#Trial Execution

[stars-obsession-pit]

Hello! Can do a chapter fic off this fic prompt Danny phantom x dc: https://www.tumblr.com/corkinavoid/767516270934556672/dpxdc-legal-power?source=share

This isn’t a one-to-one recreation of that dialogue but it’s based on that as a framework/premise

Batman dropped down into the room behind a pair of figures—a teenage boy and a slumped adult—letting his landing create an audible thump to alert them of his presence.

If the teen noticed, he didn’t react. Even as Bruce approached, he continued to stare impassively at the wheezing figure on the ground, an old wooden bat with flaking green paint on its side loosely held in his right hand. Bruce had already suspected who the figure would be since he arrived, but seeing the Joker so broken was still bizarre. No laughing, no schemes. He didn’t even seem to be attempting to escape his binds, just… lying there, almost as if pinned in place.

Bruce paused a step behind the teen. “I don’t know what the Joker did to you, but this isn’t the right way to go about this.”

The teen scoffed, and Bruce felt a painful lurch in his chest as he was reminded oh so strongly of his son Jason. “And what, let him go kill more people?”

“I know he deserves to face justice, but not like this. Everyone deserves a right to fair trial. No one person should be judge, jury, and executioner.”

The teen turned to look at him with glowing green eyes, and Batman felt himself freeze. He had faced gods before, yet even using that as a comparison felt like an understatement. The boy’s eyes belonged to someone far older than his teenage form implied, and they radiated power. Inevitability.

When the teen—no, the entity—spoke again, his words carried an unearthly echo. “Perhaps, but I’m not acting for just myself.” He paused, glanced down at the Joker, then asked almost conversationally, “Do you know how many people he’s killed?”

Another pause, but before Bruce could even try to answer, the entity continued, “Eight hundred and fifty-six. He’s ended the lives of eight hundred and fifty-six human souls. I can tell you about every single one, if you want. About who they were, what their dreams were before he killed them. About the pain they felt at his hands.”

He punctuated the word ‘pain’ by raising up the wooden bat in his hands and ramming its end down onto the Joker’s arm. He let out a wheeze, muffled by the gag in his mouth.

“I have a duty to my people. I am the King of the In-Between and of all the souls that pass through it—even ones whose stays were as brief as his. I am the rightful arbiter of his fate. And with that power, I sentence him to death.”

He raised the bat again, adjusting his grip so he’d hit with the side rather than the end this time, then paused and let out a chuckle. “Of course, just because it’s based on some justice doesn’t mean I can’t have a bit of fun with it too.” He swung the bat down, slamming it into the Joker’s side, then hooked it under the clown’s torso and flicked him up through the air to slam into the wall. “We all really hate this guy.”

With the entity’s attention fully turned away from him as he sauntered towards the Joker’s slumped figure, Bruce could finally unfreeze himself.

Even if the Ghost King did have the right to pass judgement on Joker, Bruce still couldn’t let torture go on like this. He wouldn’t win a direct fight, but he could hopefully at least grab the Joker and bring him over to the police. Carefully, he reached for some of the smoke bombs and batarangs on his belt and readied his grapple. He’d have to do this very, very fast.

But before he could move, another figure entered the scene. Red Hood, emerging from the shadows on the far side of the room, an unexpected bit of a pep to his step.

“Nice to see someone else who gets that that bastard needs to die. But if I may make a suggestion, how ‘bout you use a crowbar instead of that old bat? It’d be a bit more… fitting.”

[tennessoui]

14 for obikin pretty please?

here you go!

[from this list of prompts]

[5. 'are you jealous' - 27. 'i'm pregnant' - 32. 'i think i'm in love with you and i'm terrified' (LATEST) 44. 'if you die, i'm gonna kill you' - 41. 'you did all of this for me?' - 46. 'hey, have you seen...? oh']

14. 'hey, i'm with you, okay? always.'

The first time Anakin visits, he's so angry that he cannot speak for the first two hours. Obi-Wan sits against the wall of his cell, on the floor even though the Jedi have provided him a perfectly comfortable bed and chair. The Force collar around his neck looks wrong. His master sitting on the floor, dressed in the dull orange of a prisoner's jumpsuit looks wrong.

