#One of the most beautiful arcs/episodes

[remarkingonit]

Dr. Diane Lewis to Maya Bishop: “You need to tell her that you love her and that you’ve got her no matter what. That she doesn’t live with Daddy anymore and that she’s safe.”

Maya Bishop to her 3-year-old self: “I love you... no matter what. You are lovable... no matter what. You are lovable... even when you lose.”

[stagefoureddiediaz]

Something something about the cursed mummy working at a rodeo and the connection to lassos and wrangling bulls and foreshadowing. Something something about buck wearing a moustache when he dresses up as billy boils which connects things to Eddie.

How rodeos are connected to Texas in the general psyche. The idea that Eddie needs to go and wrangle with his bull in the next episode - Helena.

That she has been constantly trying to Buck him off but he needs to hold on in order to break the curse she has been on his life - the play on Buck being a massive support to Eddie - that gives him the strength to stay on and win the fight and pen the bull.

That he needs to break free of that curse in order to transform into his true self and how the werewolf is a representation of that happening and also a foreshadowing for the shaving off of the stache

[sysig]

Anime good :) (Patreon)

[winterf4iryy]

WHAT TF DO Y’ALL KNOW ABOUT THE BEAR!!!!!

[lashoog394]

@worldsbeyondpod The Wizard, The Witch, and the Wild One Arc 2 Mug is finally done (just in time to start on Arc 3's!!!!). I had so much fun fitting in every wizard-y thing I could think of, so I hope I made @quiddie proud!

The shape of the mug is the Citadel, topped with the Sky.

"The sky holds all things. Let it be known that vastness is yours." -Archmage Silence (Ep. 17)

"Don't drink the juice." -The Fox (Ep. 18)

"And the reason I dye my hair is because I played in one of these once..." -Suvi (Ep. 18)

The white streak inside the mug is hard to see, but it's there.

"I've had a list for two years of the books that I'm calling up, and I'm going to say 40% of them are spite to friends." -Suvi (Ep. 18)

"So you're also now going to have a little guy?" -Eursulon (Ep. 18)

"If you get good at making a little latte for me, I will let you put your poetry places that I will not immediately claim. And I will start prestidigitating this one off my favorite rug." -Suvi (Ep. 18)

Also, I'm really proud of the texture of these leaves!

As always, thank you so much to the entire Worlds Beyond Number crew for creating the most beautiful, heart-wrenching heartfelt, magical stories. I wake up every Tuesday morning excited for the next episode/fireside.

Shoutout to @whimsiclay for being the best, most incredible and supportive friend and pottery-enabler!

[alwaysalir]

Let’s talk about why Colin Bridgerton is THE BEST Male Lead.

He actually went Pen less then an episode after he realizes he’s in love with her. IMO while the kiss did make him reevaluate his feelings, the fact he is actually in love with her does not click for him until that ball at the end of episode 3. We literally see the moment in clicks. He talking to the other debutant about his hero moment and he catches Pen’s eye and he realizes the reason he was able to have the courage to save the day is because it was Pen in danger and he would do anything for her. He then goes to Violet for advice and when she tells him he needs to have the courage to ask he walks towards Pen with purpose. Yes he let self out get in his way for a minute, but still before the end of episode 4 he has gone full unhinged to get the girl. It was a really BOLD move to interrupt an expected proposal but he did not care. He was a man on a mission and he delivered.

Colin literally said fuck societal norms. That man’s entire arc is about him feeling uncomfortable with the role of a typical man in that era. Yes he does play along for a while but that’s speech to those annoying dudes after he’s unable to do what society expect him to do in a brothel was so refreshing for a male lead in a regency Romance. Colin is still super young but he’s already over the Cavalier Way men regard sex. He wants love. He wants connection. He wants his sexual encounters to matter.

That man is literally the king of consent. Not only does he wait for her to consent to them moving from kissing to more he also gives her the space to reject him after his confession. And let’s talk about the confession. I’ve seen this talked about and a lot of places, but it’s still so amazing and so true… the reason that confession is so good is because it’s not the declaration made out of anger like we’ve seen in the previous seasons. Newts managed to make the confession so soft yet screaming with passion and desperation. 

I’ve seen a lot of complaints about how Colin did not yearn enough, but I feel like what people don’t realize is Colin has been a yearning for this for seasons. No he didn’t realize that Penelope could give him what he was yearning for, but that boy has always been yearning for love acceptance and connection and he’s finally realized that Penelope is the one that can give him all of those things. It’s literally the most beautiful climax that has been seasons in the making

[longing-for-rain]

Katara and Mutuality in Relationships

There are lots of conflicting opinions about which characters Katara felt attraction towards, which characters she didn’t, and how long she felt that attraction. I see in most cases, people point to quick clips of her faintly blushing or kissing another character on the cheek as evidence, but I think these kind of takes miss the nuance of the purpose attraction serves in a story.

Most importantly, I see these characters treated as if they are actually people capable of making their own decisions. It’s important to remember that these are fictional characters. They don’t make their own choices; the writers make their choices for them for the purpose of telling a story. From that standpoint, it’s more valuable to examine how a character’s story and narrative themes tie into their relationships with other characters. Animators can shove in a kiss or a blush wherever they want, but it’s harder to demonstrate through storytelling how and why two characters might feel attraction towards one another, and how a relationship between them would develop both characters and contribute to the overarching themes of the story.

In other words, when discussing which characters Katara is “attracted” to, I’m discussing which relationships and actions within the narrative build on her established story and arc. Romance is always integrated into a story for a reason, and considering that reason is important.

Unfortunately, ATLA is very much a product of its time in this way. It’s easy to see what romance adds to the arcs of the male characters—but not so much with the female characters. All three canon relationships (kataang, sukka, and maiko) follow this trend to some degree. The primary purpose of the woman in this narrative is to act as a prize for the man for performing some good deed. Once they’re together, she ceases having her own motivations and becomes an extension of the male character she’s dating. This is pretty blatant with Suki—she barely had a personality in that later seasons; she is there to be Sokka’s girlfriend. Similarly, Katara becomes a completely different character—she’s even animated differently—when the narrative pushes her into romantic scenes with Aang. Her character is flattened.

So what is Katara’s arc, and how do the romantic interactions she has throughout the series contribute to this?

Well, that could be a whole other essay itself, but to put it simply, Katara’s arc is one of a young girl devastated by grief at a young age clinging to hope that she has the power to fight and change the world for the better. Which she does as she gains power and confidence throughout the series—culminating in her defeating Azula in the finale.

But the part I want to focus on here is how Katara connects with other characters. She connects with them over shared experiences of grief and loss.

Take Haru, for instance.

Haru: After the attack, they rounded up my father and every other earthbender, and took them away. We haven't seen them since.

Katara: So that's why you hide your earthbending.

Haru: Yeah. Problem is…the only way I can feel close to my father now is when I practice my bending. He taught me everything I know.

Katara: See this necklace? My mother gave it to me.

Haru: It’s beautiful.

Katara: I lost my mother in a Fire Nation raid. This necklace is all I have left of her.

Haru: It’s not enough, is it?

Katara: No.

This isn’t just a throwaway moment; it’s an important character moment that leads up to growth and the progression of Katara’s overall story, both in this individual episode and in the whole series.

Katara finds her power in the connections she’s able to make with other characters. It’s a powerful driving force for her that makes her a strong character even before her bending abilities develop. Imprisoned was such an important episode to establish who Katara is and what her power is, and adds so much to her arc.

But there is one line in particular from the above exchange that also stands out: Haru says “it’s not enough, is it?” and Katara agrees. Even this early in the series, we’re establishing the fact that despite her drive and hopeful outlook, Katara feels deeply hurt, she feels a deep sense of loss that she opens up about to other characters in moments like these. But unlike Haru…Katara can’t go rescue her mother. Her mother is dead, and we see her grapple with that grief throughout the series.

