

The linked post was a general discussion of the adaptation process and how @zoe-oneesama did a fantastic job, so for this one, I'm just going to do some general gushing because I do actually like praising and enjoying things!

Scarlet Lady's chosen format (comic) allows it to have this wonderful conversation with canon where it can rely on the framework of canon to tell it's own story while also using canon for jokes and meta commentary. This means that Scarlet Lady is about as close as fan content can get to a direct reboot because it's able to have moments like this one from the comic's first post:

[Image description: Adrien standing in his room after transforming into Chat Noir for the first time. He is beaming and his eyes are shining with excitement as he exclaims, "This is gonna be awesome!"]

A single picture that communicates everything we need to know about Adrien getting his miraculous. When I've done this same thing in fanfic, I had to write out the full scene because that's how novels work. You have to give the full picture. With a comic, you can just quickly acknowledge this thing that we all already know and then move on to the new stuff. A picture really is worth a thousand words! (Or, in my case, more like two thousand...)

This allows Zoe to keep the same akumas that we get in canon without her story feeling like a boring rehash because she can focus on what's different in her version. A novelization of the same content would have to show both the stuff that stays the same and the stuff that changes for it to be coherent. That's a lot less fun to read and write. It's why I basically never revisit canon akumas in my own stuff. It's just too derivative for the written word.

This is one of the big reasons that I loved Scarlet Lady. Because it was able to have that more directly conversation with canon, it was able to take canon and say, "hey, why don't we embrace the tone that you established in season one and retell the story with that vibe?" That's something that I desperately wanted to see, but that is totally unsuited to my chosen artistic form. It couldn't be a novel. It had to be a comic.

If you want to know what a true formula show version of Miraculous would look like, Scarlet Lady is it. It does everything that Miraculous should have done:

Sticks to a lighthearted tone where nothing is ever super serious

Keeps Gabriel entirely unsympathetic

Has slow character development and background hints at a bigger plot as the only serial elements, allowing the individual episodes to be their own story while never feeling incomplete or rushed

Allows characters other than Marinette to shine while keeping Marinette as the clear main character

Makes Adrien narratively important

MAKES THE LOVE SQUARE CUTE SO I CAN ACTUALLY SHIP IT

Understands that Lila and Chloe can't coexist as antagonists

Reverses the love square, which is the best way to tell their story. Yes, I will die on my "love diamond" hill. It's a good hill. Come join me. I'll bring cookies.

I could keep going, but you hopefully get my point. While Scarlet Lady is certainly not the only way to do a formula version of canon, it's proof that a formula version does work! You don't have to go the serious route for Miraculous to be successful.

I want to take some time to gush about the ending, but I don't want to spoil it, so I'll put that gushing under a "read more" in case anyone hasn't seen it. I'll finish out this less spoilerish section with this:

I feel like some people are surprised when they learn that I love Scarlet Lady because - as some of you have probably picked up - it is quite different from my ideal version of canon. I'm not sure why that would stop me from enjoying a thing, though. It's important to remember that our personal ideals are not the only way to tell a good story. There are lots of ways to take what canon gave us and make something wonderful! It's part of the reason that I enjoy being in a fandom.

If I only wanted to see my ideal take on canon, then I'd stick to writing/imagining my own stories. But I don't want that! I like seeing alternate takes, too. Scarlet Lady is one of my personal favorites. It's completely different from anything that I'd ever think to write and that's why I'm so glad that it exists! I like being entertained just as much as I like creating my own entertainment and I don't want to only read stories that look like something I'd write. That's boring!

Spoilers below:

I've mentioned before that there are many, many ways to properly handle Chloe's character and Zoe did such a good job with her take on that! Chloe isn't absolved of all the things she did wrong, but she's also treated as a young woman with the ability to change.

While the comic bares the name of Chloe's alter ego, she was the never the main character. She never went on a journey. The story kept her to her shallow season-one self: a petty brat who just wanted attention. It did this because that's who Chloe was in canon and who Chloe needed to be for the comic to work.

The first time we see any complexity from Chloe is in the comic's final few episodes, which was absolutely the right call for Zoe to make! In a recent post, I talked about how the end of a formula show is the only time when you can break the formula in catastrophic ways and that's what Zoe did. She kept Chloe static until it was time to end the story and that's when the formula breaks. That's when Chloe gets depth because, once she has depth, the formula doesn't work.

That depth is not used to redeem Chloe, but to show us that there's hope for Chloe. That this petty brat who we've been dealing with has some serious issues and needs help. Help that she's going to get far away from the people that she's hurt because her issues aren't an excuse for what she's done. They don't erase the harm that she caused. At the same time, understanding her issues makes us hope that she can be better now and Scarlet Lady took a moment to give us that hope. To show us the START of Chloe's true story.

That is the kind of ending that I have wanted to see in so many properties!!! It was so wonderful to finally get one that did this right. A story that understood that full redemption to the team and damnation to death/suffering are extremes on a scale of possibilities. You don't have to go to extremes! You can fall in the middle and the middle is a perfect, natural place for Chloe to land in this kind of story. Fully redeeming or even fully damning Chloe simply doesn't work in lighthearted formula content. It's too big a lift as canon has already demonstrated.

I also loved Zoe's take on Emilie. I've mentioned that I don't like evil Emilie in part because it makes her revival feel like the start of a new story. She's back and she'd bad, so we have to take her down now! But I don't want that. I want the story to end when Gabriel is stopped. Zoe does this by giving us an Emilie that is another perfect middle ground. She matches canon's uncomfortable implications without feeling like a true villain who is a threat to society.

[battlekidx2]

I'm making this post purely to shout out some incredibly talented fanfic writers from the Hazbin Hotel fandom and my favorite works of theirs.

Did anyone ask me for this? No. Will I post it anyway? Absolutely. The writers in this fandom are too good.

The first fanfic writer I want to shout out is @prince-liest (ao3 link)

I absolutely love their get cared for idiot (Alastor) series (not the official name but they called it that in one of their asks jokingly so it's now the default in my head).

Knock, Knock! It's Your Worst Fucking Nightmare! (this fic gets it!!!! This is what I meant when I said Alastor is growing a heart and part of him is raging against it. He still has ulterior motives and a massive amount of pride and part of him feels like that growing fondness is getting in the way, but he can't stop it. I need to stop before this becomes a long ramble. I've written a couple thousand words on this idea, but this fic is just a better use of your time than any meta I could ever write and way more entertaining :D )

Happily Ever After, and Other Shit Nepotism Can't Buy

The Last Bus Stop in Hell, Now Boarding (Please look at the tags for content warning. Angel and Alastor body swap story.)

They're amazing at balancing on that razor's edge with Alastor where there's a heart in there (really deep) and he's unintentionally growing attached to the hazbin crew, but he doesn't lose his edge. He's still manipulative and an asshole and can easily be the scariest guy in any room. He's in hell for a reason. A+ characterization at all times.

They're so good at writing the complicated dynamics he has with the residents, especially Charlie, and I enjoy how they expand on Alastor's potential dynamic with Angel Dust.

Anything they write from Lucifer's POV is gold too! My favorites are:

Take Two and Leave a Voicemail!

The Care and Keeping of Homo Angelus

I am also 100% here for their Aro!Alastor agenda and I'm enjoying their fic I Love Her, I Love Her Not so far!

The second person I want to shout out is @grayintogreen (ao3 link)

Their series Red Roses and Dead Things consistently gut punches me.

Just like Princeliest, they are also fantastic at balancing on that razor's edge with Alastor. A+ characterization for everyone and I love how they write HuskerDust. It's so soft, especially in the aftermath fic for Learn that Even Death May Die called If My Love Is Tomorrow, I've Forgotten Yesterday (that fic hurt in the best way).

The way they explore the aftermath of Learn that Even Death May Die is incredibly impactful. They capture the unique grief that comes from the reality that there are some things you won't get closure for so well that it's painful.

I can't say enough good things about their series. Genuinely go read it.

I found @lediz-watches (ao3 link) before the first season of Hazbin Hotel dropped (I've been a fan of the hellaverse for a few years now and have been enthralled with the Hazbin Hotel pilot since I first watched it in 2020) and I really enjoy their fics.

My favorite is Suffering Kindness. I love the Charlie and Alastor dynamic they explore in this story. I think I'm just a sucker for the Charlie and Alastor dynamic in general, but this fic hits all the right notes for me. (written pre-season 1 but man is it good. 100% recommend)

LeDiz also has a lot of one-shots/collections of one-shots that are very fun.

The Cure for Inexorable Boredom

Dollface (one-shots about Alastor theories. My favorite is the 3rd one. So fascinating!)

Choice Words (one of the few explorations of Alastor and Vaggie's dynamic that I've found in the fandom)

Don't Say It

I have to shout out @ckret2 (ao3 link) and their phenomenal fic You’ve Got a Face for Radio. This is such an amazing aroace!Alastor fic. (Embarrassingly it was this fic that made me realize I was most likely aroace myself. I’d had fleeting moments of suspecting it but it wasn’t until I saw my experiences laid out in a character explicitly written to be aroace that I put the puzzle pieces together. -_- some of these passages were too relatable.) I cannot express how much I love this fic.

I also like their fics Dumpster Baby and Bitter Grapes.

I have one last writer I want to mention because this is getting really long (whoops). The last one is tiredoflofteranditsshit and their Assume He Has a Heart series (because my favorite character and how I interpret them was not obvious enough already with the fics/authors I've recommended. I had to make it more obvious).

These fics are massive (17k and 26k words) and so much fun. Definitely worth the read. Yet another series that follows up season 1 and explores Alastor’s growing connections and how he lies to himself and pushes against it. Love this series and there’s a lot to sink your teeth into :D

[grainjew]

Nikaposting Pt 1: Crypto-Religion

This is the first of a series of posts about Nika & associated religious practice in the One Piece world. As I write and post the rest of the series, I’ll add links to this header.

Pt 2: Symbology & Syncretism | Pt 3: Joyboy was Shandian | Pt 4: Sun God Tropes

Enormous credit to @oriigami for being my discussion partner through all of this and having a substantial influence on the final product. Check out our ao3 series Joyful for a narrative rather than analytical take on the Nika tradition, and definitely go read her OP blog @kaizokuou-ni-naru for meta and translation fun facts.

-

The Nika Cult is a Crypto-Religion

Terminology note: I will be using cult in these posts in the sense of “cult of worship,” rather than in the modern pejorative sense. Additionally, I tend to use “tradition” rather than “religion” as a general term, because “religion” is a messy and difficult to define concept, while “tradition” is much more inclusive of traditional practices, folk beliefs, and cults of worship that may not be considered religions by Western scholarship.

