#I really don't like her character at all

[fiction-justanotherstateofmind]

Would you mind explaining why some people don't like Allison? And no I don't think she would be good mother, considering she's been dead for a decade and never graduated so yeah definitely don't mind ignoring Jeff and his bad writing for scallison.

Idk if you were responding to a particular post, so I'm gonna answer as if it were a random question.

Actually I don't like Allison myself. I liked her back in the first season: she was sweet, innocent and a good match for Scott. The problem for me is how insane she became after her mother died.

She had never been taught to hunt, had never hurt or killed anything or anyone in her entire life. And yet, as soon as she discovered her mother's suicide, she transformed into a Kate Argent 2.0.

And the problem to me is not even the anger towards Derek, it's the repeated attempted murder of people who had nothing to do with it.

Erica and Boyd were innocent. Apart from the fact that Derek was innocent too, even with all the brainwashing done to her by her aunt and grandpa, if you are not the kind of person who enjoys hunting and killing, you never will be. No matter what they tell you.

I'm not joking, I was (and still am) shocked by the scene of Allison on the bike chasing Erica and Boyd and shooting arrows at them. I watched the scene again just right now and she shot seven arrows at Boyd. SEVEN arrows in the body of a 16/17 year old boy just for the fun of it, because it wasn't even about revenge since according to her Victoria had died because of Derek.

Also, Erica yelling "Please, Allison, stop" and Allison not batting an eye... Chris Argent had to stop her. The same Chris Argent who hunted and killed werewolves all his life, who hadn't had his character development yet, the same Chris Argent who helped his wife commit suicide realized that if he didn't stop Allison, with that one last shot she would kill Boyd.

When she was hallucinating a the party, her other self teased her that she's always yelling for help. You see? It's not revenge, it's always been power.

And what's worse is that she never apologized. Even after learning that Derek had bitten Victoria to protect Scott, she continued to play the victim. She has erected herself on a pedestal assuming the right to judge the actions of others, Derek in the first place.

Somehow in her mind loosing a parent entitles her to get away with multiple attempted murders. She despised Derek from start to finish and she never stopped to think about the pain her family had brought him, and this time on purpose.

And we want to talk about Isaac? She stabbed Isaac several times, and then they got together despite her not really being interested, and it shows in her last words before dying: not a thought, a gesture or a glance at poor Isaac.

And I'm deliberately ignoring her complete forgetting -in the movie- that she was once Isaac's girlfriend and not Scott's.

However, some might say that for some reason she convinced herself that Erica and Boyd were equally guilty of their mother's death and that therefore, in her view, it was right to kill them. Fine, then how do you explain the fact that in the movie, as soon as she wakes up, she doesn't just try to kill Derek but chases, hunts and even tries to kill a 15-year-old boy who is practically not even a real werewolf?

I like Kate for how her character was built, I even like Victoria. I don't like them as people but I like them as villains. The problem is that Allison acted just like Kate but neither the other characters nor part of the fandom see her as a villain.

They did the hunting in the forest (thrice btw: 1) season 2 with Derek and Scott; 2) season 2 with Erica and Boyd; 3) movie with Eli and Scott) for telling us what? That she's a badass, that she's powerful? What is it? A twisted way of saying girl power?

If we don't want to call her a villain, at least we need to realize that she's the female version of Peter Hale (only Peter at least had valid reasons. Questionable actions, but valid reasons). She helps when and how she wants, and especially just to help some specific people: she does it for Scott and Lydia, if it weren't for them, she would never have helped Derek.

She is not good. And we have to come to terms with this. She did wrong things and not only never apologized for it but she never even realized she did something wrong in the first place.

Btw I laugh at the idea that she, 17, (girlfriend of a 30+ man) should be a mother to the boy she tried to kill and almost succeeded in killing his father, not forgetting whose family was killed by her own family members... because if I stop to think about it, it would only make me cry.

So... yeah. This is it. This is why some people, myself included, don't like Allison.

The real question, at least to me, is why some people do like her? She is a Kate Argent evolved into a Peter Hale but praised as a Scott McCall.

Let me know your opinion about it.

[ruporas]

your love returns in tragedy (ID in alt)

[bixels]

Reminiscing about Little Witch Academia.