Another character she reaches out to like this is Jet.

Jet: Longshot over there? His town got burned down by the Fire Nation. And we found The Duke trying to steal our food. I don't think he ever really had a home.

Katara: What about you?

Jet: The Fire Nation killed my parents. I was only eight years old. That day changed me forever.

Katara: Sokka and I lost our mother to the Fire Nation.

Jet: I’m so sorry, Katara.

Another important note about Jet is that there are explicit romantic feelings from Katara in this episode. Again, Katara empathizes with another character through a shared sense of loss. Sadly, in this case, Jet manipulated her feelings and tricked her into helping in his plot to flood the village…but those feelings were undeniably there.

That was the tragedy in this episode, but it also gives the audience so much information about Katara as a character: what motivates her, and what she wants. Katara is established as a character who wants someone who will connect with her and empathize with her over her loss—her greatest sense of trauma. She wants to help others but also receive support in return. The reason why she was smitten with Jet, beyond just initial attraction, is because he gave her a sense of that before Katara realized his true motivations.

A lot of people make the claim that Aang is good for Katara because he also feels a sense of great loss and trauma. And while on paper that’s true…does he really demonstrate that? I just gave two examples of characters Katara connected with this way, and both responded with deep empathy to what she said. Very early on in the show—the third episode—Katara attempts to connect with Aang the same way. How does he respond?

Katara: Aang, before we get to the temple, I want to talk to you about the airbenders.

Aang: What about 'em?

Katara: Well, I just want you to be prepared for what you might see. The Fire Nation is ruthless. They killed my mother, and they could have done the same to your people.

Aang: Just because no one has seen an airbender, doesn't mean the Fire Nation killed them all. They probably escaped!

Just compare this exchange to Haru and Jet. No effort to empathize, not even a “sorry for your loss” or anything. It’s a stark contrast, and the reason for that is because this narrative entirely centers Aang. Katara’s narrative always seems to be secondary to his when they’re together—which is exactly my point when I say this relationship has a fundamental lack of mutuality. It’s built that way from the beginning of the series. It does not add to Katara’s arc nor establish what about this dynamic would attract her.

And, look, before someone jumps down my throat about this…I’m not saying Aang is a horrible person for this response. I think it’s a sign that he’s immature and has a fundamentally different approach to problems than Katara. Katara is a character who has been forced to take on responsibilities beyond her years due to being a child of a war-torn world. Aang’s approach to problems is avoidance while Katara never had that luxury. It doesn’t mesh well.

This is all in Book 1. I honestly could have gotten on board with Kataang if the series meaningfully addressed these issues…but it didn’t. In fact, they actually got worse in some ways.

Back to Katara’s mother. We’ve established that this is a core part of Katara’s character and like in the scene with Haru, she indicates that this is an unresolved issue that pains her. But then, in Book 3, Katara actually does get a chance to confront this pain.

This would have been a powerful moment. Surely the character who is meant to be her partner, her equal, would have been there for her. Surely he would have understood and supported her, fulfilling her narrative and adding to her story.

But Aang didn’t do that. I won’t go into details because there are a million analyses out there on The Southern Raiders, but Aang’s response to Katara was the opposite of understanding. He got angry with her, insinuated that she was a monster for wanting revenge, and tried to dictate her behavior according to his own moral values. And importantly, from a narrative standpoint, he did not go with Katara. One of the most important events in her arc, and Aang didn’t support her—he actually tried stopping her. He didn’t contribute to her growth and development.

Also noteworthy:

Katara: But I didn’t forgive him. I’ll never forgive him.

Even at the end of the episode, Aang clearly doesn’t understand at all what Katara is feeling. This line demonstrates it perfectly. He thinks she forgave him when that wasn’t the case at all…but of course, he didn’t even accompany her, so he didn’t see what actually took place. His worldview is fundamentally different from hers, and he’s consistently too rigid in his morality and immature to center Katara’s feelings.

Throughout Katara’s whole arc, her most significant character moments, Aang’s character just doesn’t come through the way Katara’s constantly does for him. Their narrative lacks mutuality. When Katara and Aang are together, she becomes an accessory to him. The ending scene is a perfect demonstration of this.

Now, to address the elephant in the room.

Which character does actually add to Katara’s narrative and support her growth as a character?

Correct! I just talked about how important The Southern Raiders is to Katara’s character and story, how it’s a chance for her to finally address the grief she’s been carrying since Book 1. And who stood by her side throughout this pivotal moment? Right—Zuko did.

You can talk all you want about how he’s a “colonizer” while Aang’s people suffered genocide, but you’re forgetting that “show, don’t tell” is one of the most basic aspects of storytelling. The fact is, despite how it looks on paper, Zuko was the one there for Katara at her critical moments. Zuko empathized with Katara more than Aang ever did—as demonstrated in this episode. Zuko never once brought up his own cultural values. Zuko never once told Katara what to do. Zuko’s position was that Katara should be the one to decide, and that he would support any choice she made. He supported her decision to spare Yon Rha, but he would have also supported her if she decided to kill him. I actually found this episode to be a satisfying reversal to what is typically seen in TV—for once, the female character is centered while her male counterpart takes the backseat and becomes a supporting role to her narrative.

Even before this, Zuko is shown to empathize with Katara.

Zuko: I’m sorry. That’s something we have in common.

I think what gets me about this scene is the fact that he’s still Katara’s enemy, and she was just yelling about how she hates him and his people. But despite that, Zuko still empathizes with Katara. She is fundamentally human to him, and he expresses that to her in a way that allows them to connect. Zuko stands to gain nothing from this. It’s true that Azula entered the picture and twisted things around—but in this moment, Zuko’s compassion is genuine. His instinct was to respond to her grief with empathy, just like she consistently does for other characters.

And finally, how else does Zuko add to Katara’s arc?

I don’t think there is any more perfect of an example than the finale itself—the culmination of the arcs and development of all characters.

Zuko and Katara fight together. In a heartbeat, Zuko asks Katara to fight by his side against Azula, because he trusts her strength. She’s his equal—both in his mind, and in a narrative sense.

Then, this:

Both of their roles are so critical in this fight. They both save each other. The scene has such raw emotion to it. These characters were together at the conclusion of their respective arcs for a reason.

This is the perfect conclusion to Katara’s arc. She just played a critical role in ending the war that has caused her trauma her whole life. She just demonstrated her mastery of waterbending (another thing she’s dreamed of throughout the series) by defeating the world’s most powerful firebender during Sozin’s Comet. Even though she had help as all characters do, these are victories that belong to her and demonstrate the growth and power of her character. And to top it all off? She was able to save Zuko’s life. She didn’t have to endure the pain of feeling helpless to do anything while someone else died for her; this time, she had an active role, she changed her fate, and she prevailed. Zuko plays an important role in Katara’s story without dominating it. They perfectly represent mutuality. They add to each other’s stories. Their narratives become stronger when they’re together, without one diminishing or sidelining the other.

So, from that standpoint, that’s why I always see the attraction between Zuko and Katara and why I see it lacking between Aang and Katara. Zuko and Katara’s story doesn’t need some cheap little throwaway moments to shine. It’s integral to both characters’ stories. We are shown not told of the way these characters feel about each other. Given everything we know about Katara, her goals, her values, her past loves…absolutely everything points to Zuko being the true subject of her feelings.

Because let’s be honest. The ending I just described is so much more powerful and so much more Katara than seeing her being relegated back to a doe-eyed love interest for Aang to kiss. It hardly even made sense—Katara played no role at all at the culmination of Aang’s arc. She was relegated back to a love interest, rather than the powerful figure we saw fight alongside Zuko.

[dragonmuse]

Keep It In The Box : An Essay on OFMD Season 2 and the Failure to Heal

(here in is my season two reaction. It contains many many spoilers. It's also about 3k words long so you know what you're getting into.)