Raise your hand if you saw Kuma’s church and Bible, concluded “oh, the Nika stuff is basically One Piece Christianity,” and moved on with your life.

It’s an easy assumption to make, and for all I know authorial intent may well stop there. I’m not Oda. I’ll never be able to guess what goes on behind those fish eyes of his. But a second look at the worldbuilding around both Nika and Christianity in One Piece brought me to a very different conclusion: that the Nika cult is a crypto-religion and is, in Kuma’s case, using the outward appearance of Christianity as camouflage.

First of all: We have ample evidence that Christianity (or some variation of it- I’m fascinated by the implied existence of such things as One Piece Jerusalem and the One Piece Council of Nicea) does exist in the One Piece world, and is both fairly widespread and quite legal. Flevance was pretty explicitly Catholic (Law went to church as a kid), Miss Monday and Mother Carmel masqueraded as nuns to imply harmlessness, many if not most of the graves shown in the series are crosses, whatever Usopp was on about with that exorcism equipment, and, yes, Kuma’s church and Bible.

Even mentioning the Nika cult, on the other hand, is grounds for the government to assassinate you with extreme prejudice.

A crypto-religion is what happens when a religion is suppressed to the point that its practice is grounds for exile, torture, and/or execution: Some people will convert. Some people will flee into exile. Some people will die. And some people will outwardly adopt the dominant religion, but will continue to practice their own traditions in secret; ie, they’ll create a crypto-religion.

One of the more famous examples of this is the post-Spanish Inquisition crypto-Jews of Spain and Portugal, who converted to Christianity in public but kept what Jewish traditions and rituals they could in private. To this day, descendants of these conversos whose families have been Catholic for centuries are discovering that their family tradition of lighting two candles on Friday or not eating pork on Saturday are in fact the legacy of a violently suppressed heritage. There are countless other examples of crypto-religions throughout history, both among Jews (my own personal field of knowledge) and among other traditions (for an example that would be known to Oda, the crypto-Christians of Japan).

There’s no way the Nika cult could have survived except in cryptic form. If it ever had physical infrastructure in the form of temples or pilgrimage sites, the government would have sought them out and demolished them long ago if they were not adequately disguised, especially in World Government member states like the Sorbet Kingdom. Likewise, anyone foolish enough to speak publicly about Nika will be summarily assassinated.

In fact, I have doubts that the Nika cult ever existed outside cryptic form, at least in a significant or long-lasting manner. It was specifically introduced as a slave tradition, likely nigh-exclusively oral, practiced in secret either from its inception—if Nika was a figure created by slaves, including the buccaneers—or for a very long time—if it was the cultural or ethnic tradition of the buccaneers, which spread from enslaved buccaneers to non-buccaneer slaves because Nika was a figure that resonated with them. I tend the favor the second option, but either has merit.

As @oriigami said when we were talking about this, Kuma has a church. Kuma has a bible. Kuma worships a god about whom absolutely nothing is written except in the oldest texts.

Additionally, I’ll expand on this more in pt 2 of this series, but the pendant Kuma leaves for Bonney, a large circular sapphire surrounded by eight smaller circular sapphires, matches the circular symbol inset into the crosses of his church. Bonney immediately identifies the pendant as a sun even though it really doesn’t look like one, and it can be surmised therefore that it’s a Nika amulet, and the sun with disconnected rays a Nika symbol. Following this read, and especially because this symbol occurs across the world in other contexts (see pt 2 for my thoughts on that), its presence in the church is a very careful bit of architectural sleight of hand on the part of whichever of Kuma’s ancestors built the place- echoing a very common practice of real-world crypto-religion adherents to mark the true nature of their allegiances and houses of worship in ways only those in the know might recognize.

And on a storytelling level, Kuma’s entire presence in the narrative and in the world has been a tragic saga of appearing to be one way until he’s revealed, again and again, to be the opposite. It makes thematic sense for him to be fooling the world about his faith as well!

[relaxxattack]

Piggybacking off the last anon, what is it you like about Jane so much? I find my feelings on her kind of mixed but I lean towards positive.

okay i haven’t read act six in probably like 5 years so bear with me here. *cracks knuckles*

jane is sooo so interesting and it’s really a shame people miss like everything fun about her.

pre-scratch she used her detective work to literally succeed at tearing down the crocker cooperation, to the point that HIC has to fucking abandon ship and head into another universe to have another shot at her evil empire. pre-scratch jane is also fucking hilarious! if you didnt enjoy her antics with john as nannasprite you must just have no heart

meanwhile HIC breaches a new universe, and her FIRST fucking order of business is to NEUTRALIZE JANE CROCKER because of how goddamn detrimental she was to HIC’s plans the first time around.

not ONLY does HIC pump subliminal messaging and brainwashing into nearly every aspect of jane’s life, she also tries to straight up mind control her basically whenever possible! she ALSO sends assassination attempts after jane 24/7! (people will seriously try to say that jane lived a safe normal life… as if she wasn’t almost killed by walking into her backyard.) this is because HIC is fucking scared of jane, as she very well should be!

jane is also NOT a boring weepy annoying crybaby like everyone and their mother complains about. jane is literally the most fucking supportive friend and emotion-repressing dumbass you could ever hope to meet. jane combines john’s emotional repression and jade’s intentional cheerfulness together into one of the most fucked up cases of emotional repression in the whole comic

act 6 suffers from a LOT of shitty writing choices, but it’s not jane’s fault the whole act turns into a soap opera— and she’s ALSO not the only one who acts all soap-opera-y either! literally all of the alpha kids suffer from this, people just like jane the least so they project it all onto her. despite the fact that she did her very fucking best to NEVER talk about her feelings, to the point where she ONLY started telling people about shit when she was mind-controlled or took mind altering substances to make her do so! and you can say “ohhh that’s stupid she shouldn’t repress things in the first place how dumb” but, one she’s sixteen, and two, everyone eats that shit up when it comes from like. literally any other character.

people (cough hs2 writers) act like she would actually be “pushy” with a relationship on jake— as if she wasn’t literally the one who helped him make the decision to explore dating dirk?? because she thought it was the right thing to do???

jane is incredibly thoughtful and mature and people really throw all of those traits out of the window with preference for a version of the story where she Comes Inbetween Their Fave Gay Pairing as if she wasn’t, again, the one who got them together. jane is also extremely interesting in terms of queerness; she’s got the makings of a really interesting arc, not to mention she’s the only human girl that dresses mainly masc! there’s a lot there that people just don’t care to explore.

people just have less patience for the prospit kids in general. not to mention homestuck fans love to be misogynistic and berate jane for stuff they love the men doing, or claim she’s coming between them when she’s not, etc etc. and then because no one was writing fun meta posts about her, nobody ever rereads the comic to grab little scenes or lines to expand the online discussion about her! and then because there’s no discussion about her, people assume she’s boring and don’t go looking for bits to start discussing, which cycles on and on forever until we have the ripple effects we see of that misogyny today. which mostly consists of, “oh i hate jane because she was a villain is hs2”, or, “i know hs2 isn’t canon but i still don’t care for jane because she doesn’t do anything that interests me.” (and she’s only not interesting because of the cycle i mentioned before causing NO ONE to have meta discussion about her).

idk, it’s been a while since ive read so i could be talking out my ass but that’s what i’ve got.

TL;DR: jane is fucking COOL, she just suffers from intentional fandom ignorance. and she’s also a canonically hot, fat, masc woman, so i don’t know what else you could possibly want.

[stagefoureddiediaz]

Ok so we get this

and this

And I proceed to spiral about colour theory and costume theory and end up writing and expansion to this post I made about Buck in yellow ochre!!! Sorry y'all, you know what that means - my unhinged colour theory and costume meta's are Back!!!

Lets start by revisiting all of Bucks previous yellow ochre wearing shenanigans!

3x06 the yellow ochre sweater he wears when he gets sent home by Bobby - this does after we see Buck and Eddie making up with each other - a moment when we see Buck learning more about himself and growing (read becoming less self-centred and understanding the concept of being part of a team and recognising that he needs to be better about stepping in with Eddie!)

4x02 - Yellow ochre jumper - first in a video chat with Maddie, Chim and Albert, but then more importantly, when he is in his therapy session with dr Copeland - the whole ‘I hide my true feelings from others’ moment - yet another moment of Buck recognising something about himself. I think this is the most key scene in Bucks yellow ochre wearing - more on that in a bit.

4x03 Bucks yellow ochre t-shirt - a t-shirt that matches the shade of the jumper from above, and a moment when Buck confesses to Maddie that he’s in therapy - about being sad and lonely and wanting to be ‘finer’ 

4x04 - the yellow knit sweater from 3x06 is back (yes it is the same sweater) and this is when Buck has his entire life upended and he finds out about Daniel (kicking us into Buck begins)

4x11 - Buck talks to Maddie and Josh about Sue’s hit and run, then talks to Taylor about Sue. This one is a much brighter yellow than the ochres we’ve seen up to now, but I’m including it because I think its relevant to Bucks arc here (also because it connects into the next time we see Buck wearing yellow - the will scene) the concept of being hit with information that leads to Bucks growth and the nature of most hit and runs not being solved, the perpetrator never being caught and therefore not getting closure on something (this is super relevant I promise!)

Then we have 4x14 and two yellow ochre tops - the first is the sweater, this one is trending more towards orange brown, but its still in the ochre wheelhouse! this oe is all about communication - mostly at Buck - Taylor telling him how stupid he was for climbing the crane, receiving a phonemail from Ana to tell him Eddie is awake, facilitating communication between Eddie and Chris and then Buck communication himself - thinking it would’ve been better if he had been shot. Directly communicating to the audience (as much as Eddie) the inner monologue of Bucks own opinion of the point of his existence.

Then we get the beloved will scene and Buck wearing a yellow ochre shirt, still lighter than the other yellow ochre we’d seen up to this point, with the exception of the previous one which is brighter still. again this is mostly about people communicating at Buck rather than him being the communicator - much like with the previous Jumper. It somewhat plays into the concept of Buck being a passive part of his life rather than actively living it - Kinda hard to explain at this point without the context of the costumes from s5&6. I also want to point out Taylor is in that dark green again here - in the scene when Buck opens the door to the Diaz house.