[poorly-drawn-mdzs]

All cards on the table.

[First] Prev <–-> Next

[licorishh]

no way she's alive ?? yea those mental health breaks because social media makes people suck are wild huh

[mollysunder]

Sky and Viktor's relationship is such a horror movie to me. You've got a man who was frustrated by the limitations placed on his life that were out of his control, like his class, mobility, and general health. Despite everything, he manages to rise beyond his station and avoid being an assistant for the rest of his life.

Then you've got a woman from the same background who admires him and all that he's accomplished in spite of the similar class based prejudices they faced all the while she's his assistant. She works up the courage to take leap of faith and reach out to him with her own research to show what's possible if they worked together as equals. And then he gets her killed!

Sky's death isn't the end of it because while it affects Viktor it is in no way meaningful to Sky's life or value as a person whatsoever. Even the pendant he wears in her memory is based on the design of her notebook, but that was just her notebook's cover, she probably bought it from a store and the design itself is probably mass produced. Why not use Sky's signature that was in her letter and in the notebook, the thing part if the notebook with real value?

Then Sky's brought back in s2 and she really only exists to be Viktor's assistant again, who he kills, again! But this time it's different because this time Viktor's making a conscious decision to look Sky in the eye and kill her... to prove he's changed.

In the middle of all this, in no way has Sky's death been mourned by her family or anyone else who could have known her. Jayce wasn't affected by the reveal, he didn't think it was important to tell Heimerdinger, or anyone who knew her. Nothing about her life, death, or disappearance has spurred any emotional reaction or even curiosity about what happened to her.

Sky's new life was also extremely isolated because she became further tied to him (in some ways you could say she was defined by him). Viktor never mentioned Sky to anyone in the material plane during his commune arc, so she only exists to him and she has no way to communicate with others, she's just there for Viktor's sake.

Then in the finale we learn this all a part of a big time loop where Viktor actively set the wheels in motion to have him and Jayce create hextech together, but if everything follows as is, that means Sky is violently killed in those timelines too. That means Viktor weighed the costs and decided over and over and over again that Sky was expendable enough to let her die for his plan to work eventually. How is that not murder at this point?

What's worse is that post-finale Sky's humanity is a point of dispute amongst the fandom, the VAs, and the writers themselves. Sky's the hexcore manipulating Viktor. No, Sky's a manifestion of Viktor's guilt. No, she's actually supposed to represent his humanity/conscious made physical. And in none of these arguments do they discuss Sky as a person, she's just an object meant to serve Viktor both in the narrative sense and literal sense as his assistant.

The most absolutely maddening part is that with Viktor's new bio on the League site, not only have most traces of Viktor had been scrubbed by Piltover's archive, but Sky's life has been completely wiped. Her death was implied to have been swept under the rug, and only described as the "loss of life" consequence from his Hexcore experiment.

Viktor was afraid of dying a senseless death (created by the conditions Piltover condemned his birth to) in obscurity and then he turned it into Sky's destiny.

[bumblingbabooshka]

