#actual plotlines so i think writing as/when i feel like it

[burning-sol]

You know what? I realise why the Sinsmas episode is pissing me off so much, it's because it's juggling so many different ideas that it doesn't spend enough time committed to a single one. Let me just break it down the way I see it...

The first idea we're introduced to is one about Stolas' depression but then when he sits down with Blitz we're introduced to the idea of Stolas' poverty.

The previous ideas are what you think that the episode might focus on until you get hit with the Octavia B-Plot. Okay! A-Plot is about depression and poverty, B-Plot is about Stolas not being able to contact Octavia... (I might be using those terms incorrectly, but you get the idea,)

But THEN you get Sinsmas introduced which is about the idea of indulging in your sins, which is shown to be important to the audience because it's expressed in dialogue, right? Wait, no, it's about Stolas's depression/poverty, okay then....

But THEN you cut to the office and we get a Millie and Moxxie bonding scene, so you think, "wait, is there going to be another DIFFERENT plotline introduced into this episode about their relationship??" AND YOU GET MORE ABOUT SINSMAS, multiple shots about the holiday and the idea of indulging in your sins!! So wait, the idea of Sinsmas IS an individual idea from the depression/poverty point? Or isn't it??

Stolas sobs on the phone, there's a very obvious depression/poverty breakdown, but then we get MORE NEW SHIT introduced because it's about Stolas' cheating. And I understand that that's meant to tie into Octavia's B-plot, but there's a subtle difference between that and THIS that adds another layer of shit on top (elaborated on later).

Which, BTW, I just wanna point out how this idea is contradictory to the Sinsmas idea since CHEATING is about INDULGING in LUST - as is established in your PREVIOUS. IMPORTANT. SEASON ONE FINALE... So WHY would you make a character shame a sin that's meant to be in the process of being celebrated which confuses the Sinsmas idea and was also the CORE of the Stolitz will-they-won't-they before now?? If it was to trigger Stolas' breakdown you already HAD the poverty story beat, this is just needless and confusing redundancy??

So then we actually get to Octavia and we get a scene about the idea of Stolas and Octavia not being able to get in contact with each other - the B-Plot - and followed by her introspective song and the discovery of Stolas' pills. And now we suddenly feel like we're back to where we were MEANT to be, with the Octavia B-Plot taking a pause to cut back to the Depression A-Plot. This builds up tension as we naturally feel the two characters drawn together.

And theeeen it cuts to the I.M.Ps and I'm banging my head against the wall because you're like, "Oh! The Millie and Moxxie relationship idea! This is going to be about them!"

But then OH MY GOD a NEW idea is introduced about Blitz wanting a FAMILY WITH STOLAS. I want to shoot someone because the cheating was a set up for Blitz to fantasise about wanting a family??? Is this meant to be a parallel to episode 1??? Am I meant to feel like Blitz has developed as a character?? In an episode that has been about every character OTHER than Blitz???

And then it's meant to be likeee like about Millie's pregnancy because she wants to kill the family instead of leaving them be, but it's also about Moxxie's relationship with her, but it's ALSO about being "demon enough" (WHATEVER THAT IS, IT'S NEVER ELABORATED ON), but it's also ALSO about Sinsmas.

Okay! Okay, back to the REAL plot except- Wait, Octavia walked in??? Wait, so this plot is now about Blitz wanting a family and he's going to bond with Octavia?? No! NO because they don't have any emotional connection and so there is no reason for this scene to exist if either way Blitz was going to know where Stolas went and Octavia was going to end up there as well anyways.

And can you tell I'm tired of writing at this point? Cus I'm losing my mind. FINALLY the A-plot and B-plot that should have been the center of the episode all along gets a fuck ton of screentime and it's beautiful and it's the peak of the episode.

And theeen it's back to Millie and you think, "Okay, so a big part of the pregnancy plot is clearly meant to be about Millie and Moxxie's relationship based on all the scenes we've gotten between them! That means that Millie and Moxxie are going to have some sort of important dialogue-" And then she WALKS OUT on him and she has her emotional moment with her sister! Which isn't a bad thing but need I remind you she isn't even in the center a FULL LENGTH episode, she's from a SHORT... WHY would you NOT integrate Sallie into a proper episode if she's going to be key to a future INCREDIBLY important plotline??

The episode ends with Blitz and Stolas and the credits roll blah blah blah...

This post is basically expands on some of the points of my post about my first impressions, because I just wanted to give a run down of the structure properly so you can understand why this episode is making me feel like I'm losing it. And I get it, if you put in the effort you can get an idea of how all the ideas were meant to tie together... But it doesn't! It's badly written! It makes me want to rip my hair out!

Ideas are established and then sit there uncomfortably without resolutions to them! Like even the shit. That was meant to be the main shit. The poverty and depression stuff? NO conclusion. Stolas says, "you don't have to refer to me as your highness" I guess?? But like, nothing to show him settling in with everyone else in the celebration to show he's like. Poor? And okay with it? By partaking in the holiday of those that are meant to be "beneath" him? No mention of his medication???

Just!! Okay. To understand the way shit in the writing could have been better, let me list some ways you could change the episode to be more coherent or cut down on redundancy if my points have so far not landed.

Establish Sallie towards the BEGINNING of the episode and her dynamic with Millie, and show how that compares to her relationship with Moxxie, and show WHY she would call Sally instead of talking with Moxxie first. If you're going to make the episode about family btw, this would be the point where Millie could bring up HER family and how much she values them or something in order to establish that as being important. Also, use this to explore what Millie and Moxxie's feelings on having a baby WOULD be, so that if there's conflict there then you have more understanding of why Millie made the decision she did.

Use the actual environment in the background of the montage to show the passage of time instead of it suddenly being Sinsmas. Have demons setting up holiday decorations, in the stores put up discount signs about a "Sinsmas sale!" This makes the story flow more naturally, as well as adds characterisation and makes Stolas' depression more real as he's shown to be so absorbed in his own world he doesn't even realise it's the holiday until Blitz brings it up.