5x03 gives us Buck in that same shade of yellow ochre (bear in mind we haven’t seen him in any other colour between the will reveal and this scene (beyond uniform!) and here we have Buck pushing Eddie and communicating without actually giving much of himself away - yes he uses himself as an example, but he doesn’t actually open up about himself all that much (this is important - its not the time for that and it provides space for Buck to continue his internal monologue about his self worth) after this he goes home to his loft and we get him communication to a Taylor who isn’t actually present in the space - a symbolic scene that shows that he gets just as much from her absence as her presence (a play on the idea that Buck can communicate better with her when she isn’t actually present compared with when she is - its a juxtaposition of the scene from earlier when they were in bed together and she didn’t listen to anything he was saying, or his wants/needs)

5x04 a scene at the Buckley-Han apartment where Buck isn’t communicating with Chim - Chim is very much communication with Buck about his despair over Maddie leaving - Buck obviously knows where Maddie is at this point, but he diocesan’t take the opportunity to communicate effectively with Chim. so This is yet another example of Buck failing to communicate, while some one around him is clearly communicating and this scene has the addition of secrecy thrown into the mix.

Then we have 5x14 - this one is a bit less obvious - its the yellow ochre and black plaid jacket - its an outlier in that its not solid yellow ochre, but it is again a scene where we get communication - this time BUck is actually the one to do some communicating, but like pretty much always, we don’t get him pushing too much and we see him continuing to deflect from making things about himself - he’s desperate to talk about the shooting and its impact on him, but Eddie resists and Buck backs off. the check here is a nice addition because it shows the concept of cross purposes, but also there is less yellow than in other outfits - the black seems to be ‘devouring’ the yellow - almost like a play on the idea that this was Bucks one big chance to communicate, but he doesn’t take it.

That is the last time we see Buck wearing yellow ochre until the end of season 6 - 6x15 and his date with Natalia to be precise! we’re back to that same shade of yellow ochre and once again we have Buck communicating - but its very much playing into what Natalia what to hear. I don’t doubt that BUck wants to talk about his death and resurrection, but we don’t actually see the conversation beyond the superficial overtures Buck makes. This plays into the suggestion that its about him trying to impress Natalia rather than actually about what Buck needs or wants to say. Its once again Buck communicating without actually communicating. something Eddie picks up on in the later graveyard scene and tries to provide the space for him to open up - which Buck doesn’t take.

The theme continues with the the next Buck/Natalia date in 6x17 - yellow ochre once again, this time an open shirt - again its that same shade, and we see a continuation of the Buck communicate via deflection technique he employs - this scene, like his previous date with Natalia, is more about her and the writers showing us her hang ups/ insecurities than it is about Bucks - beyond showing us that they aren’t actually all that compatible - its kind of framed in the same way as his previous relationships (especially Taylor) - Buck playing into what he thinks someone wants him to be rather than being who he actually is. 

This concept is something we see in pretty much all of the previous scenes where Buck is wearing Yellow ochre, this desire to be what people need him to be rather than who he actually is. there are a couple of exceptions - the first time we see Buck in yellow ochre is probably the only instance where we see Buck being somewhat honest with himself - there is an element of him playing the role he needs to to win back Eddies friendship, but I think its coming from a genuine place and is born out of a real desire to be better - he really did learn his lesson. The fact that the next time we see the yellow ochre used is in his therapy session scene where he literally states that he hides his true feelings from others is a big giant yellow ochre flag waving around telling us that when we see Buck in yellow ochre he will be playing into that idea - and that’s then how it transpires in every subsequent scene where he is in yellow ochre.

Which brings me to this new still

no one can tell me there isn’t an air of conflict about that scene - the dark cool tone of the image suggests a coolness to the room - that idea of the cold shoulder or the temperature dropping when there is conflict between two people. their body language is also adding to that vibe - Chris turned in on himself, not sat with Buck, the space between them.

Whatever this scene transpires being about, based on what we've seen with Buck wearing yellow ochre, we can assume its going to continue to play into this idea of Buck not being fully truthful with people and fitting into the role he thinks people want him to pay rather than being true to himself.

I do want to add to this theory by looking at Christophers shirt as well. The grey/ yellow combination is a bit reminiscent of Breaking point (the episode that really is the gift that keeps on giving) becasue we get Chris in grey and Eddie in tan - that is yellowish toned whilst not actually being yellow

There isn't a good screenshot of them together, but the placing of Chris and Buck in the new one has echoes of Eddie and Chris in that scene (one that is interestingly enough playing into the idea of changing family dynamics, but also the moment before and the one that happens afterwards at Bucks loft, directly placing Buck into a parental role (as an aside the idea of Buck being a miracle worker plays into the theme of Eddie looking for magic, just saying!))

Anyone want to play a game of whose shirt does this look like??!!!

Oh you do! well what if I leave these two pictures just here...

yes, yes that is a Chris sized version of that shirt - you know the one Buck was wearing when he and Taylor talked about complicated family dynamics and about telling 'other peoples stories because I hate telling my own' you know that scene about playing a part and not being yourself around people you're supposedly close to! Yes That scene - or how about the scene which happens to be the last time we saw Buck in Chris's bedroom, where Buck talks to Eddie about complicated family dynamics, about needing to have the right outfit on for the occasion, the scene where they talk about retirement, oil and Buck is playing with a dinosaur! yeah see where I'm going with this! Chris wearing a grey shirt that similar to Bucks is Paralleling those scenes - so playing into the idea of history or of thing being outdated and needing to change, of dressing for the occasion (an allegory for playing a role - to fit in to whatever environment you're in rather than being your true self) and most importantly of complicated family dynamics - suggesting that there may have been some change in the dyamics - perhaps this will play into the will (also colour paralleling the will scene as Buck is in yellow ochre and the breaking point scene with Eddie in a yellowish colour and Chris in grey) and perhaps Chris discovering Buck would be his guardian in the event Eddie isn't around. I mean we'll have to wait and see for the actual context, but I will eat my hat if the season 7 scene isn't playing into Buckley-Diaz family dynamics in some way!

Back to this still

I keep flip flopping on if its Buck or Bobby, but right now the lack of grey hair is making me lean towards it being Buck.

This is a still of the back of Bucks head from his coma dream for comparison (blurry as hell as he's not in focus but it looks enought like the same shape of hairline and of Olivers ear for me to feel like its more Buck than Bobby!

I think the shirt is what is throwing me off though because its just so not a typical Buck shirt (excepting coma dream Bucks!).

I've gone back through my notes and I just can't find any examples of Buck wearing this kind of patterning or shirt before, the closest we get is that hideous shirt he is wearing at the hospital after Kameron has given birth

The only thing I can do is scream into the void about check theory because check does't bode well for people - they always end up in the middle of the drama (see my check theory posts linked on my pinned post for more) and while they come out the other side (99% of the time) Buck in check for that scene in 6x18 pretty much doomed his relationship with Natalia (its specific to her and not C&K's baby as Buck wasn't wearing it when he delivered it!) and as that shirt in the still is very un Buck like, has not only yellow ochre in it, but also its a white base (and we all know buck in white is a bad sign!!) and its check patterned - my theory is that this scene is connected to Natalia in some way - either Buck is not being true to him self in more than one way - that things are going to/have come to a head for their relationship (my kingdom for a reverse of Buck to Eddie about Ana in 5x03!!!) and lead to a pretty big change in some way (fingers crossed for Buck to end it and then finally break down and deal with his trauma!!!)

Some other things about that shirt - I've brightened it up in the picture below - the colour combination - the green blue and yellow ochre are giving me call backs to coma Buck (another reason I think it might be connected to Bucks unresolved trauma around his death and Eddies absense in his dream)

Then there is the burgundy stripe in combination with Eddies hand placement and the fact Eddie is wearing a denim shirt - its very Tsunami call back (even the white plays into this as well as Buck was in white when he saved Chris) -

I'm quite probably clowning hard at this point, but the fact we've got Eddie in denim again (not something he wears all that often) in a scene where he puts his hand on Bucks shoulder in that way and with his Christopher watch so very prominent - we'll I might be feeling a certain way about it.

It would make sense to play into that story arc - after all - the opening of season 7 is very much centred around a big water based disaster - its got to bring up a few things for the two of them. If it is related, Eddies Denim being darker at this point would be a nice play on things - the idea that there is more deepness - more depth to his relationship with Buck than there was in early season 3 (it even calls back to flash back Eddie in 3x16 - he is wearing dark denim when him and Shannon fight and Chris wakes up)

Ok thats enough rambling from me! Hopefully i have made a tiny bit of sense! of to go back to screaming in the void now!!

tagging a few people who might be interested! @extasiswings @copyninjabuckley @oneawkwardcookie @spotsandsocks @mandzuking17 @xxfiction-is-my-realityxx @theladyyavilee @mistmarauder

[payphoneangel]

Supernatural: The Showrunner's Challenge

A writing challenge/exercise

I saw this post and thought it would be really fun to make a SPN specific version. Some of these I tweaked from the OG post, some are the exact same, and others are brand new. If you like this, please give the OG post some love for the creators great idea!!

Think you can write better than the showrunners of Supernatural? Let’s find out! This prompt is a writing exercise/challenge to create a ‘season’ of Supernatural via fanfic. Each chapter functions as an episode.

Prompt:

To start, think of what you would change about SPN if you were its showrunner. Would you scrap everything and start from new? Keep the series going with a new season? Pick a spot in the show and diverge from there? Ignore all the plot and play dolls with your favorite characters? 

Write a chapter that works as the Pilot of the show you want to see. At the end of each episode, roll a d12 to see what you must include in the following episode:

Roll a d12:

1. Everything at once: Roll twice, use both. If you get 1 again, keep rolling. Your only way out is to stop getting 1s. 

2. TMWWBK: Give every character in the previous chapter a number. Using a dice roll/random number generator, the character whose number is selected is now the main subject and POV of the next episode. 

For a greater challenge: include any character mentioned by name and any character with dialogue. (i.e. If Sam mentions Bobby, give him a number. If the waitress at a diner talks to Dean, give her a number)

3. Fan favorite: Your most recently mentioned character (or named object) is now beloved by the audience. You must give them a bigger part in the story, a special destiny, or an important new romance or friendship. 

If you roll 3 again; the character must get killed off to motivate their friends/allies/love interest or to serve the plot.

If you roll 3 a third time; either start over OR they come back from the dead.

4. High Concept Episode: Due to plot/MOTW/meddling gods/whatever, the characters are trapped in a different genre than usual. Roll a d6. 

High Fantasy/Sci-Fi

Apocalypse/Alternate Reality 

Time Travel/Time loop

Sit-com/Meta

Crossover/Stuck in a video Game

Slasher/Death Game

5. Filler episode: The next chapter must be completely low stakes and set you at ease. 

For a greater challenge: Flip a coin for each main character. 