“See, I have a system for dealing with all the terrible things I've seen. There's a box in my mind, and I put the things in the box..” -Frenchie, Season 2 of Our Flag Means Death

…..and then he never opens it. Chekov’s locked box has no key in season two.

On first watch, it seemed clear to me that Frenchie’s declaration was a narrative plant. Clearly the whole season would be about that box of pain and trauma being opened, sorted through and at least the beginning of healing. The show had developed a reputation after season one of being kind and focused on queer narratives of healing from childhood. Ed and Stede’s parallels in their childhood traumas were frequently on display through season one and were repeated in flashback throughout season two. Jim’s season one arc about becoming someone who doesn’t think just of revenge and can now forge meaningful connections was profound, beautiful and often funny. Izzy is an antagonist because he doesn’t want Ed to move on or stop acting like the trauma-response version of himself. The antagonist wants to stop healing. The point is to grow, to change, to learn how to love. It’s one of the things that made season one work for me at the time, despite reservations about pacing and tone.

So naturally season two should follow suit. It’s a kind show! About healing and falling in love!

For the first several episodes, the remaining crew on the Revenge go through a gauntlet of trauma, forced to do and receive violence at Ed’s whims as he careens from self-destructive behavior to self-destructive behavior. This is the wounding setup. It was dark, but it seemed like it would have a payoff and at first it did.

Perhaps one of the most beautiful moments of the season comes in one of the small respites in those early episodes as Jim recounts Pinnochio to Fang to soothe him through his grief. That was the show that I expected. The kindness of that moment struck me very deeply. It gave me some understanding of Archie too, who seems to fall for Jim right at that moment.

That scene is the show season one promised. Season two led with packing Frenchie’s box full to bursting. Here is the fight to the death between lovers, there is a first mate who is mutilated and rotting in the very walls (the rot of the Revenge itself), and there is the storm of Ed’s rage and pain that threatens to consume all of them.

So surely these remaining episodes would concentrate on finding the humor in healing from those moments. That is the setup. Frenchie has a box. The box must eventually open.

Except time and again, all the characters who suffered are told that the only way to deal with what they’ve been through is to stick it in the box and never open it again.

Pete tells Lucius that he’s unable to move on and needs to let it go. Izzy has a story about a shark. Ed’s apology to the crew which doesn’t even contain the words ‘I’m sorry’ is just…accepted. I kept waiting and waiting for a meaningful apology to the people Ed had hurt the worst with his actions, but it seems all we get is Fang saying ‘eh, no problem, I got to hit you back so I feel better’.

The playful theme of ‘pirates are just violent sometimes’ from season one becomes a grinding horror machine in season two when every atrocity visited on someone is forgiven because the narrative needs it to be. Ed and Stede spend more time making amends with each other over the bloodless night on the beach than either of them spend trying to repent for their actions towards anyone else.

And let’s talk about Ed. Arguably this season pivots on his narrative, on his path to healing and growth. A path that starts at a very low point. His moment in the gravy basket, deciding he wants to live because there are still things to live for is so great! So one might assume that what would follow would be him pursuing those things, making amends, making connections. He and Stede have a wonderful moment, talking about being whim prone and how they’ll work to avoid that, build a relationship by going slower.

Yet, at no point do either of them stop following whims. They never heal or learn from what’s happened to them. They both keep running from thing to thing, particularly Ed. It’s a whim to sleep with Stede, it’s a whim to run off to fish, and the finale gives us just more of their whims. Ed drops fishing as fast as he picked it up. He finds those leathers in the ocean, murdering the symbolism of leaving them behind. Even the inn is a whim, one of those things Ed decided he’d be good at without evidence. And Stede joins him in that without a single on screen conversation about it ahead of the moment.

Ed needs to heal himself and to do that he needs to confront what he’s done and do the work to heal the wound. Instead, he doesn’t meaningfully apologize to anyone, besides Stede and Fang. Despite Izzy’s dying words (we’ll get to that), not only do we never see the crew caring about Ed, working to make him family in the same way they do with Fang and even Izzy, he also doesn’t choose to stay with them. So what is the point? Where is the healing? Or does even Ed, beloved main character, have to live with it all stuffed in a box?

He ends the season in the leathers he threw away, in a relationship that’s barely stabilized, going to live in a house which we are told by the narrative (in that they are very very clearly paralleling Anne and Mary with Ed and Stede or why do we even get that whole Who’s Afraid of Virginia Woolf? episode) will only end in them setting fire to each other to stay warm.

But Vee, I hear you cry, it’s a ROM-COM. This is all meant to be ha-ha funny and you are taking it so seriously!

Cool beans. Then why the hell isn’t it funny? Healing is often filled with comedy because people deal with pain with humor. You can heal and laugh at the same time. The finale especially is almost entirely devoid of laughs, almost entirely devoid of joy until the last minute for that matter. The episode that should show off with a flourish how far everyone’s come, mostly serves to show that no one has grown.

Okay that’s Ed. I want to talk about Lucius next. Our former audience surrogate (that’s taken away in season two when he doesn’t get enough screen time to perform that role and no one takes his place) really goes through the wringer. He experiences many many terrible things, including sexual assault (which is made into a grimace-laugh line that doesn’t take away from it’s seriousness because oh hey, that can be done as it turns out). He’s nervous, he’s smoking, it’s clear he’s suffering.

There’s a beautiful moment where Pete tells him ‘hey, I was also in pain. I grieved’ and that’s great. It’s good that Pete sets a boundary about Lucius not obsessing over the past to the point of occluding their future.

We even get our comedic moment where Lucius pushes Ed off the boat (still not apology, but I’d lost hope for that by then) and that doesn’t help enough. So Izzy comes in with a shark and the advice that you just have to move on.

Just…you know. Play pretend. Forget.

Shove it in a box. Ed didn’t take my leg, a shark did. Ed didn’t kill you, a shark did. Live with the person that tried to murder you because it’s your fault you dangled your leg over the side of a boat. That is the show’s message. I thought on first watch, that surely this would also come back up and be explained that you can’t live that way, that that is no way to heal. That it would become clear that this was no way through. You cannot make everything into sharks.

Lucius can move forward and still carry pain. He can still want a meaningful apology and still want to talk to his lover about what he’s dealing with while moving forward toward a brighter future.

And what of the flirtatious promise of relationships and connections being the way to heal? Look to Oluwande and Jim, whose heartfelt romance from season one was relegated to the bins of history in favor of a narrative that made him a brother Jim once had sex with. They could have had Archie AND Oluwande, who in turn could also have Zheng, but that never seems to be an option. With a single short conversation, they are broken up with, despite a brief tease at the birthday that they still ‘dance’ together, it never actually manifests. Jim and Archie never talk about what they went through. It’s swept under the rug as fast as knives are lowered.

Lucius also no longer flirts with other people, the solution to his pain is to propose and get married (but not too married, lest we forget that they’re two men, they don’t even get to be husbands or even the more respectful mates, no. They’re mateys.) This season proposes that the only happy endings are monogamous ones, where no one talks about anything painful that went before.

To ensure that message, beyond assuring the success of Oluwande and Zheng’s relationship, Jim and Archie almost entirely disappear from the narrative. Sorry you guys were given layers of trauma and no growth and not even much to do this season, we need to make sure that everyone remembers Oluwande is the break in Zheng’s day so when he says that to her five minutes later we know exactly what he’s referencing. No time for Archie to learn what an apology is or for Jim to get one line in with Oluwande that isn’t affirming their newfound broship. Must do more flashbacks to things we just did two episodes ago!

The show even dangles the conversation of the Revenge being a safe space. Why would any of them ever feel safe when the man who tortured them is allowed to walk among them and they are expected to forgive and forget? What’s safe about that? The ship is never made safe for any of them, but that’s never addressed.