Octavia's phone and the device she listens to music on is the same (I checked S1E2 to confirm it), which causes a sloppy writing issue. Like. If the episode is meant to show Stella is controlling and it's not Octavia's choice not to get in contact with Stolas, then you need to explain why she hasn't called him despite having access to her phone when Stella isn't around. If it were me, I would have had Stella lock it in a drawer that Octavia picks the lock on so she can listen to her music. THEN you can keep the original scene, OR (this is what I would have done) have her check her phone logs so you can see not only how many times Stolas has called but how much time has passed. Maybe this could also be used as another reason to drive her towards the closet as she hides from Stella and Andrealphus. Maybe this could be used as an interesting metaphor about her desire to leave but she doesn't know what she's going to do once she picks the lock on the door... Like how she could call her Dad now that she has her phone but she doesn't know what she'll do when she does... Something like that.

DON'T have Blitz and Via meet up if they're not going to interact. That entire scene is fucking pointless as is and I hate it. Either dedicate a PROPER amount of time and dialogue into making Blitz want to and try to connect with Via, or have them not talk at all. Cut out the whole thing about Blitz wanting a family with Stolas honestly, it's just not well explored enough.

Again with the sloppy writing, the gang did NOT need to stumble into a room of weapons to have weapons. That's pointless. They're assassins, they've been established to bring a stash of weapons with them to fights before. I can think of something much funnier where Moxxie is surprised by Loona's transformation and there's a joke made about her being a noble steed and Moxxie pulls out a sword only for Millie to be like, "Why did you bring that?" And Moxxie says something about how it's a posh weapon cus that's his thing. OR you could have some badass impromptu weapons the gang makes from the ice or they use Sinsmas decorations scattered around. IDK.

Already made my point about Stolas and the poverty idea. Show him settling in with the others during the celebration and him opening up to the idea that he's no longer rich or well respected. The "you don't have to refer to me as your highness" would work if the text bothered to show his mental state properly, instead of him just looking depressed and like he kind of hates everyone there.

Have Blitz PLEASE react to Stolas' depression. Like. Acknowledge it. And share his feelings about it. AND GIVE STOLAS HIS MEDICATION FFS he clearly has clinical depression!! Blitz is sooo head empty in this episode, PLEASE give him more internal thoughts other than :) I'm holding my head in my hands.

And I'm so tired of writing at this point I'm going to stop it there but I hope that was thorough enough to get across my points. And if not then I guess that speaks to how loopy this episode made me that I can't even articulate myself 100% because dear god.

[cinnamon-stixs]

Sinsmas came out, and I bawled. here's me yapping about it.

-Blitz put horses EVERYWHERE to try and make Stolas happy

-Stolas was asking for his antidepressants. keep in mind he goes this whole episode, which takes place over the course of a month, completely unmedicated.

-Blitz asking what he eats :(. Then Stolas's rich ass.

-Stella fucking GRAB'S VIAS PHONE. GOD I WANT TO KILL THAT BITCH. THEY SIT THEIR AND LAUGH ABOUT HIM WANTING TO TALK TO HIS DAUGHTER IT MAKES ME SO. FUCKING. ANGRY.

-Imps still hate Stolas. Also bro has NO life skills whatsoever

-She straight up spits in his coffee, no remorse. Queen honestly.

-New fit!! this is so much better than that dumbass romper

-Blitz catching rats for him :((

-"No, this is how I act when I don't have money! :D"

-I absolutely adore the concept of sinsmas btw. Also, notice how both Moxxie and Blitz act on wrath, rather than greed (where they were both raised). Interesting lil detail

-Of course Blitz would set the apartment on fire

-Loona acting like me fr

-Millie and Moxxie fighting heheheee

-He's so concerned lmaooo??

-Whiteboard! My fave is the 'days since moxie sang' counter.

-Loona's opened up so much I love her QmQ

-"I'm poor now!" I love you Stolas but holy shit you privileged ass baby.. At least yall can afford to feed everyone in your house

-God Blitz is so in love

-Stolas is GOING THROUGH IT with these parallels

-Blitz trying to defend cheating 💀💀

-Homophobic cunt

-Mammon tree topper

-They're STILL laughing about Stolas trying to call Via. Have they kept her phone from her this whole time?

-She didn't hear them say he'd been trying to call. She took her earbuds out AFTERWARDS. As far as Via knows, he only called once.

-Stolas was the one who got her the guitar

-Via's song goes so hard, but what happened to her accent??

-The parallels in Via's song and the one Stolas sang to her in ep 2 make me wanna cry

-Btw Via is COMPLETELY justified in how she feels, and her decision to not forgive Stolas.

-"I'll just get older and you'll only know my name" Holy fuck that line goes hard

-I THOUGHT SHE WAS GONNA ATTEMPT.

-"Well here's an idea, You could shut the fuck up!"

-Me I fear

-She sits down with stolas's diary I can't

-I thought the bit of her throwing up as weird as hell. But, foreshadowinggg

-What if this was my 13th reason.

-"Didn't make me wet AT ALL"

-The scream as she flies out the window is delightful

-Blitz immediately knows stolas went to look for Via

-GET HIS ASS

-"Get your icy hands off my bottom, bitch!"

-Dude what the hell did he say?!

-GET. HIS. ASS!!

-"fuck yes! :D"

-Loona and Moxxie working together :(((

-This action scene is so fucking cool

-"High five!!" DUMBASS?!

-Im gonna kms they're so cute

-VIA!

-She doesn't hug her father back.

-She thought him needing the antidepressants was her fault I'm actually gonna do it this time.

-Although Via won't talk to Stolas, she still saved him. She loves her dad, but she's rightfully angry. It'll take time to rebuild that trust.

-FUCK.

-Blitz relaxes. Stolas doesn't.

-God what a cutie

-MOXXIES FACE HSDHSJHDJSIJ

-I knew immediately in the bathroom scene what was up with Millie

-Im really excited to see the pregnant millie plotline actually. Judging by her reaction, she's not sure if she wants to keep it.

-STOLAS'S SOFT LITTLE LAUGH AUGH IM CRYING

-He doesn't hug Blitz back.

-Xmas song at the end goes hard.

Overall, this episode was AMAZING. The writing was great, the emotional moments hit hard, the animation was great as usual, and the pacing was good, if not a bit clunky. What a great end to the season.

I think i'll go call my dad.

[holdy-caulfield]

My review on Star Trek book.