Thinking about marriage/women's rights on Vulcan Some may think that T'Pring not being allowed to divorce Spock was because he was going through the pon farr but if she were allowed to divorce him at all she probably would have done that a long time ago, confirmed by T'Pol when she's speaking with Koss, who isn't suffering from the pon farr. She says that he can choose another mate (without invoking a fight it seems: note the difference between a 'mate' and a 'challenger') and after he makes it clear that nothing she says will change his mind about marrying her, she finally threatens to declare a kal-if-fee. It's clear that Vulcan women cannot divorce/refuse to marry a man they've been betrothed to under any circumstances if A) He himself doesn't consent to ending their marriage or B) She doesn't have someone else waiting in the wings to be given to in his stead. Though, if the challenger she selects fails to win the fight, she'll have to marry her betrothed anyway unless (again) he decides he doesn't want her after the challenge. That seems like an incredibly unfair system, heavily biased towards men. SNW is an alternate universe in many obvious respects but most egregiously in that T'Pring has a lot of non-canonical agency over her relationship with Spock. It's interesting to me that Vulcan society has women in many positions of power and treats women as equal to men from what I've seen despite these laws. We don't really see Vulcans exhibiting a misogynistic attitude towards women in general but in TOS (perhaps because of its general writing style but it's still interesting to note) both Sarek and Spock take on patriarchal attitudes specifically regarding wives. Amanda says that 'of course' Sarek commands her because "he is a Vulcan and I am his wife." It's worthwhile in my eyes to note that she specifies 'wife' instead of attributing this attitude to women as a whole. Again, with TOS' writing style it wouldn't be out of place for her to say "he is a man and I am a woman." Spock, while in a pon farr induced irritation, states that it's "undignified for a woman to play servant to a man that isn't hers" - again implying that there's something specific about being a Wife in Vulcan society which is different from being a woman in general and demands subservience to a husband. This could perhaps stem from the extreme sense of ownership that Vulcan law has permitted men to have over women. A woman legally cannot point blank refuse marriage. There is no option which guarantees she won't have to marry her betrothed other than death. When T'Pau speaks of T'Pring she refers to her as being 'property' and Stonn, before being interrupted, states he's made 'the ancient claim' - we don't know what this is because he gets cut off but it's obvious they're both using the language of Vulcan law. Men are permitted true freedom to choose. If a woman wants to choose someone else to be with there is no option available to her other than the kal-if-fee which might result in the death of the one she wants to be with. And, if her lover fails, her husband can still just decide he wants to marry her and she'll be forced to. T'Pring gives two scenarios: One where Spock 'frees' her and one where he doesn't - it's still ultimately his decision which is clear when he ends the conversation with "Stonn, she is yours." This again isn't just because of the pon farr as T'Pol also goes through this. Koss can choose another mate and when the option is talked about there's no implication that this would result in any sort of fight (both by the casualness of its mention and by the fact that there's no formal word for it unlike the kal-if-fee.) Also, the fact that Koss does eventually grant T'Pol a divorce and it's all fine means that T'Pol isn't lawfully required to have another man waiting if her HUSBAND doesn't want her. It's ONLY required if SHE doesn't want her husband. Tradition must take precedence over individual desire UNLESS!!! You're a man. Then it's fine. Like, your parents might not be happy but legally you're golden.

[secretsimpleness]

Don't feed the crows. .. Why not? Inej, Kaz / Six of Crows (c) Leigh Bardugo

[vaguely-concerned]

fun detail I only put into context after seeing the post-fade jail romance scenes with all the companions: lucanis is the only one where rook is surprised when they realize he's there as he starts talking, because they didn't hear him come in haha. (Bellara and Neve knock before entering, like relatively normal people fhsda. Harding's scene starts in medias res but from the staging my vibe is that she and Rook entered the room together. Taash walks into the room ahead of Rook. Davrin comes in through a door left open for him -- Rook is standing with their back turned but they clearly expected him, they just smile a bit and don't seem surprised. Emmrich of course takes you to the Grand Necropolis for the top goth hookup since Mary Shelly fucked on her parents' graves, the man quite simply never misses.)

lucanis has also closed the door behind him without rook noticing. old assassin habits die hard I suppose lol. he totally still accidentally jumpscares the others without meaning to all the time because he moves around quietly when he doesn't think about it, I know this in my heart. I wonder if he was just... looking at them for a while before he spoke up.

[serpentface]

Faiza performing the Kagnoma Odo (pretty literally 'lion dance'), a weapons dance and one of the more important ritual duties of Odonii priestesses. A relatively new addition to this traditional dance involves the musket as the primary weapon, which is fired mid-twirl into the ground at the climax of the dance. Faiza is experiencing an 'oh fuck' moment because her shot is more than ideally diagonal, but she’s being so cool with it.

This is a wholly ceremonial performance at the onset of the pilgrimage, performed in full regalia and lion skin (of the small, semi-domesticated strain) but no armor. It’s also distinctly a display of political allegiance between the powerful and beloved Odonii priesthood (and its loyal military) with the increasingly reviled and destabilized imperial family, with Faiza prominently wearing a bracelet of the royal serpent, which was gifted (along with the musket) by the usoma Stavis Amanti himself (Usoma is the Wardi word for king, which has been retained in the context of emperors).