And Zheng! Amazing, hysterically funny Zheng! She loses her ships, her entire way of life, the kingdom she built for herself and then…she doesn’t even get to captain the Revenge. We don’t know what becomes of her fleet, of her plans, her ambitions. Don’t worry about it, she has a romantic partner and isn’t that what every lady wants in the end?

(But Vee, I hear you cry again, there will be a season three! Maybe it will be All About Zheng! To which I say: then why did they present us with the most series finale feeling episode ever? If there’s more, I have no idea where it’s going. BUT VEE: BUTTONS AS SEAGULL ON THE GR- Fine. It’s time.)

Let’s talk about Izzy Hands.

Izzy manages more healing than anyone else this season. He reaches his lowest point, suicidal in the bowels of a ship that’s become a prison (very much in contrast to Ed’s suicidal low). The person he loves most in the world has shredded him physically and emotionally (and if you’re in the camp that thinks Izzy deserves the abuse that Ed gave to him, I would really like you to sit quietly with yourself and ask why you think there is ever anything anyone can do to deserve that treatment). He’s low, he shoots Ed to protect everyone, and then seems to plan to drink himself to death, mourning his losses.

And then another beautiful moment! The crew move past their own pain to help him. They work together for the first time and it’s to give Izzy mobility back. He treasures it. He cries over it. He uses that kindness extended to him to reach a new understanding of Stede and help him succeed, doing the work to make real amends. He sings in drag, he’s vulnerable and beautiful, celebrating the side of himself that he must’ve loathed in the first season. He’s an elder queer man, coming into himself.

He never gets an apology though. (‘Sorry about your leg’ without eye contact is not an apology. There is no responsibility taking, no acknowledgement of the weeks of torture that came with it.) Izzy also never really has an honest conversation with anyone about what it means that the man he loves punished him so severely for the crime of trying to protect the crew (yes, lest we forget, Izzy lost his leg because he was trying to keep Ed from re-traumatizing the crew and himself).

Izzy does all this work, but even he’s not allowed to take it out of the box. It’s a shark, not Ed. Ed is just ‘complicated’ (the language of abuse here is so upsetting and I think not even intentional).

And then he dies. His last act? To apologize to the man who tortured him and shot at him. To have done all this work, to take on all the blame. And then die.

In a rom com.

This show ends in a profoundly unfunny moment of telling the audience: this is the one character that did the work, that made amends, that tried his hardest to accept the parts of himself that he had a hard time embracing and formerly embittered him. He’s fully accepted his queerness and turned it into beautiful music. He’s disabled, and he worked hard to accept that. The man he loves will never love him back, so he worked hard to make Stede able to meet Ed on an even playing field. The Giving Tree gave up its limbs and its trunk, and it’s not even allowed to be a stump to sit on.

Kill the queer elder, who has managed to figure out how to live and in his own way how to heal. Kill him before he manages to teach anyone else how to meaningfully move forward (he almost gets it with Lucius, almost, but it’s meant to be rule of three, you know. Cigarette..shark…and then…and then fuck it, Lucius doesn’t even get to say a word at his funeral).

The message of this season again and again is that there is no healing, just moving forward. Like a shark. Like a bird that never lands.

That is not a kind show.

Season two is not a kind season.

It splinters people up and jams them back together without purpose or reason. It tells everyone who experiences pain that they should shove it in a box and not deal with it. No one who really needs one gets an apology of any sincerity. No one puts in the work to gain forgiveness. (Ed wearing a onesie is not The Work. Ed fixing a door is not The Work. Ed broke people that the show wants us to care about. Ed never does the work of making those amends. He fires off a Notes app apology at best. After all, it’s what he told himself via Hornigold in the gravy basket: you move on or you blow your brains out! Good thing he took his own advice and therefore had to change nothing to get his just rewards.

I would’ve taken just fifteen minutes of Ed trying to actually make amends. It could’ve been hilarious! Imagine awkward Ed trying to dance around what he’s doing with Jim and the two of them having a knife throwing competition about it. Or him and Frenchie attempting to make music together, writing a song about the raids they went on! It’s not just the crew robbed of their healing because of this, it’s Ed himself. He never meaningfully changes or makes amends. How is he any different at the end of the finale then he is standing on the edge of that cliff with Hornigold? He hasn’t moved on, he hasn’t healed. He tried one thing (fishing) that doesn’t fucking work and then he runs right back.

No one leaves this season better than they went into it. They’ve lost an elder queer, they’ve lost their joyous and queer polyamory, they’ve lost a chance for meaningful reconciliation with Ed and Ed lost any chance of looking like he gave shit if they did. Stede grows enough to accept the crew’s beliefs as important and then leaves them behind without a care.

Izzy gets a beautiful speech about piracy being larger than yourself. Ed and Stede, within twenty minutes of that speech, leave piracy. They are incapable of giving themselves to something bigger, apparently. They haven’t learned to be a part of a community. They haven’t healed from their childhood trauma or their fresher wounds. They are still just following their own whims.

Zheng’s life work is in tatters, but it’s fine, she has love. Oluwande and Jim aren’t together, but it's fine because they both have dedicated monogamous partners. Lucius was deeply scarred by what happened, never recovers much of his first season personality, but hey he got-well it’s not married exactly- but you know good enough!

Frenchie, who has a box forever locked in his head, is captain. Because the key to success is to lock it all in a box and never open it. What a message. What a show. Conceal, don’t feel. Smile because it’s a happy ending. Don’t mourn the dead, don’t try to tell people what happened to you (they will literally run away or cry too hard to listen and really you’re just bumming them out), and any meaningful change you make is only rewarded with death.

Frenchie is now a pirate captain with a box in his head full of trauma that’s never been opened, leading a crew with more wounds than scars. Wonder how that could turn out? Wonder how many years before he might want to retire and then happen to run across a gentleman pirate. As if no one learned anything at all.

[ckret2]

✨⚠️ Wasting Away Again in the Goldilocks Zone ⚠️✨

If you're new here, this is one of those "human Bill in the Mystery Shack" redemption fics, you know the drill: Bill illegally escapes death via reincarnation; the Shack crew imprisons him til they can figure out how to kill him; but they won't, because Bill's gonna make friends with them and literally everybody else in town. Whether they like it or not.

Featuring!! The slowest redemption arc you've ever read; "human" Bill that doesn't decide being trapped in an alien body is fine; show-style episodic plot structure; individual plot arcs for characters you've never even cared about; so canon compatible we even include the dang coloring book; and so TBOB-compatible over a year before TBOB came out that I'm considering taking up a position as the Oracle of Delphi just so Apollo stops barraging me with dodgeballs.

New chapter every Friday, 5pm CST! Yes, that includes this Friday!

For art, doodles, upcoming scene excerpts, and posts about characterization & plot plans, see my #bill goldilocks cipher tag. For the fic itself, the first few chapters are on AO3, but tumblr's 60 chapters ahead:

⛓️ 1 Part 1. Bill returns, in a bedsheet toga.

⛓️ 1 Part 2. Bill tries to murder the Stans & Soos (with time travel).

⛓️ 2. Dipper and Mabel save the day (with time travel).

⛓️ 3. A tense evening as the Pines prepare to get rid of Bill.

⛓️ 4. Plot twist: the Pines physically can't get rid of Bill.

⛓️ 5. The gang goes to a diner at 3 a.m. for hostage negotiations.

⛓️ 6. Bill escapes from Theraprism. [NEW!!!]

⛓️ 7. "How'd Bill get here" flashback; plus, entering his new prison.

💇‍��️ 8. Bill gives himself a haircut and depression.

💇‍♀️ 9. Bill & Ford grudgingly have a sincere conversation; regret it.

💇‍♀️ 10. The kids decide Bill won't ruin their summer. Also: Pacifica!

📓🔺📓 TBOB BOUNDARY: Everything above this line has been edited for 100% compatibility with The Book Of Bill and posted to AO3! Everything after this line has not been edited... so it's only 98% TBOB compatible. 📓🔺📓

🧚 11. Mabel gives Bill the most beautiful makeover ever. (It's not.)

