#a real book !! a whole book !!

[chaoticke-rambles]

Man, my favorite thing about Gideon's narrative voice reappearing in Harrow the Ninth is how aggressively contemporary she is, because everyone else in this necromantic space opera is fully committed to the bit and Gideon's "shut up about your stupid bones and get laid" mentality is a relief. Harrow is out here like "I actively performed a lobotomy on myself and have spent the last nine months bleeding out my facial orifices whenever somebody says your name because I manually removed you from my memory to save your life. this is normal and cool." And then Gideon finally gets to show up and go "hey, you get that's messed up right? you see this right?" and it's so. incredibly validating as a reader because everyone else treats this like normal and expected behavior.

[canadiancryptid]

The relationship between Tulip and Lake is everything to me.

Lake knows everything about her. They were there for every moment of her life, forced to mimic every movement. They never had the chance to make their own decisions, just learning what they could through her. They quite literally know her life better than their own.

Tulip knows next to nothing about them. They've been there her whole life, and she had no idea they had their own thoughts and feelings. How could she? The day they first spoke was the day they said their goodbyes. Hell, Tulip doesn't even know their name.

Yet despite not knowing them at all, despite having every reason not to, Tulip still chose to help them. They were only meant to be an extension of her, yet she was still the first person to look beyond that, to see them for the individual they are. Nobody would have blamed her for not wanting to help the person who just tried to leave her trapped in another world with no way back, but she still found a way for both of them both to walk free.

When they escape, side by side, Tulip wants to keep moving. Traveling the Train together, not as Reflection and Prime, but as friends. As equals. It doesn't even occur to her that Lake might not want that right now. There's no bad blood between them as they say their goodbyes, but there is a long, complicated history, and good reason for them to want to strike out on their own.

And so they part ways, for both the first, and likely last, time.

I just- I love them so much. In any form. There's so much thats so interesting about it. I can't stop thinking about them

[ciderjacks]

Sent his ass to the therapy void

[payasita]

gotta tell you I've kept going back to look at the UPA style drawings over and over today they just make me so happy (especially the thespius and clickclack. obviously. I am a predictable sap) anyway thank you it has been providing me free serotonin all day

AAA TYSM!!

also, HARD AGREE. it like. it Goes

It Goes. bright n colorful toony boys. the aesthetic timelines are close enough

[raccoonhusband]

this felt important

[mummer]

“you cant criticize booktok it’s a perfectly valid form of reading and you just dont think romance is a respectable genre and theres nothing wrong with reading pulp for fun” Okay well im not criticizing the people and saying theyre morally bad im criticizing the books. Because theyre bad and badly written, they’re bad art. What so now we cant criticize marvel movies because a lot of people watch and enjoy them? we’re not allowed to ACKNOWLEDGE that these books are stupid and dogshit, because of WOKE?????

[dansemacabre]

i’ve been thinking about “sixer, it would eat you alive” since i read it and. man. every layer you peel back makes it worse. im not a bill apologist but. shit

if you (1) take it at face value, it paints bill as an apologetic murderer in his single (and maybe sole) open moment of regret. he doesn’t let his walls down often- only with ford do we even get to see the remnant of his galaxy, see the “actual remorse” ford describes, get just a hint of his origins. but he does it, because he thinks ford should know.

if you (2) take it from ford’s point of view, as something he committed to journal three, like. wow. imagine being so committed to a being that you’d hunt down and kill the monster that destroyed his home, only to (assumably) figure out later that that being was the monster. the small moments of trust, the “good times”, are so key to manipulation. how long did ford hold onto that one shred of vulnerability? no wonder ford stayed for as long as he did. in his eyes, bill was a survivor. ford wanted to survive too.

(slight tw below for unreality- any time i mention our reality, i mean “our reality” as a narrative device used in the book of bill as a proxy for the idea of bill being in our reality, since he can’t actually be in our reality. all of this is a fictional theory about a show/book with fictional contents!)

but if you (3) remember that “even his lies are lies” and absolutely Nothing bill says should be trusted. Whoo boy. if i read tbob right the book itself is being created in the theraprism (even tho it shows up with the ciphertologists at some point? idk that’s a whole other post). it’s meant to show what the reader wants to see; it manifests in our reality as what the collective fandom wants to see. so if we want to see truth, if we want to see where bill ended up and who he actually is, there’s a non-zero chance that the whole interaction was a complete fabrication.

imagine bill, stuck in the actively harmful, probably earth-illegal theraprism, once again being forced to be “fixed” and molded into something more palatable, being forced to conform no matter how much it hurts. (i know natural uncontrollable mutation ≠ just so much murder and destruction and chaos, but. you can’t ignore the similarities. bill has obviously been thinking about those silly straws.)

he looks back on everything that went wrong, back on his relationship with ford, back through every dimension where he wins. would that one moment, that one truth amid centuries of lies, have saved him from purgatory? if he had just been open? shown his damage? maybe he did think of his parents, or his henchmaniacs (especially the oracle). people who he might have once opened up to. maybe he just wanted to open up to someone again.

so in his own weird way, stuck in a cell, he reshaped reality again. in this reality, for this fleeting moment, he had been someone worth believing. and ford had listened, hell, ford had wanted to help. looking back, knowing how he treated ford, knowing how ford ended up because of it, maybe bill would have said the most honest thing he’d ever told ford: i am the monster, i am not worth your time or belief, and i will eat you alive.