Heads: Their filler is full of thoughtful inner world building and characterization

Tails: They are interrogating the milves (i.e. doing something silly and stupid)

6. Mothership: The next chapter must include the characters making references to/listening to/arguing about/having a feelings jam accompanied by... Classic Rock. 

Bonus: If you roll three 6’s in a row, introduce a Lucifer plotline (If you were ALREADY writing about Lucifer.... kill him).

7. Fallen Angels and Special Children: If the last character mentioned in the previous episode has special abilities, they lose them. If that character does not have special abilities, they gain them.

8. The Focus Group: The execs created a focus group to see if audiences would like more romance in the show. Flip a coin to determine the outcome:

Heads: The audience is into it and so are the execs! The next episode needs to involve a deep, sappy confession of either love or admiration between two characters that have not previously been romantically involved. 

Tails: The audience is into it but the execs aren't so sure... The next episode needs to introduce a budding romance between two characters that is only ever alluded to, but never stated outright.

If you roll 8 again:

If you got Heads on the previous flip: The characters have a messy breakup/divorce.

If you got Tails on the previous flip: One character dies right after outright stating their romantic feelings for the other.

9. Familiar Faces: A character from a different season is (re)introduced and becomes plot relevant. (ex: if you’re writing early seasons, include Kevin, Rowena, Ketch, Dagon, ect. If you’re writing late seasons, include Rufus, Cassie, Ava, Bela, ect.)

For greater challenge, assign characters a number and select via dice roll OR

Use a tumblr poll to have followers select

10. J2 Fallout: The two most recently mentioned characters' actors have, IRL, gone through a VERY messy divorce or friend breakup. You cannot put them in the same scene, but they must both remain relevant to the show. 

If you roll 10 again, they reconcile. 

11. Deep Analysis: Roll a d6. The next episode must include the theme of:

Grief

Bodily Autonomy

Family don’t end in blood

Family is Hell/Absent Fathers and Absent Gods

What makes a monster monstrous

Love

12. Are we ever really done? The most recently mentioned character's actor has decided to leave the show. Kill off their character. 

If you roll 12 again for another episode, the character returns.

There's a few bonuses to a character returning, so if you so choose, Flip a coin. 

Heads: the actor chose to come back and the character looks the same. 

Tails: the actor did not reprise their role so the character has a "new vessel." 

The other bonus flip:

Heads: upon return, the character is on the side of the protags 

Tails: upon return, the character is working against the protags

Have fun and happy writing <3

Please feel free to tweak this game however works best for you. And if anyone does actually end up writing and posting something based off this, PLEASE tag me bc I wanna see lmao

Tagging a few writing buddies who might get a kick out of this: @kerryweaverlesbian @shallowseeker @bloodydeanwinchester @gryptids @kingflups

[actual-changeling]

partly inspired by my own meta post that i wrote about it a while ago. i thought about the love confession at the end of triangle for too long and somehow managed to uh. make it hurt even worse. sure, i could have fixed it BUT i can also write the equivalent of making us all chew glass so that's what i did.

800-something words of bittersweet angsty hurt/comfort

———

"Hey, Scully."

Her feet are aching and her body is screaming for rest, and yet she returns to his bedside when he calls, exactly like she always does. The day is heavy on her bones, eating away at her composure and leaving her raw, with her nerves exposed. It feels like she hasn't slept in a week, and all she wants is to go home, have a hot bath, and probably cry for a good hour or two. 

Mulder pushes himself upright, and with her hands grasping the railing, she leans in closer than she probably should; she can still see him floating in the water, no matter how hard she tries to expel the memory.

"Yes?"

Scully can't say what she expected—a 'good night', maybe, or a 'thank you for saving my ass again'. 

But when Mulder looks at her with an unflinching gaze and says, "I love you,"  she breaks. Easily and all at once, a dry twig snapping underneath her heel, a ripe peach bruising as it rolls from the kitchen counter. Her eyes flutter close, her next inhale shakes almost violently, and she falters. The white-knuckled grip she has on the plastic railing is the only thing keeping her upright.

Scully cannot look at him, can't face the determination, the hope she knows she'll find. After a minute of tense silence, she speaks with a quiet, tortured voice, and clings to the last remnants of her self control.

"Don't—don't do that to me, please. Not today."

Mulder's hand lands next to hers, and she stares at the inch of distance between them as hers begins to tremble.

"It's not drugs talking, Scully, I mean it."

I know you mean it, she doesn't say. That's the problem.

God, she's tired. She just wants to go home and forget about all of it, and now he cannot even give her that one last respite. The tears pricking in the corner of her eyes are born of overwhelmed exhaustion, and her strength fizzles and burns out as she attempts to hold them back. She does not want to cry in front of him, never has, and the hot trail running down her cheek feels like a dagger pointed at her chest.

When Mulder sits up and leans in, she squeezes her eyes shut and is about to turn away when his fingertips brush along her jaw. He slowly, hesitantly, traces the lines of her face until he cups her face with his right hand and wipes at the tears with his thumb. 

It's everything she wants at the wrong time, and yet she helplessly sinks into the touch. After a few moments of her allowing the gesture, his other hand comes up, too. Mulder is close enough for her to feel his warmth against her skin and his breath ghosting over her lips.

"I'm sorry," he whispers, and she doubts either of them knows what exactly he's apologising for. 

Saying it. Not saying it earlier. Saying too many things he shouldn't have. Almost getting himself killed again. All of it and more.

"I can't do this, Mulder. Not when—when you could change your mind and take it back."

She can sense him scrambling to respond, and she finally opens her eyes to stop him in his tracks. Not unkindly, she softly shakes her head.

"You will promise not to, but it already happened. You meant what you said until you didn't. You wanted me around until—well." The laugh bursting out of her throat is weak and humourless.

In a flash of panic, Mulder's grip on her face tightens, not uncomfortably so, just enough to cause her hands to shoot up and wrap around his wrists in return. Keeping him in place, pulling him away, she doesn't know. Both. Neither. He does not want her to walk away, and, deep down, she wants to stay despite knowing she can't. 

"Never again," he pleads, an edge of desperation to his voice she heard once before; another missed chance hidden badly from view. "Never again, Scully, I swear."

She's shaking her head before he finishes his sentence, squeezes his wrists once, and then slowly leads his hands away from her face. Immediately missing the warmth, she lingers and keeps them in her grasp. After everything they went through, he's still Mulder, the one person in the world she knows would never willingly hurt her despite having done so before. She still trusts him, no matter how hard she tries not to.

Regret is dripping from her words, and she smiles, if only to soften the blow. She doesn't want to make the situation worse than it already is, but she can't do this. She can't. Not now. Not like this.

"I want to believe that, I really do, but it's not enough. Words aren't enough."

She slowly slides her hands upwards until she can unfurl his fists and press a kiss to his palms. Then she lets go and steps back.

"Get some sleep. I'll see you tomorrow." 

Scully feels his eyes on her for days, no matter how many miles stretch between them. He does not say it again. She didn't expect him to—somehow, it still hurts.

[donnatroyyyy]

A (very long) list of my (semi) unpopular DC opinions

The Batfam shouldn’t work together as a whole big group as vigilantes. Whenever that does happen it ends up being character suicide for AT LEAST two of them and also usually ends up minimizing all of them to one of the skills/traits they’re good at (or the archetypes the writer wants them to be). The only exception to this is if it’s a long arc covering an actual catastrophe where each issue covers a duo or trio within the big group. Otherwise they should stick to no more than 4 ppl at a time in a team up. Also, this obviously doesn’t apply to them as civilians, they’re literally family obviously they’re gonna hang out as a group.

The Teen Titans (2003) is the best writing but (one of the) worst teams. On the other hand the original Teen Titans run and NTT run are the best teams (imo) but have either really bad or really mediocre writing. We as a society need an OG TT or NTT run written well.

Roy struggling with a heroin addiction has so many more layers and nuances to it than struggling with alcohol because as a non-meta hero most of his fights were against something drug-related. As opposed to alcohol which is now seen as a normal thing for soldiers/heroes/warriors to fall on as a crutch, this medium uses alcohol addiction with every other character. Roy’s addiction to heroin would literally be an opposition to all that he’s ever stood and fought for, all that his family and friends ever fought and stood for, and way more interesting because of that.

Garth (like Donna) is one of the most powerful and interesting characters but is never given enough panel time. However, unlike Donna, writers would rather write him out of the teen titans before they actually write a good interpretation of him. And I don’t know why but his role in the Aquafam too has been dwindling with time.

Garth’s openness about his inferiority complex and his inferiority complex in general need more panel time, it’s one of the most interesting thing to come out of the OG TT run

This is a complicated take because it’s literally two opposites in one take, but the main difference in characters as seen in old comics vs. now is two things. One, the writing of characters was much better, much more realistic, and much more nuanced in old comics. Two, when there is a well-written character in modern comics its usually a more show not tell character so everything is shown to us through actions and stuff rather than straight up words or them psychoanalyzing themselves in their speech bubbles and that just doesn’t work with modern audiences because media literacy is a dying art. Also, there’s the variable of the influence of fanon over how characters are written in comics but that’s a whole other post.

Roy and Donna are literally THE OTP like I don’t even want to hear it, they’re literally DC’s percabeth.

Every single Teen Titan had an inferiority complex, some were just easier to see.

Selina and Bruce and Talia and Bruce are two very different relationships that can’t be compared. Also they will always live side by side till the end of comics, this love triangle was one meant to last, and it will.

Jason Todd as we know him right now should get the YJ Roy Harper treatment, we need to find out that he’s a clone and the real JT is somewhere in Africa working for UNICEF or something, that’s the only way to fix his character.

Also, ignoring the top one, if DC doesn’t want to commit to that because they’re cowards, they should at least not make him a part of the Batfam yet, it’s too soon for either side.

Kara Zor El is the perfect character to be a white lantern, her arc literally matches up perfectly with each of the rings, and she’d wield it incredibly

Kyle Rayner is top 3 GLs

In my opinion, Diana is best written when the most important thing to her in the world is the world itself. Like, usually I hate the whole “hero would sacrifice u, villain would sacrifice the world” thing cuz it mostly doesn’t really apply, but to her it absolutely does. Diana would sacrifice the closest person to her for the world in an instant if it was for the sake of the world. And this isn’t like an angst thing because they all know it and are all ok with it.

Also, Diana is one of the most if not the most powerful characters in all of DC, if DC did a Deadpool kills the marvel universe kind of thing they should totally use her because she is sooo powerful. (Afterthought: that’s why I hate most of her appearances in anything JL because they underpower her soooo bad)

I say this as a batfamily Stan, the batfamily is the worst family in all of DC and sadly the one that gets the most attention.