The Kagnoma Odo is the ultimate demonstration of the Odonii as an embodiment of the Lion Face of God and living vessel of military might and sovereignty, demonstrating her fitness and proficiency with weapons and as a spiritual unifier for soldiers. It is accompanied by drumming and occurs in stages, running through the three keymost weapons used in war- the spear, the sword, and the musket. The musket is of the most significance, given the weapon has developed a particular esteem as the ultimate embodiment of might and superiority. Assistants (almost always other priestesses, occasionally high ranking soldiers) load and prime the musket to be fired at the climax of the dance, where it is shot into the ground as the priestess leaps out of range of the shot. The firing signals the end of the dance and the rite itself.

While not the utmost exemplar of trigger discipline, only fully inducted and senior (and therefore very thoroughly trained) Odonii are permitted to perform the dance, and injuries during actual performances are quite rare (though are known to occur during training, more than a few Odonii have burns and wounds on their feet).

The most important renditions of this dance are performed upon declarations of war and before battles (in this case, generally done in full armor along with the lion pelt). It is also done during some trainings (while a dance, it is carefully choreographed to include naturalistic maneuvers of the weapons involved and helps soldiers limber up and learn to move their weapons). It is regarded as an impressive and motivating sight and a morale booster, and, seen at a distance, potentially intimidating to enemies.

A special variant of this dance is performed as means of fully incarnating the Odomache, which is done in full nudity with the body covered in the blood of the freshly sacrificed lion and cloaked in its raw pelt (the lion has become the corpse of Odomache in the moment of death, as part of its recreation of God's sacrifice). Her public, full nude appearance once (and only once) in this act is what allows the Lion Face of God to incarnate within her. Those in attendance see the spiritually vulnerable, naked human body obscured with the sanctified and deified blood and cloaked in the sanctified and deified skin. It is a merger of the contradictions of mortality and divinity, the boundaries between the two indistinct in flickering firelight and the flash of musketfire. She is witnessed by her people, dangling in between humanity and divinity and leading them in dance, and and is thus transformed.

[shsl-analyzer-guy]

got a totally random rush of Emotions about Chihiro's gender so hi let's talk about how the entire account of Chihiro 'totally being a cis dude guys' is told by Monokuma, the guy that later goes on to fake a suicide note and falsify an entire class trial just to be pissy. Ah yes top 10 most reliable narrators ever of all time, yes, yes, very convincing

Not to mention in the exact same fucking motive he's very obviously purposefully warping the truth and lying to the cast's faces?? Within the 'embarrassing memories' motive Mondo's is a warped version of the truth. "Mondo killed his own brother" but he didn't, and just about everyone is able to grasp that one. He indirectly led to the accident, but Daiya made his own choices. So wouldn't the same logic apply to Chihiro's motive? "He dresses like a girl but actually is a boy" sounds like you're actively warping her own life experience to send her into Despair.... which is Monokuma's primary character motive.... crazy how that works........

And now, a compilation of every line Chihiro delivers in her own backstory, without the narrative padding from Monokuma explaining to you why this is totally her hating being a woman and wanting to be a man

"Now nobody will be able to say anything about 'even though you're a boy'..."

"I'm... weak... Weak, weak, weak, weak, weak, weak, weak, weak...!"

"Now's my chance..."

"I'm going to get stronger... and accept who I am..."

"Strong enough so that when someone says 'even though you're a boy' it'll be okay. I'll get better!"

"Maybe talking to Mondo about it will help give me some courage..."

So yeah, once you pull out the unreliable narrator. You get like, 6 lines total. 1/3 of which specify that she IS AFRAID of people saying "even though you're a boy". Now, call me crazy, but if we're genuinely arguing that Chihiro is a cisgendered man, why the hell would she say the equivalent of "I need to accept being a boy. Gee, I sure hope no one calls me a boy while I do so!" That's. That's inherently contradictory. More than anything, looking at Chihiro's lines as the most reliable source of Chihiro's thoughts about herself, it starts to look less and less like a man who wants to rise above being gnc and be a true manly man, and more like someone who's about to get fucking outed and mocked by Monokuma and trying to do damage control, steeling herself to be called a man and strengthening her mind and body to prepare for said outing.