Dreams of The Raven by Carmen Carter

Genre: Sci-fi, drama, psychological, thriller elements

Pages: 255

Key words: amnesia, physical traumas, self-identity, character study, medicine, friendship, body horror, angst

TW: gore

Highlights: plot, mystery, atmosphere, very canonical characters, accuracy, dialogue, depth, drama, villains

Downsides: lack of some details

Vibe/tone: dark, serious, realistic

First, huge thank you to @very-bad-poetry-captain for their book review, because the amount of ST TOS books is a bit overwhelming so I follow mostly recommendations/reviews to choose what to read next. I will probably compare this book to Doctor’s Orders, by Diane Duane, because it’s only a second ST book I read and both books are about Doctor McCoy, who’s my favorite character, so my excuses if you find it a weird comparison. Minor spoilers.

To put it shortly it’s probably one of the best ST TOS things I’ve read so far if I count fanfics. It is very good. Probably I will change my opinion cause actually I have nothing to compare it with, but after reading it I felt pity it finished and did not know what to do with my life for a few moments. You know that feeling if you a reader.

The story follows two plotlines: McCoy suffers amnesia (big amount of stress + alcohol + exhaustion+ head trauma) and forgets everything that has happened for past 25 years, so in his head he’s 23, and also a few ships Enterprise included were attacked by mysterious (and horrifying) aliens, so there’s Kirk & Spock dealing with those two problems.

First and foremost, the characters. They are very canon. And even more canon then in Doctor’s Orders. Spock and McCoy behave exactly like in the show, their relationships are ambiguous and not bubblegummy, as it shouldn’t be. It’s very much what you see in TOS.

And Kirk & Spock. One of the things I didn’t like about DO was that Spock got kinda lost in the background and it either was McCoy with Kirk or Spock and McCoy. Here Kirk & Spock have all these small details about them going on, like Kirk understanding Spock, caring about his feelings, Spock touching Kirk and very domestic scene of Kirk taking a shower while discussing with Spock matter of things while Spock is thinking about the next move of 3D chess. It was just very… Cute. Very TOS-y. Very t’hy’la. You can feel they are so at ease with each other.

Kirk & Bones dynamic is also amazing. Kirk experiences a lot of angst with the loss of his friend, and there are also a few cute moments between them when Bones is Bones (because Bones McCoy and Leonard McCoy felt like two different people to the characters). Kirk is just so in character, even the small details of him hitting the turbolift doors out of frustration (he does it a lot in TOS), his endless questions, his battle tactics.

There’s also I have to admit enough presence of Scotty, Uhura, they both have good amount of scenes (separately), Uhura just such a vibe and mood there as well. Also there’s a few scenes with Sulu and Chekov. No body was forgotten, everyone had their moment.

And then, let’s discuss Bones.

He is 25 years younger in his head, so he is slightly out of character obviously, but it’s just so realistic, recognizable, that I believed wholeheartedly that it is exactly how Roddenberry would direct/write him being 23 y/o. I can’t name it OOC even. Well, he acts like a 23 year old. He is drama queen even when he’s older, so you can imagine how dramatic he acts thinking he’s younger (complaining also all the time that he’s old, like, boy, you’re 48) it all just feels very natural. All the interactions and dialogue feel very natural, I must say, and I often noticed that in TOS too. So the author did an incredible job making such an accurate, emphatic and believable portrayal of my favourite character.

And I felt very sorry for McCoy. I sympathized with him completely. I actually felt a little bit sad when he regained his memory, but it is also thanks to the writer. The way it is worded is beautiful and bittersweet.

About an elephant in the room - romance. Well, I actually liked and understood it. At first, have you seen Bones? Second, those two are both in their 20s technically speaking, well, I understood she is (and if she was hitting her 30s because I am not sure about her being in her 20s, still point stands) so it was natural, the chemistry was there. Third, characters are allowed to act stupid, and Dyson acted stupid and she fully knew she was acting stupid, but she just wanted to have sex with him for a long time, so I understand and wish it was me. So it didn’t bother me at all and I actually awaited them to kiss. It is a flink, obviously, and Dyson knew that. So even if she’s heartbroken she should be fine, I think, plus she did act like she was half-expecting to not continue it with him. I hope though Bones never finds that out. So it is a good believably written part in my very humble and probably unpopular opinion. Good for her even.

The plot and the atmosphere. The plot, the mystery is amazing. It doesn’t let you put the book down. Also, the atmosphere of the book… Well, it is grim. Because the whole situation is not very fun. And also it has gore. Even though @very-bad-poetry-captain did mention the gore I didn’t expect it in so much detail, and at one point I was reading with such expression: o_O (I low key love horror, so it didn’t bother me). And then the aliens themselves… They are terrifying. They stepped out of some sci fi horror, and the author doesn’t hesitate mentioning dark details and I LOVED it about the book. I like when the villains are actually scary. I don’t wish those monstrosities to exist. There’s literally body horror elements in this book, and it’s one of my fave horror sub genres for some reason, so it’s also a positive point. TOS also has some very dark stuff going on, and the serious, darker tone suits it very well especially in the book form. The style of the author is nice. It’s straight to the point.

So it does feel like TOS but the sadder/darker episodes. And I liked that the book doesn’t feel short. It has a lot going on, and both plotlines are equally interesting. I wouldn’t mind book being even longer actually. Even more details. So if you enjoy a good mystery I recommend it.

Well, I guess I also have to point out some downsides. Well, the dreams in the title. Why dreams? No, literally, why? If it was like living in a dream then yeah, McCoy kinda lives in a dream, but what Ravens have to do with that? Book mentions nightmares, but give me those nightmares. Like nightmares although are a cliche but they work for showing character’s fears, doubts. So it felt like some portion was cut out. Because nightmares are mentioned a few times. Well, you could argue that the nightmares are because of the trauma. I guess. Also, the ending feels a bit rushed. I wanted a bit more disorienting from returned McCoy. And some hello from Spock, maybe a surprise for Bones on why Spock is acting extra enthusiastic or friendly or smh like that. But on the other hand I didn’t feel like the book lacks something. It was actually more than I expected.

Hugely recommend, also wish the writer wrote more TOS books :( and I also want to read more darker/serious TOS books like this :)

[rikyos]

psa of sorts !!! rn i'm working on answering some of the first impressions prompts and i just want to point out that i don't write linearly here. while i get why it appeals to some ppl i just find it really boring and restrictive; if we have a plot together i like to jump around within the timeline of that, it gives us much more room to play with and really explore the dynamic properly !! and with that said too, i don't think first meetings necessarily have to be the dry/empty kinds of threads they get reduced to sometimes, personally i have at least a few on this blog that i find genuinely really interesting 😭 so if we've discussed interactions of any kind pls feel so free to write for them at any point in the timeline whether that's a first meeting, years down the line, or a random tuesday.