The OG TT are the epitome of superheroes in the sense that each and every one of them defines every part of a superhero spectacularly and always has.

Kory needs an arc where she leaves everyone and everything for a while because as of right now, not only do the writers only ever see her in relation to others, but she sees herself that way. She needs an arc where she finds herself in relation to herself, who SHE is. Away from the love triangle, and the titans, and the Titans, etc.

Babs is a better character outside of the love triangle than she is when she’s in it. (Also a better character as Oracle but that only really unpopular amongst writers)

Every single woman character in DC is written in relation to the men in the comics, even WW. The only exception is Oracle, not Babs, but Oracle, which is actually so twisted considering that the creation of Oracle as a character came hand in hand with an event that literally inspired the cloning of the phrase “fridging”

BOP is one of the best teams

Harley Quinn shouldn’t be a hero yet, she was abused for over a decade, we need to see more of her struggle to undo all of the manipulation and heal from the abuse as well as try to undo all the damage she’s done. The Animated Series is the best version of her arc but it’s still not good either.

We as a fandom(s) need to normalize the ability to consume and enjoy things we don’t necessarily agree with. For example, as I’ve stated before multiple times, I absolutely hate any kind of abusive Bruce, however, I still read those long posts about it and I still read fics where dck punches him cuz he’s an abusive asshole, it’s okay to consume media that you don’t necessarily agree with. And same with fanon versions of characters, I HATE coffee-addict Tim, I’ve still enjoyed hundreds of fics with him in them though.

Damian Wayne is the most compassionate member of the batfam and one of the Keats likely ones to willingly kill

Blue devil and kid devil have arguably the most interesting story and tragedy in all of DC and the only reason they’re not given a lot of attention is because their tragedies have to do with something we don’t like to see: the wrongdoings and flaws of heroes, especially ones we like.

Speed Saunders should’ve continued as a character

Hal Jordan should’ve stayed evil for a while, the end of the parallax arc sucks and is a stupid cop out because they weren’t ready for a fully new GL. I don’t think he should’ve stayed the villain forever, but maybe for a few years, especially if that meant they would’ve ended the arc better.

Mera is more powerful than Arthur, always has been and always will be.

Wally West does see Barry Allen as a father figure and vice versa, it’s okay to see someone as a parental figure when you still have parents, especially when your parents are (canonically) borderline emotionally abusive and/or neglectful.

Any iteration of ANY hero being abusive is the worst writing ever because what the actual fuck, I’m sorry, but what happened to the whole they’re literally fucking heroes part??

There are so many characters that deserve solo series (or even mini series) but don’t get them because all the series are already being taken up by bigger characters (looking at you batfam)

So many characters get mischaracterized for the sake of other character’s stories (again, looking at you batfam)

Anyone who thinks Superman is boring either doesn’t understand him as a character or hasn’t read enough stuff with him in it (I recommend All-Star Superman and/or American Alien)

Anyone who relates to the Joker needs to turn themselves in at the nearest police station. (Unless it’s LEGO Joker, we like him)

The LEGO Batman movie is unironically some of the best DC media to ever exist

Atlantis and Paradise Island should be allies (especially once Diana, Arthur, and Mera come into the picture), I don’t know why they’re not

Lex Luthor is one of the most despicable villains because he’s a realistic villain, which is much scarier

Kon should be the next Superman

Connor Hawke should’ve stayed Tim’s age and Tim’s friend, it makes the most sense timeline-wise plus I think their dynamic was super cute.

Comic writers not making Roy openly refer to Ollie as his dad even though they’ve been father and son since they’ve debuted basically is actually so crazy to me

These next few are about Talia Al-Ghul because I love that woman:

Talia Al-Ghul Pre-Morrison was one of the best and most interesting characters in all of DC and that isn’t just my opinion, she was really popular amongst fans and writers for that exact reason

However, Morrison’s damage to her is near irreparable

BUT, if DC did want to repair it, I genuinely believe she’d be the best character they’d have character-wise and it would probably pull in a bunch of new fans

But even if they don’t, Talia Al-Ghul is one of the most important characters in all of DC and comics in general because she’s literally the documented history of WOC in media (especially Arab and Asian women) as well as their relation to white men in media. Her character and how it changes is directly tied to mainstream views on WOC at the time.

Talia Al-Ghul is literally of “I Bet On Losing Dogs” by Mitski, personified

Dinah Lance is the perfect example of a complex character done right and interpreted wrong/not interpreted enough.

If anyone should be the therapist within the hero community it should be J’onn or Red tornado, those are the two that make the most sense.

Helena Bertinelli is more important to the batfam than Jason Todd is.

Cassandra Cain shouldn’t be portrayed as mute anymore, it doesn’t make sense for her character or her arc.

The worst thing to happen to Poison Ivy’s character is Harley Quinn.

Mera is made to be a mother, whether to her own kids (Garth included) or as a mother figure to other kids.

On the other hand, Stephanie Brown wasn’t ready and doesn’t/didn’t want to be a mother, she gave up her baby willingly and will almost 100% not go out to look for her.

Lady Shiva’s appearances 99% of the time are out of character for her, the whole “training with Shiva�� thing is also OOC for her, and Cass even existing is OOC for her. The reason that this continues though is because she’s been transformed from an actual character into a character tool.

Stephanie Brown and Cassanadra Cain are a good duo and anyone who hates on one but likes the other misunderstood both of their characters.

Dick hating Jason for what he did to Tim IS in character of him, and, in my opinion, correct of him

The rise in people who don’t like heroes’s pacifism is concerning. People calling Bruce a bad person because he doesn’t kill is concerning. People viewing Clark as boring because he’s a good person is concerning. People liking straight up villains more than they do heroes is concerning.

Anyone who recommends mister miracle should also tell them about the TW in the first few pages

Kingdom come isn’t that good, especially to non-Christians

Big Barda needs her own run. We need a Bug Barda run that covers everything from her origins to where she is now, and we need it done by a female writer who’s good at complex and heavy stories

Some of the most hated comic writers are some of the best at what they do

Chuck Dixon is just as much a blessing to any character he writes as he is a curse

Marvel’s comic writers and artists 80% of the town do a better job with their characters and their arcs than DC writers and artists.

DC should have sensitivity readers because the amount of racism in these comics is insane

It’s okay to put down a comic/run because you don’t like the art, it’s your time no one’s gonna judge you

Alex Ross’s art is actually nice, people just like hating

The Trinity should never be shipped with one another

Steve isn’t important to Diana at all, he’s barely in any of her comics actually, he’s less important to her (or at least to her character) than fucking swamp thing

Batfam is better smaller

It’s better to read the first appearances of characters, it helps you understand them better.

Lois Lane is the DC version of Susan Storm, aka the blueprint of women in that company’s comics, but also one of the most forgotten women in that company’s comics

Comics aren’t going to go anywhere arcwise for the characters long term, that’s the whole point. Batman will always have a robin. Love triangles will always be love triangles. They will all always stay young.

Old campy comics were better than modern comics.

Cheshire isn’t a redeemable character and shouldn’t be one. Women in comics should be allowed to be straight up villains and stay that way.

Cheshire having Lian is OOC. Cheshire leaving Lian is a racist trope.

Asian and Arabs are treated horribly by DC.

The New 52 is actually a good place to start for new readers, it was a good idea, but it should’ve just been an alternate universe (like mcu is to 616 kind of) or something (and it should’ve been down with the supervision of anyone who isn’t Dan didio)

DC has some of the best world building in the history of modern day media/literature especially considering how many facets of this world there were/are to build

Team rosters that are constantly changing are better than stationary ones unless they change too much/too fast

Canon is hypocritical 90% of the time, most times canon clashes and crashes and doesn’t make sense, so don’t worry about it, read a comic, count what you want to be canon as canon, throw the rest into to the “never existed” pile

I’m sorry to tell you guys this, but it isn’t an opinion, it’s an unpopular canon fact, one that even I don’t like: Dick Grayson likes pineapple one pizza

Something that I hate that been on the rise a lot lately is the fact that the fandom is so okay with character being sexualized just because they like how the characters look, I feel like we should keep our stances on this as they are with all over-sexualized characters.

Villains of the week are actually so fun, even more then the big villains sometimes.

JSA needs a comeback please and thank you (I’m begging atp)

Cassandra Cain shouldn’t be Orphan, ever, it makes no sense for her to take the name of her abused. The same way it doesn’t make sense for Jason to become red hood.

Complex characters who are dumbed down once can be dumbed down and mischaracterized every time after that, and this has been done A LOT.

The YJ shows is very much overhyped

The fact that DC overpowers their characters makes them more interesting, not less

Selina was right and in character when she left Bruce at the alter. She was not right and in character when she hid Helena from him, she wouldn’t do that.

Bruce Wayne is more fun to read when he has a pipe and fun colored robes, please give him back his pipe and his fun colored robes.

[victimsofyaoipoll]

Round 3

Propaganda Under Cut

Kairi

kairi is the third protagonist of the kingdom hearts series and the third member of the destiny trio, alongside fan favorites sora and riku. sora/riku shippers HATE kairi, and will go out of their way to discount her at every turn. the hate for her ranges from typical "she's a boring bitch" to fans of soriku making five-hour long video essays reassuring their fellow shippers that the big bad kairi won't show up in the next installment – to quote one video, "she's in a box. she's on the shelf. four walls, no door." kairi is the greatest bogeyman the soriku fandom has ever known, to the point where most of said video essays and fanon meta posts focus not on why sora and riku should get together, but rather on why they don't like kairi.