Anakin is so angry that he can't speak. He can only look and tremble until he is told he must leave.

Obi-Wan does not speak either. He does not even look at him.

Maybe that's what makes his anger harder to bear. Anakin knows that Obi-Wan has met with countless other Jedi. Visitors, friends, allies, people who are working with him on his defense case. He knows that the other man talks to them, has sliced into security holo footage to see it for himself, though no one will tell him what is said. Everyone always leaves looking frustrated, but at least Obi-Wan talks to them.

But not Anakin. Even though it is Anakin that Obi-Wan has hurt the most. Anakin, who deserves to know why from Obi-Wan's mouth.

After all--

"He was like a father to me," Anakin spits at him on his second visit, only a few days later. Going to see Obi-Wan in the Coruscanti prison cell where he is awaiting trial is like an itch. Scratched once, Anakin finds he cannot help himself from digging his claws in.

Obi-Wan is still against the wall. His beard has grown slightly longer. His head is tilted back against the wall, though when Anakin speaks, his eyes slide down from the ceiling to rest on him.

"I'm starting to think you say that to all the boys," his former master who is a murderer says in that lilting familiar drawl.

"You killed him."

"Yes," Obi-Wan agrees, because apparently part of his defense case is not to plead not guilty to the murder of the Supreme Chancellor of the Republic. Anakin would say that may be problematic, but then--there are security holos, soundless and slightly blurred, of the event. Of Jedi Master Obi-Wan Kenobi taking tea with Chancellor Palpatine. Talking in civil gestures for thirty minutes. Requesting, as far as anyone can tell, for the Chancellor to fetch him a pot of sugar. Lighting his saber and beheading him the moment the old man's back was turned. "Yes, I did."

"Why?" Anakin yells, voice cracking on the word. He doesn't understand. He thinks the not-knowing will drive him to madness. He thinks maybe it already has. It has been two weeks since the Chancellor's murder. Half the Senate is seeking Obi-Wan's execution.

The war, theoretically, has paused, like even the Separatists are holding their breath. Waiting. Wondering.

Obi-Wan looks at him quietly for a moment. For five. His face is stoic, resolved. Beloved, even after this.

Then--for a singular second--the mask cracks, and his master stares at him as if he needs to see him in order to survive. He looks hungry and exhausted and relieved, down to the bones.

"How have your nightmares been lately, padawan?" he asks him, and Anakin is so disgusted by the word--by the title that Obi-Wan doesn't get to say after killing the Chancellor, killing Anakin's friend--that he turns and leaves without another thought.

He is back a day later. He has never known how to keep his distance from things that can hurt him, that's what his mother always said. Too curious by half. Too sure of his own invincibility. That's what his master always said.

Anakin isn't sure of anything anymore.

"Why did you kill him?" Anakin asks. Obi-Wan's beard is longer. He is still on the floor. It rankles, the sight of him brought so low. "Did someone tell you to?"

Obi-Wan lets his head fall forward, a puppet with its strings cut. "Do you think me so biddable, Anakin?"

Anakin today. Not padawan. As if Obi-Wan has learned his lesson. As if he is as desperate for Anakin to linger in his presence as Anakin is hopelessly addicted to returning.

Padmé had tried to stop him this morning. Had tried to tell him it would do no good to see him, that the justice system would do its work, that Anakin was only hurting himself by returning over and over again. She pointed out that he had nightmares last night, for the first time since the news of the Chancellor's death reached them.

He hadn't had the heart to tell her that his nightmares were not about the Chancellor dying, but about Obi-Wan facing down an execution squad. About Anakin, standing on the deck of the Invisible Hand, Palpatine's voice in his ear, telling him to do it, do it. Cut off the traitor's head, only to look down and find that the two sabers he is holding are familiar to him, and person on his knees before him is his master.

Anakin had woken with a yell around one in the morning, sweat soaked and shaking. He hadn't been able to sleep again.

Maybe that's why he feels so alive now, slightly manic and still trembling as he paces in front of the Force barrier of Obi-Wan's cell. Did someone tell Obi-Wan to cut him down? he'd had the thought somewhere around five in the morning. Had it been someone Obi-Wan trusted? Someone he loved?