[steeltwigz]

Saw a post abt the Sonic movies that was like "plz filter negativity posts better" which is GOOD AND TRUE you should be doing that. Ok. But then they kept going to imply that the criticisms of the Sonic movies are all entirely Personal and Ignorable and not like. Usually abt the horrific copaganda, misogynistic writing, and Paramount's disgusting zionism.... Guys a lot of ppls problem w the Knuckles show wasn't JUST a bastardization of Knuckles' character or thinking Wade was annoying or whatever, but like was focused on the grotesque Zionist message from that one episode 😭😭😭 you can enjoy something and still recognize that it has intrinsic and huge glaring flaws and talk abt them. I think actually you Should be speaking up abt the misogyny, zionism and propaganda the SCU supports and discusses, ESPECIALLY if you like the movies! Its important to be able to recognize these things in media and admit that even media you personally enjoy can be deeply problematic, instead of hiding it away and pretending those HUGE FLAWS aren't issues actually....

[james-stark-the-writer]

feel like pure shit, just want her back

[jennycalendar]

so the thing i am noticing as i continue to watch the river eps is that the problem i have with the melody pond plotline is not necessarily its fantastical improbability/ridiculousness, because doctor who has always been a show about making the fantastically improbable and ridiculous feel charming and wonderful, and also i am soooo biased i love melody pond soooo much That's Amy And Rory's Baby To Me! if anything, the fact that this is a series of absurd coincidences endear me to the notion more. but the thing is, with the information we're given about river pre-reveal, there is absolutely no way that anyone could possibly guess river's true identity.

prefacing that statement -- i did a cursory google search & moffat did seem to intimate in some interviews that he had the river stuff locked and loaded as early as s5! i do think that clocks, because river makes lots of references to killing the doctor, amy and river are absolutely a lot alike from the get-go, and the amelia pond -> river song thing is also a clear hint, but the foreshadowing outside of that is literally nothing, in what seems to be a preventative measure. that is not enough info to figure out that river is melody.

i feel like this is most clearly shown in let's kill hitler -- they handwave mels not being present at the wedding or mentioned in any prior episode, when we absolutely should have met her! honestly, mels should have been a character that we see in the eleventh hour (maybe even someone who either helps out here and there or refuses to), to the point where when amy and rory name melody, we know that it's for mels. we need her to feel like amy and rory's best friend from the moment that we meet amy and rory, rather than being introduced in the River Backstory Episode. mels could turn down traveling with the doctor for some unspecified reason, but she needs to be either someone he knows or someone that we have seen make an effort to make herself invisible. her showing up only when she has Narrative Relevance, when she should have been the clearest hint to who river is, was not a good plan, and it makes me upset, because 1) we miss out on mels, a wonderful and adorable and slightly murderous incarnation of river who i'd have loved to see more of, and 2) mels not being there means figuring out who melody is becomes that much more difficult, which really does support my theory that the focus was on Creating A Shocking Timey-Wimey Moment rather than a long-term investment in river's character :( and that, for me, is a bummer.

at the same time, tho, i'm kinda like -- so much of river's character really is defined by being a Woman Of Mystery! the hints can't come from her, obvs, because i think she would lose so much of what makes her her if she's at any point able to be deciphered by the doctor or the narrative. and i do think it's very on brand for river (who is made of masks) to absolutely shut all of her feelings down when interacting with younger versions of her parents. but we really, really, really needed more time with river. i think that's what i'm getting at. we needed more time with river within the show, very possibly through mels, for this to work effectively.

[turtlespancake]

me when i write a character who is prone to dooming themself and then they run off and doom themself. core traits are stubbornness and a willingness to disregard their own humanity gET BACK HERE IM NOT DONE WITH YOU

[the-judicial-assistants-notebook]

why didn't they just use franziska for literally all of this.

[cozy-the-overlord]

I don’t think I’ve ever been as violently irritated with the choice to kill off a character as I was with that of Ilsa Faust in Dead Reckoning

[foxmulderautism]

instagram recommending me a reel for a peach frosé recipe what the fuck literally most felixcore cocktail of all time. literally just frozen peaches and rosé blended together. me when i said i'd be productive but now i'm falling down a peach flavoured cocktail rabbit hole

[juney-blues]

June Egbert is, and always has been incredibly fascinating to me because of just, how many factors have conspired to make Homestuck fans show their collective transmisogynistic asses.

The main character of Homestuck transitioning is a planned future plot point for the official continuation of homestuck, that was spoiled in advance by a fan making a joke about finding some toblerones Andrew Hussie the author of homestuck hid in a cave.

The current main writers of Homestuck: Beyond Canon have went on record in an AMA confirming that this was indeed always the plan, even before they took up the project.

In spite of these facts, the general consensus among certain homestuck fans seems to be that "June Egbert" is purely a headcanon for the original comic that was "made canon" by a "Toblerone Wish" (a concept that didn't even exist at the time)

For a variety of reasons, the "canonicity" of the postcanon official continuations of homestuck is a mattter of much debate, (though a debate that most homestuck fans seem to err on a side of "it's not canon at all in the slightest," something the writers have feelings on I'm sure.)

All of these factors combined leave the concept of "June Egbert" in a very nebulous place. It's assumed by most to just be an "ascended headcanon" that was shoehorned in, it's a spoiler so it hasn't happened yet in any official media, and the official media it will eventually happen in is regarded by some to be nothing more than glorified fanfic.

If someone is talking about June Egbert, and you don't like the concept of June Egbert, you have your pick of a million different excuses for why she's fake and gay and not worth discussing and bad writing and just the authors doing a gay dumbledore*, paying lip service to representation while actually doing nothing.

And of course, lots of people *don't* like June Egbert! Rather than being introduced as transfem from the start, she's in this nebulous position of discovery where people have to truly reckon with the idea of a "Pre-transition Trans Woman."

You can try to write off *some* of the backlash as transphobia, because obviously not everyone in this fandom is gonna be cool about trans people.

But there's no shortage of fans just dying to tell you about how much they like reading her as transmasc, or the idea of her being nonbinary or genderqueer or genderfluid, or literally anything besides a trans woman. And since they're fine with all those other interpretations, there's obviously no implicit biases driving their distaste for the concept! (if you want to try explaining the concept of "transmisogyny" to people like this you're braver than I.)

you can trust them when they say it's *just* a problem with whether or not it makes sense with the writing, or it just doesn't feel right somehow, or any of the thousands of excuses that this writing situation gives them to just Not Like It.