Literally has a 100+ page Google doc fan theory writing her out of the narrative and putting all of her (few) canonical accomplishments onto half of the popular m/m ship (soriku). Don't even get me started on how her memory was completely written out of the canon plot of re:coded. KH is a nightmare to explain so dude trust me she is THE victim of yaoi

She is so fundamental to the plot and themes and narratives of game and yet it is near impossible to find anything about her thats not ship bashing pre-mlm with the other two characters. I dont even care if she ends up with one of the main characters i just want fans to see her as a cool character to love or like, anything other than “annoying comphet girl.” You can write your mlm but pleaae stop inventing comphet where it doesnt exist. She does not even get to spend time with sora ever?? Why does everyone see her as a threat and a thing to destroy?? Let her have friends so help me

Misa Amane

she gets treated in-canon the way fandoms treat female characters that Threaten an m/m ship. it's like, "oh why don't you go sit in the corner and be pretty, misa, while the Men have intelligent conversation and pretend they aren't ten seconds from fucking each other, doesn't that sound nice?" it's infuriating. and MAYBE it's better now but i remember her getting treated the same way in fanfiction too, like we all need to do just as badly by our female secondary characters as fucking tsugumi ohba, but with the added insult of making her be alternately oblivious of the relationship between light and L or actively trying to sabotage it—incompetently, of course, because god forbid misa be allowed dignity or moments of cleverness.

she's one of the first characters I think of when I consider old school fandom misogyny. The annoying bitch and clingy crazy gf allegations were AFTER HER ASS. She's also a lot more intelligent than people gave her credit for, but most seem inclined to take the Very Biased word of our unreliable, narcissistic narrator and his homoerotic arch nemesis and claim that just because she's bubbly and into romance that she's also a complete moron. Which is blatantly untrue. Everyone was afraid of Misa girlbossing too hard. Killing people and devoting yourself to the deranged twink of your dreams even though you know he'll never love you back??? Having a hardcore goth aesthetic and being so Hot even literal Death Gods are into you?? God forbid women do ANYTHING!

Not only is she the victim of yaoi culture, she is the victim of early 2000s misogyny by an author that wanted to introduce a girl character because he knew his male rivals were getting too homoerotic. She is a goth bimbo icon who portrays what I think is one of the few callouts for stan culture and what parasocial relationships can do to both the stan and the idol. The fact that she is a toxic fan of Kira and also hot, funny, sociable is tragic in its own way, which I think the author did try to touch on but was too misogynistic too really get through. Of course, she was reduced to villain status by the fandom and anime alike because she got in the way of the supposed romance in their psychological horror anime.

[coraniaid]

🔥 on fuffy's dynamic? or anything fuffy related

I think most Fuffy shippers – me included for sure – have a habit of making Faith seem a bit too … well, nice.

Don’t get me wrong: I like Faith a lot.  Not just as a character – and she is one of my favorite characters on the show, even if she only appears in less than two dozen episodes – but on a personal level too I have a lot of empathy for her.  I think she has a pretty rough deal in life.  I think she’s very badly let down by a lot of people, both before and after becoming a Slayer.  I think the narrative itself is often far less sympathetic to her than it is to other characters. I think she’s pretty miserably unhappy most of the time, and I think her redemption arc is genuinely very good, even with the little we see of her post-Sanctuary.

That said, it feels to me that a lot of Fuffy fanfiction is written by people who have decided, whether consciously or not, that the “real” Faith is the Faith we see awkwardly asking Buffy if she wants to go the dance with her in Homecoming since she already has the tickets, or showing up on Buffy's doorstep in Amends with some crappy Christmas presents, still not quite able to admit there was never any “big party” she could have gone to instead, however obvious it is at this point, and somehow managing to make a million different heartbreaking microexpressions when Buffy says she’s glad to see her. 

Yes, I like those moments too – I like them a lot – and I think that they are definitely indicative of a real aspect of Faith, one she tries hard to keep hidden most of the time.  But I think it’s an injustice to her character to make that the sum total of her personality.  If this were all there was to Faith’s character, she wouldn’t be half as compelling.

What about the Faith who, however troubled she looked at first, manages to shrug off the fact her new boss is planning to have Willow murdered when he tells her he’s also bought her a Playstation?  What about the Faith who attacks Joyce, ties her up and threatens to kill her?  What about the Faith who fantasies about stabbing Willow and taunts Tara by telling her how much Willow used to love Oz?  What about the Faith who, right from her first appearance, is perhaps a little bit too into beating up vampires and killing demons?  What about the Faith who threatens to torture Buffy, who tries to kill Angel, who definitely does torture Wesley and who kills Professor Worth while he begs for his life?  What about the Faith who probably was going to kill Xander? What about what Faith does to Buffy in Who Are You?

I’m not saying all Fuffy authors should exclusively write angst-ridden enemies-to-lovers in which for the first 100,000 words Faith really does seem to revel in being able to kill things without consequences even as she lets her obsession with Buffy Summers lead her into actively and deliberately trying to hurt her or bring her down to her level. (Though it would perhaps be nice if some of it was like this!)  I don’t have any moral objection if people would rather write fluff in which Faith and Buffy have an awkward first kiss at the Homecoming Dance, or AUs in which Faith never sides with the Mayor, or post-canon fic which takes for granted the fact that Faith is now redeemed and happily devoted to Buffy (it would make me a bit of a hypocrite if I did, since I’ve written all of these things).

But the sort of Fuffy writing and meta that I most enjoy, even if it doesn’t dwell on Faith’s worst moments or if it takes place in a continuity where they conveniently haven’t happened, always treats Faith as somebody who could do those things, if the circumstances were just a little bit different.  Always recognizes her as somebody who does have a lot of barely-suppressed anger in her, who is more likely to listen to an authority figure who tells her what she wants to hear than one who doesn’t, who is more than a little bit jealous of Buffy’s life, who does think, deep down, that being a Slayer makes her better than other people.

To me, that’s the appeal of Faith as a character and also of her relationship with Buffy. The two things are kind of inseparable.  Faith is a reflection of a lot of Buffy’s own worst impulses; she’s somebody that Buffy could have been if things had turned out differently (and if Buffy hadn’t had a certain inner strength and self-belief that Faith, for all her posturing, doesn’t quite ever have herself).  She’s the Buffy we’ll see hints of throughout Season 6, the Buffy we saw in Season 2’s When She Was Bad, the Buffy we see in Season 3’s The Wish. And, as a reflection of Buffy, she has some of Buffy’s strengths as well as exaggerated versions of some of Buffy’s flaws.  She’s not uncomplicatedly Evil, even at her worst, but she does a lot of things that are very hard to forgive, and she enjoys doing some of them more than some people like to admit.

I think if somebody’s going to try to write Fuffy, and get both Buffy and Faith right, that’s something they need to remember.  Let Faith have some jagged edges.  Let her be a little bit dangerous.  Let her be a little bit cruel. Let her be a little bit self-destructive.  Put simply: let her be Faith.

[starryeyedjanai]

this post has me thinking about steve and eddie falling in love with each other through writing fanfic in the 80s

because in the eighties before you could publish stuff online, you had communities that would send each other hand written fic, right?

steve and eddie both end up writing fic for spock/kirk

steve gets into it because he and claudia watch star trek together and they've been watching it for years when she shows him some cute fluffy fic a friend of hers wrote and he finds that he really likes it. maybe he starts off not knowing that he likes guys, but through fic he realizes that hey, he's kind of felt things about guys before that's similar to the stuff he's reading

and he gets enmeshed in this somewhat local community of fic writers and they all mail each other fic and give each other feedback and write on post it notes how much they loved reading it before passing it along to the next person

and steve has a particular writer that he's absolutely enamored with

the way they write, the tales they weave, it's all so good. they're funny and some of the spicy stuff they write is good and he's always so excited whenever he opens a letter and it's their fic. and he thinks he's like falling for some housewife from Indianapolis and he's a little embarrassed about it because they only sign their name as EM so he has no idea who it is. (he's also embarrassed because some of the spicy stuff claudia writes is also good, but he tries not to think about how his friend's mom knows so much nsfw stuff about what two guys can get up to)

but anyway, he keeps writing long detailed commentary about EM's fics and sending it along to the next person meanwhile when Eddie gets his fics back, he's like lovestruck at steve's comments on his fics because he really gets it - really gets what eddie was going for. he understands the yearning eddie's trying to capture and he offers little meta-analyses about eddie's fics and some of the episodes and eddie is also like damn i'm really falling for someone's wife, aren't i?

anyway steve doesn't write his own fic yet because he doesn't have the confidence in his writing ability but EM encourages him so he eventually does write fic and EM ends up being his biggest cheerleader and offers him help in areas where he thinks he struggles so they start mailing stuff back and forth to each other before it goes out to the larger group

and they start sharing stuff about their real lives and they both come to realize that the person they're talking to isn't a woman and isn't married like most of the women in the community are

and then they're collaborating on fics together and writing some of the best stuff eddie's ever written and he's falling in love and steve is too

maybe they eventually share their identities over letters, and maybe there's a meetup one day and their eyes lock as soon as they see each other and steve is nervous. he's nervous because he's kind of idolized EM for so long and he doesn't want to say the wrong thing. because writing him has been easy, he has time to think about what he wants to say and how he wants to say it. but talking in person is much more on the spot thinking which he's never been good at

but he meets him and eddie seems just as nervous, not nearly as eloquent with his words in person as he is in the fanfiction steve's been reading for close to a year now. but steve thinks he's charming and he's just as enamored in person as he was over the letters they've been sending each other.

on the ride home, claudia is chattering away about how nice everyone is and how nervous she was to meet them, but they're all so sweet in person. and steve is half-listening, clutching the slip of paper eddie gave him with his number on it

[drconstellation]

A Tale of Two Peacocks

The Relationship Between Gabriel and Michael

Some weeks ago I said I would take on the challenge of looking at the relationship between Gabriel and Michael, then I got sidetracked writing something else* - which is not always a bad thing. But I want to return to this because its too good not to do a post on it, and before I get too deeply involved in the other writing.

This is definitely going to involve some NSWF language - hey, I can't help this, its in the script - so the bulk of this is going to be below the cut. But the short of it is, they have a fairly low opinion of each other.

We need to go back to S1, where there is an interesting set of parallel scenes we should start our discussion with that spells it out for us. The first one is in S1xE2, and the other is actually in one of the deleted scenes from the cold opening of S1xE3, and they both use parallel characters to inform us of what Gabriel and Michael think of each other.

It turns out I've already talked about the first one, in this meta here, where I discuss how Newt is a parallel for Crowley.

Then [Frobisher] power-walks past. Newt is not even worth her time stopping for. "Need a hand, Dick?" *Snort* - and ouch. That's a below-the belt joke. She's just called him a wanker. In the US you might use the term jerk instead. Someone who's a bit egotistical and more in it for themselves than others. (and I never thought I'd be fact-checking the meaning of this word ever, but there's always a first time...) She's basically just equated him Gabriel, in my book (and in more ways than one.)

And I wrote all that months before I started writing my Crowley-Gabriel parallel/foil series, too.

The other thing about this first parallel scene is the character of Frobisher, who is dressed very much like a demon, but is actually the parallel character to Michael, as we see later on in the paintball fight at Tadfield Manor.

(Er, I know this is all a bit 2nd/3rd hand evidence, but the second scene is a bit more direct, so bear with me.)

The second one, in S2xE3, is the deleted bookshop opening scene.