Who stood to gain from the death of the Chancellor? Who had the Chancellor ever hurt or threatened?

Anakin walks as close as he dares to get to the cell. "Master," he says, coaxes really, pushing forward until he can hear the hum of the force field.

Obi-Wan's head thumps back against the wall and he watches him from under his eyelashes.

"Master, I'm with you, alright? Hey, I'm with you, always, alright, always, so if someone told you, manipulated you, just tell me please. I'll find them. I'll get them to turn themselves in, master. Just tell me. Why did you kill him?"

Obi-Wan closes his eyes. He looks for all the world as if he is meditating, save for that collar around his neck. The prison garb. He doesn't look like a murderer, but he is. He is. He killed the Chancellor. He is going to face execution. Anakin is going to have to watch him die too and all he can think is that he knows that Obi-Wan doesn't even kriffing like sugar in his karking tea.

"Answer me!" Anakin yells, lifting his fist and forgetting himself for just long enough that he slams it against the barrier. He pulls it back with a curse as the force field short-circuits his mech arm and the prison alarm blares out a warning siren.

This time, he is led away from the cell by a Coruscanti guard. He is advised to not return for a standard week. The entire time he is exiled from the prison, the only thing he can think about is the expression on Obi-Wan's face as he watches him leave: eyes wide open and forehead wrinkled with concern, as if worried that Anakin had hurt himself.

The day after he is allowed to return, he does. He does not want to seem too eager or desperate, so he waits until it's early in the evening before pointing his speeder towards the prison unit.

"It had to have been someone you loved," Anakin announces as he stops in front of Obi-Wan's cell. He's in his bed this time, lying on his back and looking at the ceiling. He does not twitch at Anakin's voice, though Anakin can tell that he's not asleep, though his eyes are closed. He can tell just from the minute lines of tension he's holding in his shoulders, his neck.

How can Anakin know him so well and not know that he is capable of this? Of murder on this scale?

"Hm?" Obi-Wan finally says, when the silence drags on and it becomes clear that Anakin will not say more until he has engaged. Anakin watches this war play out in the subtle movements of Obi-Wan's facial muscles as well. He knows him so well. He knows him better than he knows anyone else in the galaxy.

"The person you killed him for. You had to have loved him more than anything else in the entire galaxy to kill a man the way you did. Defenseless. Over sugar. You don't--you don't even take sugar in your tea! It was a coward's way of killing--and it doesn't--you would never. Not unless it was for someone you loved."

Obi-Wan's eyes blink open, but he doesn't look away from the ceiling. He doesn't look at Anakin.

"I don't--I don't know what harm you think Sheev Palpatine could cause to anyone, but that has to be it. Nothing else makes sense. You loved someone enough to kill for them, and you killed the Chancellor."

The words come out easily. Anakin has practiced them for a week now; it is the only thing that makes sense. Nothing else makes sense. Nothing else but love could make a man like Obi-Wan do what he did. He must have loved someone a lot. He must love them more than the Republic. More than his own freedom.

The first time Anakin had told Padmé his theory, she'd looked at him for ages, until he'd grown angry and defensive. She'd touched his arm, as if that could hold back this hurricane brewing inside his chest, and said, "I don't know if you're right, Ani. I don't know if I think you're wrong either. It's just...you sound so...jealous."

At least Obi-Wan doesn't say the same thing. But what he does say may be even worse. Because he doesn't deny it. He doesn't protest. All he says is, "And who is it that you think I love more than anything else in the galaxy, padawan?"

Anakin has thought about this, too. "Bail Organa," he makes himself say, even though the name curls his lips up into a sneer. Bail Organa, the man who has been voted the interim Supreme Chancellor of the Republic. The man who has gotten everything from this assassination, while Anakin has had his everything taken away.

On his cot, Obi-Wan's eyes slide closed. His mouth quirks up. "Ah," he says, as if he has had something he has long expected to confirmed to him. He says nothing else.

It makes Anakin want to hit the barrier again. It makes him want to scream. It makes him want to be petty, hurt Obi-Wan back in the same way that Anakin feels hurt even though it doesn't make sense, none of this makes sense. But it feels as if Obi-Wan has kept half of himself secret from Anakin, a whole love, his entire capacity to love, and Anakin wants to prove that he has as well.