It's just, so interesting to me. There's not a lot of characters out there that get a trans arc in this way, that leaves room for open denialism and insistence that we have our trans cake and eat it too... Because Homestuck is a timeline spanning multiverse story, lots of people seem to want it to be an alternate timeline thing. Assuring us we can have this character share space with a non-transitioning version of herself and it won't be weird or imply gross things about trans people.

If you ask me it feels like a plotline that'd be really good for exploring some gender horror though, finding your true self and then being demoted to a footnote, an alternate version, because everyone around you likes your pre-transition self more....

Anyway I have no broader point beyond "hey look at this isn't this kinda weird. You don't get this kinda stuff often!"

*side note: it's a little ghoulish I think to compare "a future trans plot point that hasn't been given the chance to even happen yet, in an already famously queer piece of media, from a nonbinary author" to "some stupid shit done by the literal most famous transphobe of all time" but that's perhaps a discussion for later.

[tangents-within-tangents]

Ooh! Okay, I love all of that! Thank you for sharing lol you just gave me some epiphanies!

I hadn't quite been able to figure out the significance of Crosshair killing Nolan, like that action specifically, and I think what you said makes a lot of sense! Because it totally wouldn't have worked (narratively or like for the character) if he had just quietly defected after the fact.

Crosshair is really complicated, and since I was focusing more on the comparisons to Emerie I didn't get into all the aspects of his full arc (but at this point why not make the post even longer lolll). But I also noticed how often Crosshair identifies himself as a soldier, I actually originally had this exchange in my analysis:

Rampart: All that time, left for dead and yet you still came back. Why? Crosshair: I’m a soldier of the Empire. Rampart: I see. Your loyalty and determination are commendable.

(which side note, I realize that further shows the difference between those two! Crosshair is there to be a soldier whereas Rampart is just there for himself, like he can't even fathom Crosshair's loyalty after being abandoned like that)

Those recurring ideas of loyalty and purpose are directly tied to Crosshair's identity as a soldier, like that is where he finds his purpose and that's why this is what changes his mind:

Nolan: He served his purpose as a soldier of the Empire.

So the idea that killing Nolan isn't a desperate act of vengeance but Crosshair deliberately giving up his identity as a soldier just really clicks for me and makes that arc feel more complete in a way.

If it was purely self-preservation he could have just defected and run away. That would have been just cutting his losses and leaving the Empire solely because it no longer serves him. But unlike with Cody it's not enough for him to just stop serving the Empire. Instead by killing Nolan he actively rejects the Empire and "seals it in blood" by choosing treason and its consequences. It's like in that act he is 'killing' the soldier that he was for the Empire. (And if we bring the context of Mayday into it, it means that he would rather die defying the Empire than die for them.)

This also ties to my other favorite bit of the vulture symbolism! Which is this moment:

When Crosshair collapses and the stormtroopers close in to take him away, what would appear as his lowest point, the vulture soars upward. To me it shows that even in this dire moment Crosshair truly is finally free. It ensures that this is an internal triumph even if it looks like an external defeat. (And after this turning point he never does go back, even when he could have saved himself by giving Hemlock what he wanted in Tantiss)

So yeah thanks, I didn't quite realize that in killing Nolan he was choosing to be imprisoned or killed as traitor. I think that's a death 'redemption' I could get behind! Because it's not a sudden single sacrifice that supposedly absolves them of all wrongs without ever facing the repercussions (look at that you drew the rant for another time out of me lol), it's him 'killing' the version of himself that did those wrongs, rejecting that identity. It's not 'redeemed' through heroic death, it's like by the death itself (if that makes sense). And since he didn't actually die like he thought he would, he still has to live with the aftermath and implications of that change. Viewing it like that, it makes way more sense that the after-arc in S3 is about rebuilding his identity and finding new purpose with his family: "Omega needs all of us". (which also fits with the hand tremors thing (losing his identifying skill), and more possible parallels with the CX troopers since their "identities were erased" (though that plotline was pretty rushed so I don't even know) but I really like what you said about Ventress and Omega helping him realize things!)

But! He's still only facing the aftermath implications for himself, not for those he hurt with his actions, which is why to me his arc still isn't a 'redemption' in that sense. And @laughhardrunfastbekindsblog (sorry I don't want to keep reblogging my own beast of post lol) yeah it is 100% a valid arc/ change, I guess it depends on your definition of redemption, because to me the amends/accountability part is really important (something this posts (@antianakin) touches on, though I clearly disagree with the purpose of those characters' arcs). And to clarify, I'm not talking about the character himself, or what he's been through or deserves or whatever, it's about how it's written and what the story we are actually given is saying. That's what I'm critiquing.

With the above context I see how the change itself is really vital. I can get what you're saying that it "convinced Howzer that Crosshair had changed for the better, and that was good enough for him." And it is in-character honestly (Crosshair's not much for words) and it works for what it is.

What bothers me with those episodes (I guess we can do this rant now too lol might as well) is how the show/writing treats Howzer. Because it really feels like they are saying Howzer is in the wrong for not immediately accepting Crosshair, even though he has completely legitimate reasons to dislike and distrust Crosshair because of his actions. Even Hunter calls Howzer out when in the last episode he was just as rightfully distrusting of Crosshair's change until they talked it out. Crosshair doesn't show any remorse in those episodes, he comes off as pretty smug and dismissive instead, but Howzer still has to accept it anyway, mostly on his own by just observing Crosshair's behavior.

Like I said, Crosshair has changed and that's great, but he still did those things. The show had the perfect opportunity for him to face that here! To show that he regrets his past actions instead of just telling Hunter, and to act on those regrets by making amends with someone who was affected.

Like I think of this scene from Atla for comparison:

Suki: You kinda burned down my village. Zuko: Oh… sorry about that.

It's simple, it doesn't undo the wrong (reparations) but it still does the bare minimum of amends (and more is done with his reconciliation with the main characters). Yeah Suki can see that Zuko has changed by his actions (and he is actively fighting against the Fire Nation to help others) but they don't expect her to just accept that in and of itself, Zuko still shows and expresses remorse, and doesn't shame Suki for being upset about what happened. But with a very similar scene of 'changed person is confronted by a past wrong' we instead get this:

Howzer: Most of my squad from Ryloth is dead because of you! Crosshair: *blinks* Rex: Easy, Howzer!