Earlier in chapter 2, Chihiro is already thinking of starting to try working out, but is too afraid to enter the lockers because she's well-aware she can only enter the boys' locker rooms. The inference that Makoto comes to is that Chihiro is an individual trapped in a killing game that couldn't defend herself verbally in the library the morning prior, and is visibly the physically weakest in the class. Ergo, perhaps she wants to be able to defend herself better? Well, neither of those facts that lead to said inference magically change after the discovery of her dick, so perchance, the reason she wanted to get stronger was still so she could defend herself both verbally and physically?? The ONLY reason you'd have to come to the conclusion she wants to reconnect with her assigned sex is because she is being actively threatened into it by Monokuma's motive, or if you take Monokuma's story at his word, that he'd speak respectfully of the dead. Just like he did with every other character in that game, right?

Also, it's worth noting that in the actual conversation-turned-spiral between Chihiro and Mondo before Chihiro's death, neither Chihiro nor Mondo actually talk about Chihiro's gender, only her strength and desire to destroy her weakness. Yes, Mondo is using he/him in the voiceover, but the entire class is atp, and again. Using that as genuine evidence falls flat because we see in that very same scene that Mondo WAS NOT completely present for that conversation. He saw Chihiro's willpower and spiraled, conflating Chihiro with his brother and lashing out in a ptsd-induced blackout.

Also also, if you're gonna argue Chihiro has no reason to need to get physically stronger unless it's to be more masculine, A) Sakura exists in the same game, and B) please god look up any statistics on the amount of violence trans teens receive. That alone is a perfectly reasonable justification for a trans woman to want to be able to defend herself, especially when locked in a place where you cannot escape your potential aggressors.

TLDR Chihiro is legitimately more believable as a trans woman, and every intervention attempting to explain otherwise comes from a character defined by his love of twisting the truth for the sake of causing suffering. Hi hello does anyone hear me

[destructo-range]

'helen is so underdevelopped as a character!' 'helen's boring!' stfu u just don't like her bc she's a woc and because she doesn't behave exactly like michael. yall put so much effort into developping michael's character inside your minds and completely look over her because she's 'poorly written.' stop.

[gummi-ships]

Kingdom Hearts 3 - Arendelle

[stromblessed]

Even if Marcus having a daughter did turn out to be the red flag in season 1 that showed where season 2 was headed socially and politically, that plot point didn't need to be mutually exclusive with a season 2 plot that was nuanced and interesting re: Piltover vs. Zaun.

Marcus had multiple opportunities in season 1 to stop what he was doing with Silco and actually prioritize his daughter (and his life with her) - or just stop Silco himself, if Marcus had been willing to die or go to prison - but his personal biases and the opportunity for personal gain kept winning out over and over, leading to his death. Which was tragic - even if many of us didn't feel that bad for him - yet inevitable. I never got the sense that Marcus in season 1 was indicating a "both sides are the same" or "we should all just work together" type of plot, but rather, "Here is what the privileged are willing to do - and not do - to maintain the status quo."

In watching season 1, between Marcus having a daughter, Jayce being easily led and reaching too far with his power, and Caitlyn's naivete, I thought that the Piltover plot was taking us to a place where these more privileged characters see opportunities to do better wrt the undercity, but because of ignorance, personal gain, personal biases, or personal injury and trauma, they actively choose to perpetuate the sociopolitical divide and find ways to justify these choices for themselves, regardless of any opportunities they may have to learn, grow, and do better specifically with regards to the undercity. Which helps shed light on why irl power structures seem so rigid and unchanging despite everything. This doesn't mean that the Piltover characters needed to die or anything, but I do think it would've been more interesting if the tragedy element was kept ("fate worse than death" types of tragic endings are more interesting anyway imo), the Piltover/Zaun conflict wasn't "solved" in the end, and the impact of Piltover's apathy and violence wasn't brushed aside. Particularly if there had been a real undercity uprising plotline.

[starflungwaddledee]

at long last i present... a proper starstruck dee reference sheet! 🎀✨ have a peruse and learn a little bit (but not too much!) about this totally normal waddle dee!

[noperopesaredope]

Me: Ooooo, I wonder what this "Mouthwashing" thing is that everyone's been obsessed with lately. I should check some of it out.

Me, 30 minutes later: I would kill myself for you, Anya.