So he says, voice mean and sharp, "Padmé is pregnant. The med-droid says it is twins."

Everything else remains unspoken, but surely audible. That they are his. That he never stopped seeing Padmé. Perhaps even that she is his wife.

On the cot, behind the Force barrier, in his chains, Obi-Wan opens his eyes and blinks at the ceiling. His lips form a small smile, as he says, still not looking at Anakin, still not looking at Anakin, "I know, dear one. Why do you think the Chancellor had to die?"

[jynxedshapeshifter]

I mentioned a while ago during my second playthrough of AA4 that I managed to pinpoint the exact moment this case turns Klavier's world upside down (that being, the moment he realizes Kristoph manipulated him), but I don't remember if I ever posted screenshots of what I meant by that. These are those screenshots. Immediately after this, Klavier requests permission to ask Vera a question. This question is what the first non-painting forgery she made was. He gets confirmation that the forgery was what he thinks it was and breaks down.

Now at first, one might be inclined to say "Well, we don't know that he made the connection to Kristoph, he could've thought Phoenix commissioned the forgery!" but I disagree, because the internal conflict that Kristoph planted in him by telling him Phoenix was going to present forged evidence is why Klavier took a break from prosecuting. Klavier was already suspicious of Kristoph at this point. Klavier doesn't seem even a little surprised when he mentions to Kristoph that not only is he being accused of murder again, but Apollo's the one accusing him. Again.

There's so much Klavier was probably feeling here. Betrayal, if we assume he put the pieces together and realized Kristoph commissioned the forgery. Guilt, assuming he, at the very least, realized Phoenix didn't commission the forgery. Anger, because what the fuck.

This was such a dick move on Phoenix's end too. This whole case is Phoenix using Kristoph's former employee and Kristoph's younger brother as pawns against him. Sure, you could argue that Phoenix thought this was a good way to make Klavier aware of Kristoph's actions, but at the same time, I can't really help but feel like Phoenix also did this because it was Klavier who accused him of forgery, even if subconsciously. We know he's willing to hold a years-long grudge because he does exactly that with Kristoph.

It's interesting because it shows multiple things about Phoenix:

He's not above using manipulation to get what he wants (justice, in this case)

He's not above using people as pawns in his plans

When he wants revenge, he will get it, even if that means emotionally fucking over multiple people (because even if he wasn't trying to get revenge on Klavier, he absoloutely fucked him over emotionally. I can't imagine Kristoph's involvement in this case was good for Apollo emotionally either)

The ONLY reason Phoenix is better than Kristoph in AA4 is because Phoenix is manipulative for the sake of justice, while Kristoph is manipulative for the sake of his own ego. They're on total opposite ends of the morality spectrum but both manipulate and use people for the sake of their own goals (and they both specifically manipulate and use Apollo and Klavier and each other for the sake of these goals).

It's fascinating, and I'm honestly really sad that this is the only time we see this side of Phoenix, even if it does make sense why this is the only time we see this side of Phoenix (and it's also probably a good thing this is the only time we see this side of Phoenix because I think if we ever saw it again, we'd know something fucked up is going on).

Idk. Klavier needs a hug and Phoenix shouldn't have taken out his bitterness toward Kristoph on Apollo and Klavier regardless of how good his intentions were

[mrehkka]

Zim loves his human's hunter instincts 😌

Dib: i will murder and kill aliens that set foot on my planet

Zim: awwww he's dangerous 🥰

[doydoune]

the worst day of their lives so far, but the night is quiet

[canisalbus]

To me, Machete kind of has the energy of a secondary villain/coldhearted side character in someone else's story that a lot of fans latch onto, moreso than the protagonist. Question is, would he be the villain in anyone's story?

Why, thank you! I'm actually glad to hear he gives off that vibe. I don't think he set out to become a villain but a lot of people certainly view him as one.

[lemonqii]

[laniemae]

“I think I have to climb to the top of the hill if I wanna see what's going on on the other side...”

Drew this through tears as an acceptance that Ojima will be the killer of this chapter and that he’ll die and I’ll never see him again.