Crosshair is confronted with someone who he directly harmed, but instead of exploring his accountability in the aftermath of his change they made it about his victim's acceptance and unearned forgiveness.

Crosshair's arc as it is (described at length above) works for me, but this does not. Like if they had done just this differently I think I honestly would be fine if everything else stays the same and Crosshair never actively goes against the Empire. Because it's not even about screen time, the opportunity was right there to tip the scales into an better-written actual redemption but they just didn't use it!

And I think that is why TBB as a whole has been frustrating me lately lol. The writing was honestly so good at times, so I can never dismiss it out right. But there are also so many ways it could have been SO MUCH better. And it was really close too which almost makes it worse! Because then we see these glimpses of what the show could have been to compare it to. The potential was there they just missed it, or often times actively avoided it. (But that truly is a discussion of another time, I've got a LOT of draft posts in the works lol)

Hot take:

Crosshair does not have the Imperial disillusionment and redemption arc of The Bad Batch

Emerie does.

Crosshair has an arc for sure yes but it's not that.

I was thinking about this scene:

and how it got right what this scene kinda didn't:

(It was so close but then bad writing decided to undercut the moment with a joke rip)

And I think it's really interesting that these characters who were more or less raised into the Empire/First Order and chose to leave it are all directly asked why.

But take a look at Crosshair's answers in comparison:

Different context for the asking, yes, but still, compare that to clones like Howzer, Cody, Slip and Cade who left or turned against the Empire because they knew what the Empire is doing is wrong and they weren't just going to blindly follow orders:

Crosshair - Loyalty, Purpose, and Survival

Crosshair didn't choose to join the Empire (though the show isn't very clear or consistent about how much control the inhibitor chips have) but he did, for whatever reason, choose to stay. By the end of S1 we know his chip has been removed and as he definitively says "This is who I am." There were likely still other influences on his decision, but listen to how he talks about the Empire in the S1 finale:

Hunter: Crosshair, I've seen what the Empire is doing. Occupying planets and silencing anyone who stands against them. You know it's not right. Crosshair: You still don’t see the bigger picture, but you will. Hunter: Can't you see they're using you?

Crosshair: We’re not like the regs, we never have been. We’re superior. The Empire can’t protect the galaxy without strength, this is what we were made for. Think of all we could do, together!

Crosshair: You all are meant for more than drifting through the galaxy. It’s time to stop running. Join the Empire, and you will have purpose again.

Hunter: They destroyed an entire city! Crosshair: They did what needed to be done. Kamino, regs, the Republic, that time is over. The Empire will control the entire galaxy, and I am going to be a part of it. Hunter: Don't fool yourself. All you'll ever be to them is a number.

He undeniably knows what the Empire is doing, but he does not care. In fact it sure sounds like he actually supports it and finds self-meaning in it. Hunter spends those episodes trying to convince him it's wrong, he doesn't change his mind. In the end they offer him an out and he doesn't take it.

Wrecker: You coming with us? Crosshair: None of this changes anything. Hunter: You offered us a chance, Crosshair. This is yours. Crosshair: I made my decision.

The next we see Crosshair in "The Solitary Clone" (S2:E3) he follows orders and shoots the Desix governor, right after Cody heartbreakingly tries to do what's right and find a peaceful solution.

Cody: Tell me something, Crosshair. This new Empire, are we making the galaxy better? Crosshair: We’re soldiers, we do what needs to be done. Cody: You know what makes us different from battle droids? We make our own decisions, our own choices. And we have to live with them too.

After this (glorious!) conversation, Crosshair stays. Maybe this began to seed some doubts, but he actually smiles a few scenes later when Rampart assigns him another mission. It seems like for him it truly is as he said in S1:E1 (chip not enhanced yet but still influencing him enough for his brothers to notice he's acting strange):

Crosshair: Republic, Empire... what's the difference.

Crosshair: Orders are orders.

This unethical mission that finally pushed Cody over the edge does not change Crosshair's mind about the Empire, at least not enough for him to take action.

But what does?

Mayday: And here we are, the survivors. Combat troopers stuck babysitting cargo shipments. Crosshair: Mission’s a mission. Mayday: Yeah, I used to say the same thing.

Mayday: After all the clones have done, all we’ve sacrificed. We’re good soldiers, we followed orders. And for what?

This mission has nothing to do with how the fascist Empire treats the galaxy, it's about how they treat their soldiers. It's about how Mayday loyally fought and served his whole life and Lieutenant Nolan let him die

Lt Nolan: He served his purpose as a soldier of the Empire. Crosshair: You could have saved him! Lt Nolan: Perhaps you didn’t hear me, he is expendable, as are you.

Crosshair thought he could find purpose within the Empire, and Nolan shows him exactly what that will be.

His turning point is accompanied with this powerful visual of the ice vulture, a symbol (and threat) of death, and also set up within the episode a symbol of survival:

Mayday: Vicious creatures, but you have to admire ‘em. They find a way to survive.

This critical moment (that gives me chills, oof this episode is a masterpiece!) comes right after Nolan calls him expendable and directly threatens him:

Lt Nolan: And if you speak to me again with such disrespect I'll see to it you meet a similar fate, clone.

then Crosshair sees the vulture's shadow and turns to Mayday's dead body (ahh visual storytelling my beloved) then makes his decision:

Crosshair turns against the Empire not because he believes Hunter was right about this:

Hunter: I've seen what the Empire is doing ... You know it's not right.

but because he was right about this:

Hunter: All you'll ever be to them is a number.

Redemption (both in fiction and irl in my humble opinion) comes with making amends and reparations (which is why death 'redemptions' bother me so much but that's a rant for another time). Unlike Emerie, Crosshair never explicitly denounces the Empire or his own actions within it. He never says anything to specifically show if and how his views have changed from what he said on Kamino. He makes amends with his family (sending the warning message, helping Omega escape, making up with Hunter) but that's about it. The most we get in terms of acknowledgement is this:

Crosshair: I thought I knew what I was getting into with the Empire. I thought I was being a good soldier. Hunter: Nobody really understood what was happening back then. Crosshair: I’ve... done things. I’ve made mistakes. Hunter: I have regrets too, Crosshair. All we can do is keep trying to be better, and who knows there just might be hope for us yet.