[randomwriteronline]

btw still not over @crystaltoa 's whole post on narrative and destiny and bionicle characters being aware they're characters but not in a common fourth wall breaking way. Random thinks too hard two electric boogaloo

Like. The Matoran Universe is a fictional universe within the already fictional universe of Bionicle. Like the more realized version of a book in a book. It's a completely artificial manufactured cosmos where essentially nothing is real - most elements are replaced by protodermis, animals and plants are produced, the inhabitants are engineered and built via assembly lines, their sapience was installed post-completion - and the awareness of this is None. Like Crystal mentions in the original post, the characters know they're following Destiny like it's the rough draft of a play and they're actors of the Commedia dell'Arte, taking on certain archetypical roles and adhering more or less closely to their traits and clichés, but that's where the self-awareness ends because to them this is a performance of life, not a pantomime. The nature of the Matoran Universe naturally prevents any knowledge of or contact with the wider "real" universe, so they remain ignorant to how fictitious their existence is and continue to perceive their own reality as the only possible one (ITS THE FUCKING CAVE AGAIN).

Keep this in mind for later.

Now back to Destiny. MU beings seem to have a tendency to conflate or heavily associate it with Mata Nui ("the will of Mata Nui" being used as a synonym for it, the Order of Mata Nui working to ensure it), to the point where it would be fair to assume that the two are one and the same, or that at least Mata Nui has some agency on Destiny; however, while it's true that Mata Nui is heavily tied to Destiny to the point of seeming its incarnation, he just as submitted to it as the rest of the MU beings are, if not possibly more.

In the narrative of Destiny, Mata Nui is at once playing both the Objective and the Ultimate Hero - not in the sense that he's the platonic ideal of the role, but that at the end of the day he is the proper main character, if not the ONLY proper character for it. The concept of Destiny with a capital D is after all a creation of the Great Beings, whose principal concern and endgame is eventually* healing Spherus Magna: since Mata Nui is made for this specific purpose, Destiny exists to ensure he actually follows through with it; since Mata Nui needs to be functional in order to succeed, the narrative of Destiny converges around him and works to compel the MU beings towards keeping him alive. Thus, as mentioned, he is both hero and objective, protagonist and macguffin.

*dont fuckin talk to me abt the great beings and how they provoked the entire plot of bionicle through their tendency towards inaction and apathy. perhaps ill elaborate one day but the jist of it is that i need to bite them in the ass

This duality intrinsic to his character is made explicit by the constant if sometimes faint separation between his soul/spirit/essence ("him" proper) and his body (a "thing" he only inhabits) - causing him to oscillate between being a person and being an object, with the latter often winning over the former especially while he was commanding the Great Spirit Robot. His exile from this incarnation of fiction into the "real" world doesn't unshackle him from the narrative, which is too far above him from him to be escaped just like that, but it does allow him to take a detour outside of it and come into his own self in a way he's been unable to experience until now - because he hasn't exactly been a character at all, let alone an active player. He is first and foremost a tool, a means to an end; he's less reciting/living a part and more doing the job he's been built to do, and this singleminded and utilitarian approach to his identity seems to have been at least part of the problem in how effectively he could perform his task as it prevented him from noticing the problems which then led into the main conflict of Bionicle. By being forcefully exiled from fiction and having to become "real" he finally surpasses this obstacle and gains the mindset and skillset of a proper protagonist, finally realizing his heroic potential to a point where he can put it in practice.

Teridax, on the other hand.

Crystal has said it before because it is true and correct and right, so it's worth saying again: Teridax loves being the Villain. He's enamored with the role to such a disgusting degree that he essentially hoarded it for himself the moment he found out it was an option and nearly everybody else had to be declassed to Lackey or Antagonist in comparison. It's more than a role or a calling - it's a lifestyle. He makes it his whole personality and reason of being, completely abandoning his original purpose as a Makuta (in direct contrast with Mata Nui, who instead focused exclusively on his purpose at the cost of neglecting his role). He revels in the clichés, the monologues, the manipulation, the cruelty, the ominous laughs, the stark shadows, the drama and theatricality of it all. He likes it so much that it literally makes him stupid.

Teridax runs The Plan in tandem with Destiny in order to usurp it, replacing it with his own design in the same way he aims to replace Mata Nui with himself in the role of Great Spirit. In his mind, these are equivalent pairs: Mata Nui coincides with Destiny just like Teridax coincides with The Plan, so by replacing one you replace both, and he gains power not just over the universe but over the story itself.