Vent/rant under cut

——— I’m actually crying right now while writing this. I can’t see any other possibility where Ojima isn’t the killer. Just everything story wise and plot and symbolic wise makes sense. He’s already the prime suspect with his shaky alibi, him going to the medbay at midnight, the blood on Hiroaki’s bed where he slept for the night, his strange disassociating more than usual. 

At this point there’s so much evidence pointing towards Ojima being the one who killed Chiba I’m already grieving his inevitable death this trial. Just, even with the parallels between him and Chiba with the story time episode where he wrote a children’s book with her, hence the text in the art referencing that. And how that one time he talked during his dissociative haze he said the exact words that Chiba said to him while writing the book. I can only think of this as Ojima in shock with how he killed her. There’s also their parallels as well with both having sorts of age regression and coping by living through a childish fantasy lens. It’d be so sad thinking how that could be symbolic of Ojima killing a perception of himself. And with Ojima being a children’s book illustrator who had his childhood taken away from him and Chiba looking like a child and having a similar form of regression I can’t imagine how tragic this story would play out through with the trial. 

I really thought Ojima would have more time as I felt it’d be inevitable we’d get a breakdown scene with his PTSD and learning more about that story, but with how things are going I could imagine that happening during the trial. God I don’t even wanna imagine how his execution would be if it goes the route on playing up his trauma, these killing game staff are sadists and I could completely imagine them doing that, especially with the mention of working on the execution in the staffside.

I’m also in absolute tears over his relationship with Hiroaki. Just… purple is so devastating with the likely idea that Ojima is the killer, and even imagining if he already killed at that time. Them sharing an intimate moment and Hiroaki confessing how he’s so reliant and attached to him and how they’re basically codependent, and as well with how he’s almost finished the drawing for Ojima. When he’s the killer he’ll never be able to show it to him and he’ll have absolutely no one by his side anymore who cares about him or even loves him. It would be the most heartbreaking thing ever.

Ojima is such an incredibly amazing character like I’ve never seen before I can’t prepare for him to be the chapter 2 killer… he would’ve gone too early and I’m such despair. I’ll never be able to see him again in the series, he’ll never speak again I’ll never be able to get exited whenever an episode pops up in a thumbnail he’ll never dissociate again he’ll never be funny and sassy again he’ll never help Hiroaki to open up again he’ll never have a hilariously gay moment with Hiroaki again. He’s lived 16 years of his life going through the worst abuse a human could face, only for when he escapes to be dragged into a killing game and forced to commit a murder of someone who shares so much similarities with him. I’m already feeling the effects of his death a week before it happens and I’d rather fall into despair than yearn for hope only to have it taken away from me. I can’t imagine how I’ll be able to watch tetro with Ojima gone forever. I have been crying the entire day over this and my tears are making this hard to write.

[aleksanderscult]

Just to be clear I firmly stand by the Grisha as a persecuted group that got so much shit for centuries and they deserve every good and kind thing in the world.

Just because they are "privileged" as Bardugo calls them (which means to have special rights and immunity because of your rank) didn't stop the King from sexually assaulting Genya, drüskelle from killing them or being kidnapped and subjected to experiments. They had food on their table and a roof above their head which is what every human being should have but they were never treated as human beings or equals which is what they desired the most.

It's one thing to be "privileged" and another to being fed and the next minute you get either spit on by Ravkans or killed by witchhunters. That's not privilege. That's some superficial alliance that can get them killed any day.

[in-a-bucket]

ugh that execution, i feel sick

[bugwolfsstuff]

Its funny to think that I only read ToA because one of my friends pissed me off in a rp so I wanted to book accurately kill off Jason in our rp despite working so hard to make Valgrace happen there

In the end we brought him back the same day and I got hooked on the rest of the books so in the end it all worked out😭

[good-beans]

*runs into the room out of breath* Prisoner @justzosiahere! Prisoner @archivalofsins ! You thought you'd seen the end of me, hm? Not so fast!

(Who knew healing up from my own injuries would take so long, but no matter 👏) The wardens have named you both guilty, and as their chosen hero, it's my job to ensure you get a taste of your own medicine! I'm sorry, but this is what everyone wants 🤷‍♀️

And @oboetemasuka, don't think I've forgotten you either...