Source: Script for the unaired scene of Aziraphale opening his bookshop in 1800

Oh, look at that. Somebody is being called a wanker. Again. This time it's Crowley calling Michael a wanker, however, and its only one step to the side with Crowley being a parallel character to Gabriel (and I challenge you to watch s1 again in this light after finishing this post, and see how many similarities you can see between Crowley and Gabriel showing through even back then.)

OK. So we've established that Gabriel and Michael both think each other are wankers at this point, but what else can we find out about them?

Peacock Fighting

I've written a couple of posts about peacock symbolism. Firstly, Michael is strongly associated with having many eyes - their Ophanim ring, their costume has eye motifs, and they are essentially head of surveillance for Heaven. So this made me think they might be the peacock referred to in the Job minisode.

But later, after more research, it became apparent the lines paraphrased in Job were definitely referring to Gabriel. (See also Judgement Day.) There are associations with both royalty and vanity there.

They are both peacocks, but for different reasons.

And they are also both in competition with one another.

Gabriel Doesn't Have A Desk

Desks are a symbol of power in western society.

The bigger, and more solid the desk in a corporate office, the higher up the person is.

The teacher at the front of the room, the authority in the room, has a bigger desk than the students.

Those desks offer protection to the person in authority sitting behind them. They mark a separation between that said authority and the masses they command on the other side. Only the most trusted get to come around to the same side that they are sitting on to be more intimate with them.

At work, your desk is connected to your identity there. Its your place in the organization. You may even individualize it with decorations.

Just take a look at what Newt was bringing on his first day to work in S1xE2:

Pens, a pen holder, notepads, a ball of rubber bands, a plant (a bromeliad, a plant that does well in fully shaded damp environments, just like Hell) and some rations. Er, I mean lunch. Given to him by God Frances his mother.

The travesty of the modern trend of "hot desking" is de-personalizing the employee. They are no longer a valued employee with a valued place, they're just another faceless cog in the grind.

We see Michael behind a desk as Duty Officer in S2. It's starkly clean and sharp and made of glass, as we would expect to find in Heaven. It's used a shield and badge of office when we see them fulfilling that role.

Michael doubts Gabriel has a desk, although Gabriel insists he does, even though we have never seen it. Yet he still requires the proverbial archive box for moving locations?

I'm just going to leave the parallel between Newt and Gabriel there for further discussion. Please do remember the bottom falls out of Newt's box in the car park, leaving him with an empty box, too.

(Muriel has a glass desk, too, but interestingly they don't have a chair. You might like to compare their encounter with Aziraphale in the Job minisode to the escapade with Crowley in the present day. There is volumes said without words.)

Just while we are on the subject of desks, thought you might like to compare Crowley's and Aziraphale's desks as well. They are always on about how much paperwork they have to do!

Sovereign versus Disciplinary Power

This is eventually going to turn into a discussion about fate versus free will at some point, but I do need to talk about the different types of power first, because I haven't done my long promised Power and Authority meta yet. The two concepts are closely related, and Gabriel and Michael are each acting as foils for a side of the concepts.

Gabriel represents sovereign power, the supreme legitimate power of the state. Power and action trickles down from the top, and punishment is almost a show of entertainment, but one designed to educate. "Oh, those angels Fell - if I do something bad, I might Fall, too!" And so Gabriel expects to Fall when he is given his trial, and Aziraphale when he lies to save Job's children.

Michael is representing disciplinary power, something that lies at the heart of society today. This is where power is spread among individuals, and individuals are more likely to do their own discipline merely because of an overhanging threat of a possibility they may get caught if they do.** Are they being watched? Who might see and report their transgression? Michael has eyes (and ducks) everywhere... So does Orwell's book 1984.

This is a very simplistic view, of course - reality is more complex than that, and is usually a combination of the two, but we have to start somewhere.

Now lets throw the fate vs free will components into the mix. Let us revisit the story of King Cnut and the tide.

The story, if you are not familiar with it, is that Cnut had his throne set on the beach and commanded the incoming tide to halt where it was, and not to wet his robes or feet. Of course, the tide kept rising and splashed the king, where he leapt up and declared his might and power as a king worthless compared to that of God. The story is meant to demonstrate his piety before Heaven, and that he was not the ultimate controller of all things - his sovereign power was limited.

They say time and tide*** wait for no man - we are at the mercy of what ever fate they bring us, and we can't manipulate that. That's decided by the supreme power, the ultimate sovereign power, so to speak.

Gabriel tends to take this line - he does not have control over the summoning of the Four Horsepeople, they are just happening as they supposed to, and that's not his department. Plausible deniability, baby! Back channels? What back channels, Michael?

So if you did want to have some power over it, some free will to control outcomes? But hang on - every one else has free will as well. Sounds a bit chaotic. Who's in charge? Nobody. Everybody. Welcome to Michael's world. They want the power, they're prepared to fight for it, for what they think is right - but so is everyone else.

But what if you were the creator of free will itself? Would you be The One to have control over time and the tides?

Tadfield Manor, Again

Michael is the archangel who throws Lucifer down from Heaven, and we see this play out at Tadfield Manor during the paintball fight, when we are shown that it is actually Frobisher/Michael who shoots the shot that hits Norman/Lucifer in the heart - although we are initially made to think its Nigel/Gabriel who did it. (One day I will teach my self how to make GIFs and make a GIF of this.)

Frobisher is the more competitive one at all times - she is the only other employee besides the naive Newt to put their hand up when Nigel asks who is looking forward to the Training Initiative and she asks Crowley and Aziraphale "Who's winning?" as she runs past them inside - to which Crowley presciently declares "You're all going to lose."

If you look at the extended scene in light of the above, you can see sovereign authority of senior manager Nigel/Gabriel is still floating around as a rather toothless tiger to the whims of fate, while everyone else is exercising their free will and disciplinary powers to try and control one another. And, as Crowley says, nobody wins. It's a lose-lose situation.

Michael is competing for an empty dream.

Gabriel is trying his best to survive something that is not what it seems.

And...I think I'll leave it there. Thanks for reading.

*I've started writing a multi-chapter human AU fanfic. But I'm a slow writer, and I'm not writing it in a linear fashion - because it has to be stuffed full of meta, of course - so I decided I better pull myself out of it before I got pulled in too far and finish a couple of things off so you didn't think I'd disappeared completely. I wasn't planning on doing one, but you know how these things go - one day an idea just pops into your head, the next thing the characters are talking to you and taking on their own life and a couple of thousand words later...

**There was a post about the oculus, (found it! thanks to gallup24) the round skylight window in the roof of the bookshop and the Panopticon, an infamous prison design where the prisoners can all see each other but can't see if the guard is watching them, but of course I've lost track of it, haven't I.

***The tides are controlled by the Moon and Sun, and ostensibly for this argument, by Heaven as well. They are fated to continue in their set orbit and/or path through the sky - or the Earth on it's orbit around the Sun, is probably the better way of looking at it.

[immortalthunderstorm]

Aemond Targaryen and the Brothel Madam: A Case of Vulnerability? 

With the final trailer out and conversations running rampant, @liv000000 and I have been bouncing off ideas and theories on that Aemond shot and our thoughts on it. Obviously none of these are set in stone and need to be taken with a very sizeable pinch of salt as we don’t really have anything concrete to base it on, so a lot of this really is us just weaving scenarios together and trying to craft a narrative and character exploration based on a few crumbs.

Before we start off, we’d like to just say that we are not necessarily in favour of these. House of the Dragon has a history of often brushing over sexual trauma without giving those moments the recognition they deserve - we aren’t confident that this show is the right medium to accurately present such sensitive topics and that the writers really wish to do this in depth beyond victimisation and shock value. Neither is the fandom as we’ve now gotten to know it at large mature enough to accept and analyse these, especially if it involves a character they aren’t particularly fond of, as we’ve seen with the Alicent-Viserys rape scene or the ‘Foot Scene’ with Larys which got turned into a joke and yet again was squarely placed at Alicen’t feet as something that is somehow her fault and not the guy’s who was sexually assaulting her.

But, although we dislike the overall sentiment, we still want to try to make sense of it. 

We’re here to talk about this scene:

Some eagle-eyed fans have connected the hand holding Aemond here to the one of S1EP09’s brothel madam which he encounters with Criston Cole on their search for Aegon (there’s a scar beneath her knuckles that the actress, Michelle Bonnard, also has). For this analysis, we will pretend that this is confirmed.

For reference, we’re talking about this lady here:

A bit of background of what we learn of her and her ‘connection’ to Aemond:

“Aegon brought me to the Street of Silk on my 13th name day. It was his duty as my brother, he said, to ensure I was as educated as he was. At least that's what I understood him to mean. [...] He said, ‘Time to get it wet.’”

For his thirteenth nameday, Aegon took Aemond to the Street of Silk to lose his virginity, no doubt as a right of passage to essentially have him become a man, as fostered by Westerosi culture (we could write an entire other meta about this and Aegon’s perspective but won’t get into it here). Notice that Aemond expressed that he himself wasn’t sure of the advantage/purpose of this and just parrots what Aegon said to him without actively supporting this as his own opinion. It’s something he clearly didn’t really want to do himself but went along with because his older brother told him to.

Cole asks her about Aegon, while Aemond stands next to him, silent. At the end of the conversation, she says (flirtatiously):

“I wish you luck, good Ser. And my best to your friend. [to Aemond] How you've grown.”

This is personal, she recognises him. Was she the one to take his virginity? It seems likely. He clearly also hasn’t been back there since that day.

How does Aemond react to this?

He clearly still feels very uncomfortable around her even three years later, can’t maintain eye contact, shrinks away etc. This has no doubt ruined his perception of sex and engrained in his mind, the act of sexual intimacy is something unpleasant, humiliating, and potentially painful.

@darksvster also posted the script of this scene, which has Aemond ‘clearly shaken’ over being confronted with his abuser.

Since we know he hasn’t been back to the brothel since, him going there willingly now invites the presumption that this requires some sort of extreme trigger moment for him.

The two moments we’ll delve into for this are Blood & Cheese and Rook’s Rest, in which members of his family get hurt either directly or indirectly as a consequence of his actions. This also adds up with the leaks that the actress of the brothel madam is going to have a nude scene in either episode 2 (post B&C) or episode 5 (post RR).

Theory 1: Self Punishment

(we found this gif on Reddit, please let us know if you are or know who the original creator is and we’ll credit them)

In this shot, Aemond looks mentally defeated. His cheeks are wet, but he is not actively sobbing. He’s despondent and catatonic—empty. He also looks the most vulnerable we have ever seen him. His eye patch is off (something that we know from the book he rarely exposed on accounts of insecurity and ‘scaring the ladies’), he is naked and lying in a foetal position while someone (the brothel madam?) is holding onto his arm.