🧚 12. Pacifica advertises Harry's Hairy Fairy Formula. Bill wants it.

🧚 13. Pacifica refuses to share; the twins discover its side effects.

🧚 14. Mabel wins Bill's eternal friendship with arts & crafts.

💭 15. Bill, Ford, and Dipper have nightmares that are Bill's fault.

💎 16. Ford has a fun day with Mabel but everything goes wrong.

💎 17. The day goes right again thanks to healthy communication.

🎥 18. Mabel's Guide To Local Animals, co-starring Bill Cipher.

🧊 19. Wendy snoops into the weird things happening in the shack.

🧊 20. Wendy meets the weird thing (it's Bill).

🎂 21. Stan & Ford's birthday party! Bill gives evil gifts.

💭 22. Bill "helps" Dipper's nightmares; no one knows his motive.

👁️ 23. Bill's ex is back in town and nobody's happy about it.

👁️ 24. Everyone's even less happy to learn Bill has a sex life.

🧿 25. Mabel and Bill make friendship bracelets! :)

🧿 26. The Pines take Bill to the mall. He wears terrible things.

🧿 27. Bill breaks Mabel's heart (and panics to fix it).

🏳️‍🌈 28. Bill talks his way into going with Wendy to Rainbow Club.

🎃 29. Bill contacts the Henchmaniacs on Summerween morning.

🎃 30. Costume making. Mabel pries into Bill's past, with crayons.

🎃 31. The Trickster's pals trick-or-treat; and Bill terrifies Dipper.

🪮 32. Dipper & Mabel make a poppet to control Bill.

🦷 33. Stan takes Bill to the dentist. In handcuffs.

🦷 34. Dentist & tooth fairy attack. Stan & Bill are still handcuffed.

🦷 35. Bill & Stan reach a painful understanding and stop the fairy.

🛁 36. Anime night; and Mabel makes Bill do community service.

🛁 37. Bill plots escape and runs into Wendy. Dipper panics.

🛁 38. Bill has the worst and stupidest day of his afterlife.

🌅 39. A cultist finds Bill; Bill tries to re-recruit Ford.

🚙 40. Gideon broadcasts car commercials; invokes Bill's wrath.

🚙 41. Bill apologizes for bullying Gideon. lol no he blackmails him.

🌕 42. Bill tells Dipper secrets of the universe; predicts an eclipse.

🌖 43. Gravity is disappearing; Ford and Fiddleford investigate.

🌗 44. Ford & Dipper drag Bill hiking; Bill faces his death.

🌘 45. Ford demands answers Bill can't give as totality looms.

🌑 46. Totality. Bill decides whether Ford lives or dies.

🌒 47. Bill feels rotten but finally explains the eclipse.

🌓 48. Bill has a complete mental breakdown.

🌔 49. The gang limps home. (Plus: a second dimensional eclipse.)

💿 50. Bill finally processes that mental breakdown.

💿 51. Dipper and Mabel try to remember the Axolotl's poem.

📖 52. The gang reads Flatworld. Bill isn't thrilled.

📖 53. Mabel tries to get Bill to talk about his home world.

⚛️ 54. Dipper, Ford, and Fiddleford do paradox physics.

📖 55. Mabel learns college-level geometry.

📖 56. Mabel & Bill have fun; Dipper & Ford prepare for murder.

💀 57. The execution of Bill Cipher.

💀 58. Everything you wondered about how Bill escaped.

💀 59. Everything you didn't wonder about how Bill escaped.

💀 60. Everything you never imagined about how Bill escaped.

✨✨ 🪐 61. The Axolotl finds the second dimension's corpse. ✨

📙 62. Soos vacuums the attic (wow exciting)

📙 63. Soos decides how he feels about Bill's treatment.

📙 64. Fixin it with Soos: home redecorating!

🎥 65. The gang makes plans for the night.

🎥 66. Dipper's Guide to the Fremont Nightwigglers

🎥 67. Mabel's Guide to Secret Sleepovers

🎥 68. The aftermath of everybody pulling all-nighters.

🏖️ 69. Beach episode! The Pines fish! Bill tans!

COMING SOON:

🏖️ 70. Bigfoot, Agent Powers, and the cool teen gang.

Hey!! Go read chapter 61 now! I posted it out of order so you probably haven't read it!!!

🪐 61-2: The 2D massacre is so much worse than the Ax thought.

🪐 61-3: A building inspection in the Nightmare Realm.

🪐 61-4: Even when Bill fixes things he breaks them.

🪐 61-5: A shape meets Bill as the world burns.

🪐 61-6: The gods & Bill negotiate him leaving Dimension Zero.

COMING SOON:

🪐 61-7: The gods deal with Bill not leaving Dimension Zero.

EVENTUALLY WHEN WE GET BACK TO NORMAL NUMBERING THE NEXT CHAPTER WILL BE:

🕴️ 71? The government investigates the Mystery Shack... again.

I skipped chapter 61 because it was about the destruction of Bill's dimension and it was scheduled to post the week TBOB came out. By the time I finished rewriting it to be TBOB-compatible, it was like, 5 or 6 chapters. I'm gonna finish posting them first to see how many chapters they actually are and then I'll update the numbering of the subsequent chapters.

This post was last updated November 15, 2024! If you're seeing this post as a reblog and it's been a while since then, check back on the original post to see if more's been added!

[kazoosandfannypacks]

The ultimate Dwampyverse three-way crossover would not be as a season finale or season premier episode. It wouldn't be high stakes and it wouldn't have a major story arc for every character. Instead, it would take place over multiple interconnected episodes that would air as part of each separate show but all take place simultaneously, kinda like the halloween crossover those disney channel shows all did back in 2015.

And it would take place at the Tri-State Area's largest ever comic-con.

We'll start with the Phineas and Ferb storyline. Buford and Baljeet enter the backyard arguing over Stumpleberry Finkbat vs. Space Adventure. Phineas reminds them of the bonding the two fandoms had together last time there was a fan comvention, and the boys decide to host their own comic-con, the largest fan event the Tri-State Area has ever seen. Buford and Baljeet spend a lot of this episode in an argument similar to the brains vs. brawns argument from the Africa episode. Phineas and Ferb just try to enjoy the convention they're hosting. Isabella is rather conflicted, torn between spending time with Phineas and hanging out with her fellow Finkies.

Initially, Candace wants to bust the boys for hosting a giant convention in their bakyard, but she changes her tone when Jeremy comes around with a poster for the event, and points out there's a couples' costume contest that they should enter together.

In the Milo Murphy's Law storyline, we see Milo, Zack, Melissa, and Amanda (not Diogee, of course; he had to go home,) trying to track down a collectible item that Amanda is missing from a collection she started when she was younger. Doof is there as well, having decided that he can better research how to invent time travel by talking to a room full of fans of a time travel television show. Cavendish, Dakota, and Perry accompany him, though Perry wanders off partway through the episode, leaving Dakota to ask a "hey, where's Perry?" Sara and Neal also come to the comic-con too, hoping to win the couples' costume contest.

In our Hamster and Gretel storyline, we've got Gretel, Bailey, and Nordle hoping to just have fun hanging out with other fans of Larry the Magic Boy, but a villain of the week set on overthrowing comic-con gets in the way of Gretel hanging out with her friends. Fred comes along, claiming it's to "supervise" the kids, but she's immediately distracted by a Yuko Attack Cheerleading Warrior 7 fan trivia competition. Hamster disappears at the start of the episode for one of his unseen mini-adventures.

Kevin and Hiromi come as well, entering the couples' costume contest. They claim they're entering platonically because Hiromi wants to earn whatever the prize for it is, and Kevin owes her after the first date and award ceremony blunders. Fred points out to them that platonically entering the couples' contest subverts the point of an already pointless contest, and it may disqualify them. Kevin and Hiromi come to the conclusion, then, that the only way to win without getting disqualified is to spend the entirety of the convention up until the contest winners are announced pretending to be dating.