Zosia's - Gunsli's - Kyanako's - and eh, I might as well post more art while I'm already doing my duty 🫡

[bestworstcase]

Anything from Volumes 1-3 that is setup that you don't think is given enough attention or respect for good setup?

Sidenote to this:

Open seat with no person in it + Salem having someone looking for the Choice Relic was hinting at Summer Rose. Did we have anything hinting at her pre Beacon's Fall or just things that she fits given additional context?

regarding summer specifically, while i wouldn’t call them hints per se, there are a handful of beats in v1-3 that smell like foreshadowing to me:

the first is “she was right about you; such arrogance.” – cinder might well be referring to salem here, of course. however. what strikes me about this remark is that arrogance is not a characteristic that salem seems to perceive in ozma; rather she describes him, in her soliloquies and songs, as a self-destructive, deceitful, manipulative fool blinded and trapped by his faith in the old gods. cowardly. fallen from grace. think of what she says to oz in 8.9—look how you’ve diminished, how you’ve lessened yourself—she sees him groveling at the feet of tyrannical monsters and sees debasement.

does it follow for salem to characterize ozpin to cinder as, primarily, arrogant? i’m not convinced it does. but summer rose? well… hm. consider, also, that the full line is “this whole time, right beneath our feet… she was right about you; such arrogance…” <- i think it is more likely than not that “she” is someone inside the brackets of “our,” and in context “our” is either [cinder + ozpin] or [cinder + her associates physically present at beacon].

in the event that “she” is not part of “our” the more naturalistic phrasing is “beneath our feet… salem was right about you” – because “she” otherwise has no antecedent. of course, some allowance here for this to be a narrative choice not to name salem yet, but we’re one (1) episode off from revealing her face and by this point we’ve known for a while that cinder works for someone else, so the choice to drop the name here or in the volume credits is of fairly trivial importance. unless of course cinder isn’t talking about salem.

second: “Oh! We've also stopped some bad guys, too! I guess it's like they say: "like mother, like daughter"! I still wonder why Ozpin let me into the school early…” [laugh track] – obv this part of ruby’s address to summer’s memorial headstone foreshadows ozpin’s conspiracy and team strq’s involvement therein. but it also foreshadows this exchange:

RUBY: We don’t have to kill you to stop you, and we will stop you. SALEM: Your mother said those words to me… she was wrong, too.

and i think it bears pointing out that ruby is wrong here, and later in the volume qrow specifically calls attention to this and lays out why she’s wrong. team rwby didn’t stop the bad guys; they cut off one avenue of attack and cinder circled around from a new direction that took advantage of torchwick’s imprisonment, and this also resulted in the public break between ozpin and ironwood which eroded the cohesion of the inner circle. ergo, ruby thinks she stopped the bad guys but in the long run the consequences of the breach all benefited salem.

looks into the camera like im on the office.

like mother, like daughter!!!

further, that sequence of events ultimately leads to the final confrontation between her and torchwick – wherein he declares “if you can’t beat them, join ’em,” and shortly gets eaten by a grimm right after making it clear that he intends to kill her. torchwick’s death is thematically motivated – a narrative rejection of his cynical every-man-for-himself, dog-eats-dog outlook – but consider that:

summer rose, if she is indeed salem’s willing agent, is certainly at beacon tonight – because she’d be the one who stayed behind to hold the fort.

summer is thus the one salem instructs to “reinforce our numbers at beacon,” meaning the grimm; that instruction only makes sense if the person receiving it can communicate with or command grimm. ergo, summer must have some degree of control over grimm.

ruby is disarmed and on the ground getting beaten by a man who fully intends to kill her, and a grimm swoops down out of nowhere to eliminate him faster than he can blinks. and then… the grimm rears up, roaring at her, and comes down with a sweep of its wings that creates a blast of air that pushes her away. that isn’t aggression!! that’s a defensive threat display!! (the feilong in v4 does the exact same thing – trying to push the boat away). it’s ruby who charges the gryphon, and while it lunges forward in reaction to her charge, all that happens is she gets her feet on its head and pushes off to leap over it, and the grimm goes fucking flying so hard it crashes into the ship’s interior and never emerges. the point being,

math.