As we’ve explored how traumatic his first experience with her must have been, and how he was unwilling to even look her in the eye, much less seek her out for intimacy. This could be a form of utter self-punishment, a willing reenactment of the second most traumatic experience in his life. After B&C, he’d feel troubling amounts of guilt, so this is his way of putting himself through as much mental and bodily harm as possible. If this was about pleasure or comfort, it is doubtful he would go back to the woman who never gave him that feeling. Neither does his body language here show anything other than anguish. He’s partly disassociating.

There is also a theory floating about that rather than having 6 year old Jaeheara threatened with rape as in the book, this will be given to Helaena in the show (understandably so, as little Olive was only six at the time of filming).We could see the taunts being passed onto Helaena as her mother is tied up and can do nothing to help her, and it works just as well as it serves as humiliation to Aegon, as she’s his wife. In the shot below, Cheese has Helaena by the hair, very close to his body, and he’s delighting in her torment. This would hurt Aemond deeply, as he’s shown to be fond of Helaena and takes it upon himself to defend her whenever necessary. So, he’s essentially putting himself (guilty) to what his sister (innocent) was subjected to in his grief.

Theory 2: Emotional Incest

Emotional incest is a family dynamic that oversteps healthy boundaries between children and parents. It's a type of abuse in which a parent looks to their child for the emotional support that would be normally provided by another adult. The effects of covert incest on children when they become adults are thought to mimic actual incest, although to a lesser degree. It’s normally found in adults, but if you have people pleasing children (or parentification), they sometimes want to take on the role of the partner, rather than the child.

There are a few instances in this season, hinted at in the trailers and supported by the book, in which Alicent and Aemond won’t see eye to eye - she will not be happy with how he killed Luke and essentially ended all chances of peace. She also seems to advocate for caution and diplomacy alongside Otto whereas Aegon and Aemond will be out for revenge and full war. If we go by the book and Aemond also is the one to injure Aegon at Rook’s Rest, she will probably give Aemond the cold-shoulder after he’s willingly or unwillingly endangered his own brother. She’s shown to want to take the slow and diplomatic approach in this war, to avoid bloodshed as enough has been spilled, whereas her sons are eager for battle and war to get vengeance for the tragedy that has befallen them. She no doubt will give him an “I told you so” lecture, and Aemond will perhaps seek comfort, as he’s grown a twisted sense of his abuser after revisiting her in the brothel.

This adds to the theory that young Aemond chose the brothel madam specifically out of a need for comfort. In a situation like the one he was subjected to he chose a whore who at least looked like the person he feels safest around, his own mother who is a source of comfort for him and who he loves deeply. If that is the case, this paired with with the mental consequences of this encounter, it could develop into him being attracted to and seeking out women who remind him of her. This could also impact his later relationship with Alys Rivers.

We really dislike this, as much as it could make sense. Aemond is one of the few men in Alicent’s life who loves her without desiring or exploiting her, their relationship in season 1 was very soft and if the above is the case it adds a bit of a sinister and sexual note to a parent-child dynamic which so far has been relatively unproblematic.

[anneapocalypse]

I feel like you've done meta that touched on or directly answered this question before, but I can't find it. What do you make of Sera's pretty severe negative reaction to "Sera Was Never"? (Smashing someone's instrument is a pretty expensive way to show your disapproval.)

I have, and it's here!

But in short, I think she finds it invasive. Initially, she seems to think Maryden is hitting on her and Sera's just not into her back, which I think is plausible given that she's only companion to have a song not merely referencing her but explicitly about her, by name.

Sera really does not like people prying into her life and past, based on how reticent she is to open up to the Inquisitor, how she rebuffs personal questions from other companions in party banter, and also the notes she leaves in the margins of the Inquisition's notes on her in World of Thedas v.2. I get into this more in the post linked above!

I think it's also worth considering that Sera doesn't want to be widely known by her own name. She chose to operate under the name of "Red Jenny" for a reason. She doesn't want to be notorious as "Sera," but as just one nameless nobody operating under the banner of a mythic figure--that's the whole point! And here's this minstrel mucking it all up!

She says the song is "creepy," and honestly if you put yourself in Sera's shoes I think that's kind of fair. She seems to spend most of her downtime in the tavern (my guess is she sleeps there, though it's not stated one way or the other), and so she has to hear that song about her all the time... inescapably... possibly multiple times a day...

And by Trespasser, when she breaks the lute, that's been going on for over two years.

Imagine having someone write a song about you that bugs you, and then having to listen to them sing it publicly, more or less every day, for two years. Imagine other people liking it, or worse, quoting it to you like they think it's cute.

From that perspective, I think it starts to be understandable why she finally gives Maryden such a decisive "fuck off." I don't think Maryden had bad intentions, but I do get why it bothers Sera so much.

[ My Sera meta series ]

[outmakingmoonshine]

I wrote this reply a few weeks ago about the 773 tattoo on Carmy's arm that really looks like 223. You'll have to read that first because I'm not gonna explain it all again here and you'll need context to understand this post.

SPOILERS below if you haven't watched to the end of S3 yet

Right before this in Marcus's mum's funeral scene he's talking about having someone who really listen to you and pays attention to you and the camera does a not so subtle zoom in on SydCarmy's faces. Then the next scene is this one where Syd says she made the margins wider on the menus because Carmy always writes in them. We already know Carmy pays close attention to Syd and he does really listen to her even though it's like he gets amnesia right after and does the opposite of what she wanted, he does really try to listen and understand her in his own way. This an example of Syd really paying attention to Carmy immediately after being told how significant it is and how good it makes you feel. Carmy looked shocked that she paid attention to him and went out of her way to do something thoughtful for him and said "That's really nice. Thank you." Then Carmy goes on to do a checklist of the things they both need which also showed he knows her too.

Keeping the number meta above in mind, I'm not sure who first mentioned this (pls link the post if anyone knows so I can credit them) but sydcarmy both represent the number 2. In the post above I spoke about when the two 2's (sydcarmy) face each other and finally turn to take notice of each other. I'm pretty certain this scene was a small glipse of what their future together would be like if sydcarmy did face each other without anything or anyone coming between them. They become a cohesive unit, working together as one just like they were in this scene. Sydcarmy are mirrors of each other in many ways, just like the twos are mirroring each other on the clock behind them. I know one is technically a 5 but visually it's a 2 backwards and how else would they symbolize two 2's facing each other on a digital clock? Imo these numbers in this scene represent this moment being a good thing and a glimpse of what they could be, plus the whole scene gave me strong married couple vibes.

In numerology 9 represents completion/the end. The next number, 10, begins the cycle from 1 again or you could say it evolves, moves forward and keeps growing. 9 has other asociations but the core foundational meaning of it is completion. It's telling us in the end they will face each other and balance each other out, mirror each other. "Mirroring is an act of love." If that number sequence in the background of this specific scene isn't positive SydCarmy foreshadowing idk what is. This scene, the context, subtext and symbolism in it alone lets me know the sydcarmy love story and endgame is still very much on track. We're just taking a detour for now, like 99% of will-they-wont-they ships do right before the end of the story.

This shot showed directly after a Carmy/Claire opening scene in 3x05 and Carmy was laying in bed staring at it in some of the darkest blue lighting I think we've seen in the show.

I think this may even be a few shades darker than the sex scene with Claire. Imo it's because Carmy's in his darkest place now, he knows how he feels and who he wants but he can't have it. Carmy metaphorically turned to face Syd in the panic attack scene then fully turned, paid attention and listened to her in the table scene. Now he's somewhat aware of his feelings for her, tbh I think he does know but he's avoiding it because he's in a really dificult situation with Claire and he already let Syd down again after promising to be there for her. He doesn't love Claire romantically but he doesn't wanna hurt her either He's just stuck which is what I think this season was about, Carmy's still mentally and emotionally stuck in the freezer. Carmy said saying sorry to Claire was too hard and I think that's because he knows he has to tell her he doesn't feel the same way and it's gonna hurt her. We keep seeing cute flashbacks with Claire but I don't think it's because he misses her, I think it's because he feels really guilty that he lead her on so much because that's what the scenes were showing. He was acting all loved up with her and it's interesting that we the audience/Carmy never saw that last season and we're only seeing now it in hindsight. Remember the show is telling us the story through Carmy's eyes.

I said in the post above I initially thought the number 3 represented Claire and/or Marcus, but in 2x08 Carmy (2) asked Richie (3) to be the "go-between" and give Syd (2) an I love you note, literally putting the three in the middle of the two 2's so it made sense it probably represented him at the time.

And maybe it does, idk, he's been getting between them since S1 in one way or another, directly or indirectly. But it more likely represents anyone that comes between them. The third wheel so to speak.

Notice how the 2's aren't facing each other here in 2x08 because this was before Carmy faced what Syd means to him in 2x09.

And you may be wondering if the mirroring numbers represent how sydcarmy end up why isn't Carmy's tattoo 753? Well 753 isn't the chicago area code so it would raise questions why Carmy had a random tattoo of 753 so I think it was a choice to keep the symbolism but keep it subtle.

I didn't expect s3 to feel this bad (I should've tbh, this show always makes you feel the most) but I didn't expect it to go well for sydcarmy. That's why I posted this post the day before the episodes aired reminding everyone what the show told us to expect. They did warn us this wasn't gonna be a mushy gooey love story. It's not gonna be cute and sweet, it's gonna be ballbreaker and that's what Carmy's doing to Syd. He's doing to her what the NY Chef did to him. He's already making her sick, making her have panic attacks and he knows he's a "bad boss". He glanced her way when they were talking about it at the table in 3x10. When I saw Carmy confront NY Chef, for a moment I thought they were gonna have Carmy say the same to Syd one day in the future (this is how bad the whole situation felt while watching the show, it was truly horrible to watch) but I really don't think so. Carmy doesn't want to be anything like that arrogant guy so I can only imagine he'd be the complete opposite with Syd (someone he genuinely cares about) when he finally pulls his head out of his ass, metaphorically gets out of the freezer and faces the situation he's in like Cicero told him you have to run straight into it, you can't avoid it.

Even though this season was very hard to watch I think the same amount of subtext, symbolism and metaphors that pointed to sydcarmy in the last seasons is still all there. It's just more difficult to see, especially after 1 watch because there were barely any scenes that seem good for them on a surface level, they all went to Carmy/Claire. But underneath the surface a lot of the scenes imply good things are still to come for sydcarmy imo.