We also get lots of character crossovers interspersed as well. Baljeet is delighted when he crosses paths with Zack and Melissa and finds out they are, in fact, dating now. Dakota and Bailey exist in the same space for a bit and have the most wholesome interaction in the world. Fred and Buford have a beautiful bonding moment that they agree never to speak of again. There's also a meta moment with Isabella, Lydia, and Lauren, all wearing the same costume.

There's also plenty of background cameos as well. Stacy, Orton Maulson, Irving, the Dr. Zone "oldbies," Carl, Anthony, Monty and Vanessa in their pimpernel and vampire queen costumes, and Tobias Trollhammer all get to make background appearances.

When the finalists for the couples' costume contest comes around, Candace, Sara, and Hiromi give each other lots of competive remarks and backhanded compliments on each other's costumes, while Jeremy, Neal, and Kevin are all super chill and exceptionally polite to each other. At the end, Kevin and Hiromi win, which leads to an excited hug and maybe even a kiss on the cheek, and then a sad air falls over them as they realize that's the end of their need to pretend to be dating.

Candace is thoroughly disappointed in her and Jeremy getting third place, and then decides it's time to go get mom and bust the boys— but of course, by the time mom gets there, the convention is long gone— not because of the villain trying to overthrow comic con, but just because of Murphy's Law.

The plots are really well interconnected too, with things happening in the first episode that don't make sense until you watch the second and third episode and realize "oh, that's why that happened," and the same happens in the second episode, and the third references things you wouldn't understand without the full context of the first two.

There's a lot of use of the Comedic Rule of Three in the inclusion of running jokes that occur once each episode. There's also a lot of room for the Comedic Subversion of the Rule of Three, where a line is spoken in the first and second episode, but obvious opportunities for it in the third episode are comically missed.

And in an end credit scene of the final of these three episodes, we find that Perry, Diogee, and Hamster were all playing cards together during these episodes, and Diogee was winning.

[lurkingshan]

What are some JBLs you recommend that have good kisses AND a good romance plot

LOL I can hear the pain behind this question, anon. It’s true that a lot of JBLs with a good romance story fail to deliver on the physical intimacy side of things, though that is becoming less and less the norm. I do have some that I think do both reasonably well. I don’t know exactly what “good romance” means to you, but I’m going to assume we’re talking about well-executed romance plots, regardless of the show’s overall genre and focus, where the characters and relationship arc make sense and don’t randomly derail somewhere along the way. Here’s what I got:

I Cannot Reach You

This is a high school friends to lovers (the cream of the crop for that trope, IMO). This is a story about realizing feelings and building the courage to change your most important relationship, so you’ll have to wait a bit to get those kisses but once you do, I think you’ll be pleased.

His

The second chance romance for me. This is a bl film about two men who come back together after a bad breakup and figure out how to make it work. I love them and this story so much.

Old Fashion Cupcake

There’s only one kiss in this short and sweet show, but it’s a real doozy. A super tight workplace age gap romance that knows exactly what it’s doing.

At 25:00 in Akasaka

Two actors who went to college together meet again when they are cast opposite each other in a bl drama, and get tangled up in the blurred lines between their professional and personal relationships. Angst, baby!

The Pornographer

This series features some of the best kissing and sex scenes you will see anywhere in the bl genre, but warning that it’s a twisted and wild ride. There are five installments and you gotta watch them all to see the full picture of the character and romance arcs. It’s so rewarding if you do.

The End of the World With You

From the same mind of the previous entry and similarly hot and wild and weird. This show has more going on than the second chance romance at its core, but it themes come together beautifully.

Tokyo In April Is…

Another second chance romance, this one features a lot of sex but also deals with heavy subject matter, so mind the CWs. It’s one of my favorites of last year and the love story in this one has really stuck with me; it’s beautiful and so hard won.

Love is Better the Second Time Around

This one comes with a disclaimer that it goes off the rails in the final two episodes, but you asked for good kissing so it would feel wrong not to include it. Yet another second chance romance (are you picking up on a theme here?), this one gets two former high school lovers back together as adults to sort out their misunderstandings, lingering feelings, and buckets of sexual tension. It was so good—until it wasn’t.

[reixtsu]

In an alternate universe, they are real and you are a fictional character.

Includes: Xiao, Aventurine, Diluc, Itto

About you: you are the main antagonist in an anime and video game.

Xiao

Aether begged him for weeks to watch your anime with him before Xiao got annoyed and finally gave in to his wishes. The plot he found a little interesting, so say the least. The story was a little cliche and overall not within his genre. At least that was until you showed up. He tried to understand your motivations and actions, after all, you were the villain. Why did he find you amusing? Why did he find your beauty otherworldly? Xiao starts to watch your anime  secretly during his own time, often acting like he has no interest in you or your anime. However no one can ignore his little blush at the mention of your name. He was obsessed with you and even bought merch and made a secret shrine. Once your arc ends, however,  he will still root for you within the depths of his heart.

Aventurine

Headphones ready? Check. Anime on? Check. Other computers with your playable character on screen? Check. With all of that checked, Aventurine was ready to watch today's new episode of his favorite anime. Why was it his favorite? Because it had you in it. He grinned as you walked up to the screen, but Dr. Ratio roughly shut the laptop, effectively cutting you off. How could he?! He just slammed a computer shut when a goddess was in the middle of making her speech? Aventurine whined as Dr. Ratio dragged him away from his computer and lectured about his unhealthy obsession with you. Luckily, Aventurine was willing to gamble anything for you. He watched your anime every single day, made you his wallpaper, and spent all his money on your merchandise. IN the game you were in, he would gamble so much just to get you maxed out in everything, making you his most prized possession.

Diluc

It all started when Kaeya went on a drunken tangent about you and your anime. All Diluc could do was sit there listening to his brother ramble on and on about you. He didn't think much of you at first, simply keeping in mind about how much Kaeya simped for you. After a lot of pestering, Kaeya finally convinced Diluc to watch your anime with him. At least one anime was the agreement, only one. One became two and two became three. Diluc couldn't stop thinking about you. Your characterisation, design, personality, voice, motivations, everything. You were so fascinating to him. Kaeya would always take the opportunity to tease him about his new obsession with you, but Diluc just brushed it off, proceeding to think about you as he cleaned a few glasses. Mind you, he is a quiet fan of you, and often doesn't make physical attachments with you other than a small image of you in his wallet. If Kaeya ever finds the picture, he swears he will kill him.

Arataki Itto

After seeing a few posters of you hanging around Inazuma, a man fell head over heels for you. Your physic was what got him first, but when he discovered you had an anime, he and the Arataki Gang started binge-watching your anime like their life depended on it. He would show off edits of you and ramble about  elegance to Shinobu every single day, much to Shinobu's dismay. He laughs at every lame joke you say and cries during your backstory. He was a very vocal supporter and wasn't afraid to show just how much he loved you.