Which is nice and all but it's more about them making up as brothers so it's way too excusing tbh ("no one knew what was happening back then" ummm? "The Empire will control the entire galaxy, and I am going to be a part of it" remember? And even if at first Crosshair was being controlled by the chip, the fact that he chose to stay after it was removed* means he condones and is therefore still accountable for those actions).

There's also a bit of self-destructive guilt:

Crosshair: Omega, don't risk anything for me. I belong in here.

Crosshair: Omega needs you both. So I’m doing this alone, it’s what I deserve. Hunter: Don’t even think about plan 99, Crosshair. Omega needs all of us.

(which thank you Hunter for pushing back on the death redemption bs and oh look is that a wrap up for the purpose thing?)

But there's no action taken on his part to make up for what he's done or to stand against the Empire (aside from the bare minimum of help with Tantiss, only after it became personally relevant, which like yeah he had trauma to deal with but still).

While I do think the implications/follow-up of Crosshair's turn should have been handled better in S3 (like rip Howzer! he deserved an apology, but that's a rant for another time), I don't necessarily** think this arc is a bad writing choice. It's just saying different things than we expect:

Maybe Crosshair's story is not about standing up against an unjust system, like we see with many other characters (who deserved more screen time but that's a rant for another timeeee). Maybe his story is about how even those who are loyal to the Empire, who actually believe in it, still suffer under and within it's rule. Not to garner sympathy, but to show that there is no winning.

Crosshair has another 'so what changed' convo in S3:E14 with Rampart, in which they draw parallels to each other:

Rampart: You used to believe good soldiers followed orders. Crosshair: Depends on who's giving them. The Empire betrayed us both. Rampart: And you think you can fight them? That's not you. You're like me, loyal to no one but yourself. Crosshair: I've changed.

(note how he says who's giving the orders, not what the orders are)

"Loyal to no one but yourself" describes Rampart much more than Crosshair, since we often saw Crosshair pride himself as a loyal soldier of the Empire whereas we saw Rampart abuse power to be self-serving within the Empire (like when he killed Wilco to save face). But they were both betrayed either way. Vice Admiral Rampart, snively Imperial opportunist through-and-through, shouts "I was following orders!" as he is arrested for the Empire's purposes.

Even Hemlock, the final boss immoral Imperial scientist, who has to be benefiting the most from this system, echoes the expendability idea:

Hemlock: What I am working on is beyond your understanding. Something so vital to the Empire it makes me indispensable.

Then there's CX-2, also set up as a parallel/foil to Crosshair (fight me), who in the end is discarded as no more than a weapon, a tool that served it's purpose, showing us what would have become of Crosshair if he had stayed.

There is no winning in the Empire. Loyalty is not rewarded, it "doesn't go both ways." Everyone has to fight for their value. Even high ranking individuals** who for a time benefit from the injustice, in the end are just pawns to be used up and cast aside at a whim for the Emperor's gain. Even people who are motivated by self-interest alone cannot survive within this system, the only viable option in this galaxy is to fight the Empire and dismantle that system. (unless you conveniently find a magically safe island to hide away on but that's a rAnT fOr AnOtHeR tImE)

Which brings us back to...

Emerie - Cooperation, Compassion, and Choice

(Okay this post has already gotten away from me but I still want to talk about her to show the contrasts.)

Emerie may not have been given a lot of screen time to really flesh out her development, but there is a lot that is pretty clearly implied with her:

Crosshair: They’ll never turn her [Omega] over. Hemlock: They don’t have a choice. She is a clone, and therefore Imperial property. *Camera cuts to an angle more centered on Emerie’s face*

Crosshair: Give me your access card! Emerie: It won’t get you outside!

Emerie: I tried to warn him what would happen if he did not cooperate with the Doctor.

Emerie: Prisoner? Omega, you are no such thing. It will take time to adjust, but you will acclimate. It is far safer in here than out there.

Emerie: You should go back to your room. Crosshair: You mean her cell?

Emerie: Why children? Hemlock: Children are easier to attain and more agreeable to the subjugations. They are unaware of why they are here and what they possess.

Emerie: They're children. Like I was... Was your plan to discard them too? Nala Se: The Empire will keep them in order to control them.

We don't know a lot about Emerie's background, but it's clear that she had a lot less choice than Crosshair and less opportunity or ability to leave. Unlike Crosshair, we never directly hear Emerie's views of the Empire (and she was most likely 'taken under Hemlock's wing' before the Empire even came to power), but lets look at how she talks about the Tantiss:

"Remain calm. Cooperate and you might survive."

"Don't make this worse, Crosshair! There is no escape!"

"All of us serve a purpose here."

"The Doctor will inform me, if it's necessary."

"It's best not to ask questions."

"Escape is not possible, Omega. This is for your own good."

She honestly does the best she can within the system she is also trapped in. She tries to help Crosshair, Omega, and the vault kids in the only way she knows how (warns Crosshair about the hounds and security, tries to protect Omega from Hemlock, tells Scorch his "actions were extreme" with Jax, insists on overseeing Bayrn's retrieval, double checks his m-count (to give him an out), and tries to find out where he came from). When she gives Omega, and later Eva, the doll, I think it shows just how little she really is able to do here (and it's kinda heartbreaking imo).

The framing of this shot especially (after Jax's escape attempt) visually shows how Emerie herself is trapped/imprisoned:

Despite the fact that very little of this is Emerie's fault, she has very little power and she is doing all she can, the narrative does not excuse her role in the Empire:

Nala Se: What will you do, Emerie? Emerie: There is nothing I can do. I don't have that kind of power. Nala Se: Don't you?

Emerie: I- I was doing my job. Echo: Yeah, I’ve heard that before. You’re a clone. How can you be part of this?

These fighting-the-Bystander-Effect conversations parallel these exchanges:

Hunter: We made a choice, and so did you. Crosshair: Soldiers follow orders. Hunter: Blind allegiance makes you a pawn.