it’s plausible that the grimm was drawn to torchwick’s murderous rage. but the way it behaves immediately after it swallows him – that very clear “get away from me please” body language, and ruby -apparently- kicking a grimm the size of a goddamned clydesdale dozens of feet and then through the hull of a literal warship? ruby is strong, but she’s not… that strong. but if the grimm didn’t want to engage her and propelled itself under and past her at the same time as she vaulted off its head? that would explain what happens perfectly – ruby’s kick altered its launch trajectory just enough that it crashed.

minutes later, someone loyal to salem scraped a very badly injured cinder off the top of beacon tower and left ruby alive where qrow would find her. salem’s vested interest in keeping ruby alive is VISIBLE throughout the battle for beacon, and notably include a perfect opportunity to capture her while she’s in a coma atop beacon tower that isn’t taken – suggesting that salem makes her singular attempt to capture ruby solely to reassure cinder that Something is being Done.

and if summer rose has command over grimm and was at beacon that night… the gryphon’s behavior is exactly what i’d expect if all the grimm had marching orders to insure this one girl in particular – the spitting image of their commander – doesn’t come to serious harm. there’s a nonzero chance that gryphon did in fact save ruby On Purpose!

…and that happens in the context of a fight between ruby and the bad guy she thought she stopped (but she was wrong), who joined salem because “if you can’t beat em, join em.” (salem voice) she was wrong, too��

also

<- like mother like daughter. summer had a nevermore’s eye view of the battle for beacon, in this essay i will –

third: this one is something i didn’t really Think About until v9 and specifically the v9 ost dropping, but some of the things cinder says in v2-3 strike me as like – she got that from summer im sure of it. for example, in midnight, cinder’s view of huntsmen is that they’re free, they have power, they can go anywhere and do whatever they want, and rhodes never contradicts this. where did she get “huntsmen and huntresses should conduct themselves with honor and mercy”? who taught her the aspirational moral ideal?

summer rose, maybe.

but in the deeper sense,

where did cinder get the ‘destiny’ conceit? her underlying beliefs about how the world is are a product of her childhood, but the overt framing of fate/destiny isn’t present in midnight; nor has salem ever spoken of destiny and her philosophical views are in many ways a rejection of destiny – salem does not believe in fate, she is the woman who dedicated her life to toppling the gods.

and on close examination this looks like yet another suspiciously summer rose shaped hole!! “you’re special, ruby […] special the way your mom was special […] it was said that those born with silver eyes were destined to lead the life of a warrior.” – in after the fall, ozpin gives coco an entire pep talk whose central conceit is embracing and submitting to the turns of fate – sacrifice “show them gods and deities/blind and keep the people on their knees” & guide my way “you were born to hypnotize them all/they all said their prayers/can you hear me up there?”

cinder, of pyrrha: “people assume she’s fated for victory, when she's really taking fate into her own hands. interesting. add her to the list.” & “it’s not about overpowering the enemy; it’s about taking away what power they have.”

<- that second statement is salem’s strategic doctrine, through and through. but the ‘power’ cinder is talking about here is derived through manipulating the perception of destiny; the self-fulfilling prophecy. the invincible girl cannot be touched because she makes subtle adjustments to insure that no one is able to try. it is pyrrha’s belief in destiny that destroys her, as it destroys ozma. ozpin invokes fate to justify and explain his choices. those born with silver eyes are destined to lead the lives of warriors.

summer rose was destined to live and die fighting the grimm – so the world promised her. maybe she believed, maybe she felt like she had no choice but to accept her prescribed fate. until she met salem, and took fate into her own hands. made a choice. broke the chains. it’s about taking away what power they have, like salem did when she tore the scales from summer’s eyes, like summer did when she refused her destiny and joined hands with the grimm instead.

what does summer rose look like through cinder’s eyes? she was a huntress. she was literally destined to be one of the greatest huntresses in history, a hero, the shining pillar upholding the world order that chose the enslavement of children as a fair price for peace. fate dictated that she be the icon, the idol, the embodiment of the system that brutalized and subjugated cinder – she had every privilege cinder could ever dream of, freedom and security and a home, a loving family – and she chose to walk away.

and if they talked about that like, ever, and specifically if summer talked about that warrior’s destiny as a cage, a curse she had to escape – is it any wonder that cinder would adopt that framing to make sense of what happened to her? if summer rose was fated to stand at the pinnacle, then does it not follow that cinder fall was fated to be ground into the foundations? and likewise, if summer rose can shatter her pedestal and fall from grace, then cinder fall can shatter her chains and rise. summer proves that the idea of destiny is powerful but not inviolate. and it is hollow, it is a lie, a fiction, and that means it can be taken away. revealed as a deception. destroyed.

anyway

to the broader question

i think people really, really do not give the jaundice arc enough credit for the long-term set up it’s doing.