[mortal-song]

the problem with tua's ending is that it was IMPOSSIBLE to do without retconning and defacing the themes and characterizations that have been central to the story since the very first episode. if you had to end it that way, if it really was "the plan all along," then fine. there ARE good ways to do that -- so the execution should have been much different here if that was the case. take a look at "the good place," for example. everyone ceased to exist at the end of that story as well, but it was beautifully done because it ADDED to the show's core themes rather than take away from them. tua's ending was hollow and unavailing. at some point i have to commend the precision with which someone can desecrate an entire series and certain characters (looking at five, diego and lila especially) like this.

it made no sense. diego and lila formed a beautiful (albeit chaotic) relationship built upon mutual trust and authentic love that neither of them had ever experienced before. it was something they were teaching each other and learning together. that was a new beginning to them, and it was painted as such by the narrative. at no point were there hints that things would go sideways, no build up. every time they stumbled in the past it was still right back into each other's arms. at no point did their chaos look like an ending until it was shoved in our faces for... shock value? to shake things up? i fail to understand where it came from. they were relentlessly devoted to each other and the only two people who could stand each other for long. and so what became of them was very jarring. very messy.

five's ENTIRE character has been focused on and motivated by one thing: saving the people he loves. to the point that he was willing to let his own humanity become a forgone ideal, a renounced concept, as many times as it took. to the point that he essentially INVENTED TIME TRAVEL and INVENTED THE COMMISSION TO REGULATE IT. five's stoic exterior only barely concealed the claw-grip he had on every single family member, so why forget it now? why choose to go back on that? and in what world would five hargreeves willingly wait MONTHS to return to his family? because he was SUDDENLY in love with lila, no less? forgetting the very apparent fact that his age and body are not in alignment, five had never shown any interest in romance. especially not towards lila. but they do have very similar backgrounds, and so this was a chance to enrich the mutual understanding five and lila have with each other, expand the familial connections they have, especially seeing as how both of them -- in their own ways -- spent most of their life without that sort of connection.

ben's entire arc felt so, so out of place. completely and very ironically isolated from the entire rest of the series. nothing about it was fulfilling, nothing about it offered any sense of closure or even development. jennifer made no sense even as a plot device, much less as her own character. these two brought out nothing in each other.

klaus had the foundations of a good arc, but too much was introduced in too small an amount of time and none of it really went anywhere. i can say roughly the same for allison and viktor. THAT being said, of most of the scenes i did find myself genuinely enjoying this season, THOSE three were usually at the center! in fact, i really did love the scenes with klaus, allison, and claire. so that's cool. i guess. luther? he was just kind of... there?

and ray just fucked off with no explanation? okay. and reginald? until this point he had all the qualities of a potentially VERY GOOD and nuanced villain. his arc fell flat. and let's not forget all the other loose ends, but, you know, we've been here long enough. so. onto the next point.

none of these characters got to heal. none of them ever got to revel in anything meaningful, or, rather, the things that WERE meaningful across the whole series were rendered worthless because... none of it exists anymore! none of it ever existed! this is like an "it was all a dream" ending but much worse. and these characters are so, so incredible. i can only name a few other stories that have had characters i've connected to this deeply. and despite everything i could never really stop loving them. that makes it hurt more though tbh

anyways. i know i'm about to sound incredibly dramatic but the ending made me sob my lungs out. this show was really important to me. it led me to incredible people, other incredible stories, helped me live, etc. but i honestly found myself wishing i'd just never watched this series at all. the ending was eviscerating and Just Fucking Pointless. i don't think i'm ever going to be able to rewatch it. it's still hard for me to conceptualize that it was even real, that this is all we get. there's a lot more i could say about everything, but again, i've said a lot already and i'm not trying to write a fucking novel. i'll say more of what i want to in sporadic bursts i guess.

[ohnoitstbskyen]

The Beautiful Animation Touches of Arcane, act 2

It's not exactly a hot take to say that Arcane is one of the most striking and visually compelling animated series of the last few years, the animators and directors at studio Fortiche threw everything but the kitchen sink at this show, creating something intensely dense, layered and absolutely soaking in little animation touches, clever bits of cinematography and just straight up good direction and filmmaking.

It is impossible to discuss everything compelling about Arcane and its animation in one video, but I'm at least going to do my level best to talk about some of my favourite scenes from the second act (episode 3-6), and oh god oh god oh f*** my video about the animation is longer than all three episodes it discusses combined.

In this video we'll focus particularly on Jinx's custom animation rig that lets her swap between the Jinx and Powder personalities, how Silco visually asserts power over Marcus when they argue, how Viktor's entire character arc is contained within a single scene from his childhood, how Vi and Caitlyn speedrun an enemies-to-lovers trope via body language, and the seduction of Jayce Talis and his unfaithfulness to Viktor.

You have no idea how many Netflix copyright blocks I had to edit my way around to get this online.

[coquelicoq]

[Image description: Two stills from the episode. The first is a close-up on Natori's face as he holds up a black crow feather. He's wearing glasses and a bucket hat and saying "I sent Hiiragi after him so we could take him out". In the second, Natori takes off his glasses, looking at Nanase offscreen at an exorcist meeting. He's still wearing his bucket hat, which throws the top of his face into shadow. Hiiragi is visible behind him. /end ID]

Rewatch: S2E11 Assembly of Conjurers

A horrible exorcists rewatch post. What is the horrible exorcists rewatch?

🌹Summary Natsume encounters an injured crow youkai. Natori invites Natsume to a meeting of exorcists to chase after a youkai that looks like a flying head.

🌹Canon Notes +this episode corresponds to manga volume 3 ch 11 +dangerous youkai can run around eating youkai and eating livestock +youkai are used as guides to lead people to exorcist-youkai gatherings +ideograms can be drawn on parts of human bodies for protection  +srry hiiragi, that you got punched this one time when you were trying your best to help but the misunderstanding was hilarious (and you wonder if any exorcists ever get protective tattoos of certain ideograms? probably not, knowing the negative connotations on tattoos and yakuza in japan) +both youkai and people attend the meetings; not everyone at the meetings can see youkai, some can just sense them +natori suggests that natsume should wear a mask at the meeting; info-gathering is important, while also trying not to give away too much about your own identity +natori’s family, apparently, was famous once as powerful exorcists +the lizard youkai on natori never goes to his left leg. +nanase-san knows about the name Natsume Reiko (and presumably, so do some of the others at the meeting) +natori also asks “is matoba-san here too?” at the meeting. matoba does not appear at the meeting +exorcists hunt youkai and get bounties from posters on exorcist bulletin boards +natori can find other youkai with his paper dolls if he knows the youkai’s name and he draws a circle of water for the tracking spell. +sealing pots (or objects) can be enchanted to fly back to an owner’s hand