Of course, as explained above, this is completely wrong: while he can and does run The Plan as parallel to Destiny in a way that makes them effectively overlap, and he does succeed in gaining Mata Nui's power, he remains a character subjugated by a narrative which is completely out of reach for him and continues to influence how the consequences of his actions will ultimately play out. This is immediately obvious to the reader the second he decides to get rid of all his problems by shooting them into space, completely unaware of the fact that the narrative has already made it so that Mata Nui will have the means to reach his objective, get another physical form, and eventually find a replacement for the body he needed for his quest, rendering the Great Spirit Robot mostly obsolete (which will be part of the reason why, again in tandem with Teridax's need for gratuitous cruelty, it will eventually be bested by the technically much worse Prototype Robot), all while Teridax is too busy learning the commands and terrifying his blood cells to realize his genius idea is going to get back at him and curbstomp him into the surface of a moon in roughly a couple of weeks.

But there's more!

Because the Great Spirit Robot is in and of itself a sort of physical manifestation of fiction as the container of the fictional Matoran Universe, it's effectively the most gargantuan vessel of Destiny available in the Bionicle Universe. As such, it is intrisically tied to the rule that dominates both of the stories centered around it: in Destiny's case, that Mata Nui will always succeed; in Bionicle (a story for kids)'s case, that the Villain will always fall to the Hero.

Teridax proudly, confidently and without doubt turns himself into the embodiment of his inevitable defeat.

[egophiliac]

don't think I'm not still deep in the episode 7 brainrot. because OH BOY AM I

(also one more extremely, obnoxiously self-referential thing, I'm -- I'm so sorry)

[rowansugar]

Experimenting with a random panel from my in-progress graphic novel!

[gregrulzok]

Devil's Minion is an interesting title though, isn't it.

I mean one of them is a creature designed and all but required to kill. He could eat animals, technically, but we know that isn't sustainable long term - even Louis, who genuinely tried it, wanted it so bad, couldn't keep the diet up for long. That's just not sustainable for their bodies, not what they were made for.

And the many long centuries of isolation, many long centuries of being unable to go out during the day, to talk to people without raising suspicion - and the changing of times, watching the culture shift and drift away from you without being able to fully follow it... Anyone would be distant from humans, from humanity, it's a shift in the psyche supported from every angle to make you view people as prey rather than equals.

And then the other? Human. A guy. He had relatives, friends, probably. He's more than likely lost people before, knows the grief of death far more intimately than a being designed to take two or three lives in a day ever could.

And yet, night after night, he holds the hunter in his arms. Cuddles up to him, ignores the fact that any warmth in his lover cost another human being their life. He ignores the pain and suffering they went through despite being fully equipped to understand it, ignores the grief and heartache he knows their close ones must be feeling - more than that, he takes pleasure in it! He drinks the blood of the monster, for no reason other than his own pleasure, and he tastes in it the wails and screams and desperation of those that were killed for it, and he's addicted to it. He wants more. He craves it, needs it.

More than THAT, even, he wants nothing more than to be part of it. To have the power to take human lives, to be the same as the alleged devil. Armand had no choice in the matter, not really, and has no choice but to kill - Daniel wants it, more than anything, he's constantly preoccupied with it, begs for it over and over and over.

.

And on the other hand, it's Daniel who gets his wishes granted. Daniel who can point at anything he wants and have it in his possession the next moment. Sure, he has to follow Armand's whims and impulses, teach Armand, follow him everywhere, but at the end of the day Armand is serving Daniel as much as he is himself, if not more.

And it's Armand who has to, through arguments and tears and heartache, defend what he sees as the one boundary he set in the relationship. The one line he has begged Daniel over and over again not to try to cross, Daniel has to test again and again.

He'll do anything for Daniel, anything, except for the one thing that would hurt him most - and its still not enough.

...

Devil's Minion, huh.

[the-woman-upstairs]

In the universe of the film, there is ABSOLUTELY a contingent of fans that fervently ship Argylle/Wyatt and have the dominant ship on AO3 and trade elaborate fan theories about their hidden relationship and are convinced they’re meant to be endgame but the publishers won’t allow it. Of course, they go totally BALLISTIC when they learn they’re based on the author and her boyfriend.

[bleadingheartart]

Rereading Nona the Ninth and I-

Jod could have cured Cytherea’s cancer??? The whole time??? And he what just didn’t?! Wtf sir

[myimaginationplain]

bill x ford x stan love triangle real....

[theodeckrs]

some of you moved on from this way too quickly. i, however, DID FUCKING NOT!!!

[delaneytveit]

the way that antis talk about how tam locked fey/re in the house, i thought he pulled a gothel and just locked her in with no explaination.

and then i read maf and?????? i would have locked her in too.

i mean its right THERE that he tried to trust her and give her alternatives to going with him. he explained why she couldn’t go, why he didn’t want her to go and she just plowed through everything like its only her desires that matter.

how does this equate to just locking her up and throwing away the key?

and this is coming after she saw the red of lucien’s hair and freaked out that he might be amarantha for a second and grew claws???