(or the very overt textual statement from THE HISTORY PROFESSOR! placing the blame for the violent radicalization of the white fang squarely on human bigotry and persecution of faunus in general; the white fang arc is clunky and hamstrung by the inadequacy of its vocabulary, but the fandom talking point that the narrative perspective on this subject has “evolved” or “improved” is just. not true. v1 is very emphatically clear that 1. terroristic violence is not activism, 2. ascribing the terroristic violence of a few to an entire minority group to rationalize bigotry is bigoted in and of itself and completely unacceptable, and 3. violent radicalization is created through relentless discrimination and hate, which creates a self-reinforcing circle wherein the justifiable outrage of the persecuted outgroup and the extreme violent reactions provoked by the persecution are distorted into a justification for further persecution by those of the in-group who materially benefit from perpetuating this cycle!!! all of this is explained in an almost afterschool special manner by the main character faunus rights activist and the history professor!!! in volume one!!! what changed is that the writers developed the skill and vocabulary necessary to weave these ideas into their storytelling in a more effective and more cogent way!!! literally begging the rwby fandom to start listening to the actual words the characters say)

ahem. the jaundice arc lays so much of the groundwork for jaune’s and ruby’s character arcs reaching all the way to v9 and undoubtedly beyond; it sets up the first pieces of the ozlem fractal; it foreshadows the white fang arc and sets up blake’s character arc of self-reclamation and figuring out how she wants to use her voice as an activist; it draws attention to the misogynistic cultural norms that define and are defined by the history between ozma and salem; it lays the foundation for the scene in v2 where ozpin questions blake, which hits the way it does because we have the context of anti-faunus harassment occurring openly at ozpin’s school and nobody doing anything about it, and by extension is the first stroke of the salem-faunus connection that is almost certainly the keystone holding the entire narrative together because it is her relation to the faunus that provides the key to decipher the lost fable.

the jaundice arc is a crucial load-bearing pillar that supports the entire narrative and people revile it because nobody in this fandom can be fucking normal about jaune. lmao

[stuck-in-jelly]

Clauderry post redemption arc: Terry frees her from one of the prison sells and they runaway together. Claudia gives up magic and they become happy. Maybe they make and sell stuff with plants. Maybe Claudia becomes a healer.

I love the idea of this,

Everyone having such conflicting emotions about Claudia, some of them not trusting that she truly has changed, knowing that even if they can find it in themselves to forgive her she still needs to face a court and justice for her crimes

Ezran is bound to his duty to his Kingdom, to Xadia, and to Justice. Soren is bound to his loyalty and oath to Ezran.

Terry though? His loyalty lies only with his heart.

And something about the idea of them escaping together and truly living a happy life, Claudia knowing that even after everything she's done she can at least have this peace that Terry loves her and she can start over with someone who has seen her at her worse

[crossbackpoke-check]

Dysprosium, Mary Soon Lee

dysprosium, AN 66, is a silvery-white rare earth metal. its name is derived from the greek dysprositos, meaning “hard to get at”, owing to the difficulty in separating and isolating this rare earth element. dysprosium is used to measure neutron flux, to fuel reactors, and to activate phosphors. terfenol-d is a magnetorestrictive alloy, meaning that it changes shape when a magnetic field is applied, and is used to manufacture underwater acoustic systems.

jason “robo” robertson, dallas stars #21 for @simmyfrobby’s nhl periodic table poems <3

[frootbyethefoot]

and the world is not a better place because of it.

[ID: a digital drawing of maki harukawa from danganronpa v3: killing harmony. she is on her knees and hunched over, shaking, and clutching kaitos jacket. she is coated in heavy purple lighting, while the background is pitch black.]