🌹 Comments For a natsume yuujinchou episode, this one starts out on a much darker and bloodier note with the death of a crow youkai that was eaten in front of natsume’s eyes by another youkai that looks like a giant head. we find out from natori’s first appearance that individual exorcists exist; with this episode, we get a glimpse at a larger world of an exorcist community beyond natsume’s usual peaceful town and forest adventures. like all communities, they have their own conflicts, intrigues, and secrets. things we learn about EXORCIST WORLDBUILDING: entire families can become famous for their exorcist powers, as the ability to see youkai (and the ability to fight them off) is something that can be passed down through blood relatives. masks and fake names are used and seen as a wise necessity when attending exorcist gatherings; people want to get information but find it dangerous to have their identities known. we can sort of understand why this would be the case for youkai, seeing as natsume’s book of friends is seen as a powerful object, when all it has are youkai’s names in it. but why do exorcists want to hide their names from other humans? perhaps some are part-time exorcists, like natori, and can’t have their faces intefere with their other real-world jobs? or perhaps some families are feuding with each other and find it easier to gain information and reduce conflict if other people’s identities are obscured? exorcists can also get assignments by finding bounties posted on an…exorcist community bulletin board or answering requests from other individuals. from natori’s first appearance, he was disarming and charming, and a little dangerous, but was also balanced out humorously with ridiculous background roses and sparkles. in this appearance, his exorcist side is present in full-force, and he’s more grim, more serious throughout. while he’s not at ease during this episode, he seems entirely nonchalant about the life-threatening danger he faces when tracking down the giant-headed youkai, which could end him in one bite. it’s just another day’s work to him. we also get more snapshots of his background story; natori is the son from a famous exorcist family (”The Natori family have always been exorcists…I’m famous by birth, so there’s no point in hiding”). the lizard youkai on his skin never goes to his left leg, which he finds unsettling. there’s also a teasing hint of an unspecified conflict between natori and another group of exorcists (”The Matoba group and I don’t get along well”). this is also the second or third time when natori asks natsume for help with exorcist matters, worded in a way which appeals to natsume’s compassion: “You have power. There are those who need it. Will you ignore them?” power, the sight to see youkai, the ability to defeat them–these are the values of the exorcist community, and, at least in natori’s view, can be used to help others. we also meet another exorcist at the meeting–Nanase-san, who natori introduces to natsume as “something like a secretary to the Matoba group.” natori also takes the trouble to specifically introduce hiiragi, his new shiki, to nanase-san. i wondered for a moment why he would take the time to do so; but it makes sense. if shiki are introduced to other exorcist colleagues, the likelihood of someone accidentally banishing or sealing your shiki are reduced. nanase-san first appears to be a kindly character; when she is introduced to natsume, she tells him “But you need not fight alone anymore.” Were these the things natori was hoping natsume would hear, when following him to the meeting–connection, sympathy, community? (natori takes off his glasses during the brief scenes of introduction, which may not mean much of anything; but we do know that the glasses add a bit of security to natori’s mind, to help him see youkai better). as the episode proceeds, nanase-san, by her appearance a smiling respectable elderly exorcist, turns out to be absolutely ruthless in how she interacts with youkai, natori, and natsume. not purposefully cruel or rude; but ruthless. the sealing jar she at first gifted to natori turns out to be the means to help her gain a new shiki after natori had done the work of sealing the youkai and she had used the crow youkai as bait at the beginning of the episode. finally, when natsume is angry with her, on behalf of the crow youkai which had died, all she tells him is: “Oh dear. That tenderness will be the death of you.” in the exorcist community, compassion, softness towards youkai (or towards other exorcists?) leads to a person’s ruin. if nanase-san and natori had been acquainted before, had this ever been something she had said to him? we find out more about the exorcist community, the darker, dangerous world that natori interacts with outside of his acting and his roses. as for what natori thought about other exorcists when he first met them when he must have been younger, all we have to infer from are natsume’s reactions, which run from excitement to mixed, uneasy emotions: If I go, will I find others like me? Will I find people here who know my pain? Can I honestly, truly believe in others? I have to protect…the people here who understand my pain. I have to be able to at least do that!… But it’s people like me who are the most dangerous. I thought what I wanted was to be strong, because I found those I want to protect… natsume never completes his last thought on what else he wanted to be, other than someone who was strong. the parallels also diverge at the point about other people; we don’t know yet, if there’s anyone, or any people that natori wants to protect (personally), if he can understand that impulse at all.

Feel free to reblog with your own comments or to link and type a separate response post. Previous posts: S1E9 rewatch. S1E13. S2E3. More exorcists meta can be read here. Other rewatch posts will be tagged with ‘horrible exorcists rewatch’

[thealexchen]

thoughts on LIS: Double Exposure?

This is probably gonna be my hottest take in awhile, but: I deeply dislike the idea of an official LiS1 direct sequel game existing. Excluding all my thoughts on the gameplay, story, Max's character, etc. I don't think a game like Double Exposure is necessary.

This isn't a new take either; back in 2020 I made a Reddit post saying I was glad we never got a continuation of Max and Chloe's story, because in order to have a plot, you have to have conflict. And to have conflict means your characters are forced to change or struggle in some way, and I simply wasn't interested in seeing that again. I never even read the comics. As long as Max and Chloe's future existed only in the fanbase's collective imagination and not in an officially licensed game, Pricefield could be as happy as I wanted and I wouldn't have to witness DN or D9's version of canon.

A lot of fans, including myself, are also confused and upset as to where Chloe could be in Double Exposure. Even if Chloe winds up having a surprise role, it would likely be too logistically difficult to write Chloe into one version of the story and not the other. Either way, DE is strongly pointing to Chloe no longer being the deuteragonist. If D9 was going to make a direct sequel with Max and Chloe, I could at least be intrigued by how they might write their dynamic and how they'd use Max's power in new and interesting ways. But instead there's... none of that. Chloe's nowhere to be seen and Max can't time travel anymore.

On a narrative level, Max and Chloe are the heart of the original Life is Strange. They represent the game's central relationship, and their very first interaction (Max saving Chloe's life) kicks off the entire story. Throughout the story, their dynamic advances the plot and mutually motivates their character arcs. You can't have LiS1 without either Max or Chloe; the story simply wouldn't exist without them. Now in DE, they don't even seem to be in each other's lives anymore. It's true, this series is meant to reflect universal feelings and experiences, which could include breakups, but the romantic catharsis of Pricefield as canon soulmates who defied time and space itself to stay together forever is something you can only get from the beauty of fiction. To jab DE's story with a dose of reality and go, "Eh, they grew apart. Shit happens," totally undermines everything the Bae ending stood for.

On a technical level, Max's rewind was an objectively brilliant game mechanic. LiS1 arrived onto the scene after Telltale had paved the way for the resurgence of choice-based, episodic games, but LiS1 totally reinvented the wheel by giving the player the option to go back and weigh each option before continuing, essentially save-scumming in-game. But the right choice was never that easy to determine, and Rewind brilliantly complemented Max's character arc of overcoming her indecision and learning to live with her choices. Not to mention, you could also use Rewind to solve puzzles, instead of the endless fetch quests the later games had. No other LiS game since then has given the player that kind of agency and interactivity. LiS2 had telekinesis, but the player couldn't use it, only Daniel. D9 tried with Backtalk and Empathy, but Max's Rewind was truly the narrative and gameplay jackpot that they haven't been able to recreate since.

So if you take away one half of the central relationship that made the first game so memorable, and the supernatural power/game mechanic that made it so fun to play... why even bring Max back at all? It just feels like D9 threw away their golden opportunity to build upon the major selling points of the first game and are only relying on name recognition of the Life is Strange "brand" and Max Caulfield.

What upsets me most of all about a direct sequel existing is that it proves that Life is Strange, as a series, now stands more for profits than originality. Life is Strange will always be an IP meant to make money for Square, I know that, but back when LiS1 was just a brand new episodic game, it stood out for how different it dared to be. In a landscape saturated with shooters, sexualized female characters, and casual misogyny, LiS1 instead featured a teenage girl in a contemporary setting that took her seriously and made her the hero of her story. Before it was a franchise, LiS wasn't concerned with the bottom dollar; it was a piece of art that just wanted to tell a thoughtful, unique story.

Whether you love it or hate it, Life is Strange 2 was an insanely risky follow-up to Life is Strange that refused to rely on the convenience of a direct sequel because Dontnod stuck to their artistic vision. Meanwhile, all of Deck Nine's games have leaned on the first game's following to generate interest (BtS being a direct prequel, TC bringing back Steph, and Wavelengths expanding on Steph's connection to Chloe, Rachel, and Arcadia Bay). In other words, all of the subsequent LiS games by D9 have played it very, very safe. It's worked like a damn charm because there are still elements I love about each game, but the basic principle is nostalgia-baiting fans. It's just that now, Double Exposure isn't hiding that nostalgia bait at all anymore and prioritizing profits over telling a unique story. It's sad to see that LiS has strayed so far from its risky, daring, original, and unique artistic beginnings.

Before I end, I'll say that I can't be too cynical about it all, nor do I want to be. Because I can't deny how much joy this whole series has brought me, too. LiS was what got me into narrative adventure games and pushed the boundaries of what a video game could be. If nothing else, I am truly thrilled that Hannah Telle got the chance to play Max again. D9's always been great at maintaining relationships with their actors, and the casts of their games always have consistently great chemistry. Getting recognized by Erika Mori on my own blog is still unbelievable and speaks to the amazing community that LiS has built. As you can see, I'm still posting and reblogging stuff about Double Exposure. And while I don't see myself buying or playing this game for myself, I know it'll keep all of us talking for awhile, and I still live for a good discussion.

Thank you for asking! And thank you for reading.