Crosshair: We’re soldiers, we do what needs to be done. Cody: You know what makes us different from battle droids? We make our own decisions, our own choices. And we have to live with them too.

which did not change Crosshair's mind. And honestly, all respect to Echo's disappointed mom glare™ but I think it's clear Emerie had already made her decision, she just needed help to actually be able to do anything about it. When she stopped Echo, with her voice wavering on the verge of tears (ahhh v good voice acting), she clearly had no intention of turning him in. She's on her own in the Empire's most secure facility with very little resources, if she had tried anything on her own she most likely would have failed and been killed

Omega: Emerie, you don't have to do this. Emerie: (sigh) I’m sorry, but I do.

but as soon as she is enabled by an ally, she immediately turns around to help: giving information and getting Echo through security, helping the kids escape, and giving Omega the tablet that allows them to free the other clone prisoners.

Where Crosshair's turn is accompanied by the symbolic imagery of the ice vulture, Emerie's is the removal of her (literally rose-tinted!) glasses:

Symbolizing how she has shed her previous views/indoctrination that altered her perception of the Empire and blinded her to it's wrongs. It's disillusionment.

Emerie's story shows us that even those who are raised and indoctrinated into this system can, should, and will escape (with needed help). Even those who did not choose to be apart of the Empire and are not making the decisions still have the responsibility and ability to act on what they know is right.

Emerie, whose name means 'Home strength' 'Brave' and 'Powerful', and "reflects the importance of leadership and authority in the workplace".***

While Emerie is only in one more scene after her turn, so the wrap up is a bit rushed, she still very simply does what Crosshair does not:

Emerie: Because I was wrong about this place. And I'm trying to do the right thing.

Echo: I’m sure Senator Chuchi would find what you have to say very helpful for our cause. Emerie: I have a lot to make up for. I’d like to help out however I can.

She admits wrong, takes accountability, commits to making amends, and leaves with Echo to go take on the Empire (which hopefully we will get to actually see more of some day).

So, in short, she's showing us how redemption is done right!

---

Notes:

*Whether this writing choice was good/logical/in-character or not is another discussion entirely, but I'm going off of what we were given, what the show is presenting in the canon text and (reasonably inferred/intentional) subtext. Crosshair is pretty multifaceted and I could only touch on so much here. There's a lot of ways to interpret his character/choices, but I tried to avoid the realm of speculation or fanon explanations (even if they sometimes make more sense lol).

**History and political theory are not my area of expertise at all, so I have NO idea how well this aligns with real-world fascism stuff and therefore what implications this storytelling choice could have. I think the message of like 'if you think you could survive or gain power by doing what the Empire/fascist system wants you are wrong' could be good (like how everyone is actually harmed by the patriarchy type of a thing), but I hesitate bc maybe there are those who would benefit, since it's a hierarchal system, right? If anyone more knowledgeable than me has incite to share, by all means

Either way, I do think it works in-story and in-universe though. It's just in the execution. The main problem (even from a strictly theme/character arc stand point) is the lacking follow-up/consequences for Crosshair in S3. Like you gave your character accountability by removing the chip and I think that's great setup for an arc but you gotta follow through with that and actually hold him accountable!

***I'm always curious when clones have 'normal' names, like why did they chose the name Emerie of all things? So I looked it up. Idk how reliable sources are for name meanings so take it with a grain of salt but it's still fun. Fits pretty well, and clones names have definitely had significant meanings in the past (like how Rex and Jesse both mean 'king') so I'm pretty sure it was intentional.

Anyway, thanks for coming to my tedtalk

[notebooks-and-laptops]

Anarcharisms, LGBT+ characters and cultures and How I'd Write Taash's Storyline

Taash was one of my favourite characters in DATV. As somsone who is genderqueer, genderfluid and still exploring all that, I also really appreciated their story. In our world today, its vital that stories about non-binary and trans characters are told to wider audiences. However, once again, the softening of Thedas; its culture and its people, led to kinda shitty writing.

So lets get it out of the way: it feels anachranistic when Taash says 'non-binary'. This isn't to say that you can never use modern LGBT+ vocabulary in a fantasy world; fantasy worlds are fantasy and you can do whatever you want with that. But Dragon Age has never used these terms before; words like gay, non-binary, trans; they haven't existed in the Dragon Age universe. Instead, Dragon Age in the past has opted for explorations via in-world cultures such as the Qun having a specific word; aqun-athlok.

I kinda think this has attitude has some rather uncomfortable undertones that just weren't thought through: being non-binary, genderqueer, genderfluid, these things have always existed. But implying the need for modern vocabulary about them, reinforces the idea that LGBT+ identities are 'modern', 'current' that they never could have existed before these words were coined. The fact that Dragon Age didn't use the word gay but does non-binary it just...makes me feel a little bit like they thought they could ask us to imagine gay people in a world before the term gay was invented, but didn't have that same idea to show us how non-binary people could exist before we had modern terms for them.

Dragon Age has also in the past hinted at nuanced ideas of how various cultures might see gender and gender identity. The Qun for example, based on what both Iron Bull and Sten say, appears to see gender identiy as tied to your 'role' or 'job'. Meanwhile, Tevinter has Maevaris, who has thrived and inhereted a seat in the magisterum while still being trans but seems to experience some prejudice from conservative magisters.

This game wacks nuance out the window and opts instead for a softening of everything (see my post here for more on that). So despite Taash's storyline supposedly being about exploring their multi-cultural heritage, there isn't actually a lot of space for exploring any culture at all in Thedas throughout this game.

But here's my pitch on how I'd fix it:

Firstly, I'd make it so that there was a specific word that Tevinter had for being non-binary that the Qun doesn't. Much like how it pans out in the game, Taash could meet with shadow dragons, realise this and explore it, and find it fits. They would still use they/them pronouns and state as such.

But then, when Taash came to tell their mum, I'd have Taash's mum say that she always thought that Taash might be aqun-athlok because they fight. This would push forward that idea of gender-identiy in the Qun being completely different to how Southern Thedas sees it, with it largerly being attached to your job.

Taash would then explain no, they are [insert Tevinter Word Here]. At which point, the point of contention would come from the fact that Taash has adopted a Tevinter word and identity. This would mirror the way conservatives in some countries across the world see/frame LGBT+ issues as a western concept. Taash's mum would have a problem with this especially because Tevinter and the Qun have been at war for centuries (something you'd be hard pressed to realise in this game despite the fact that it feels like it really should have come up at some point but I digress). This would then tie this plotline with Taash's exploration of their heritage and culture and what it means to be qunari.

I'd also make it so that theres no neat 'they' in qunlat. This would again mirror how some languages are more gendered and thus non-binary people have that to deal with. This again would link to a real world issue, but would feel like it was exploring cultural issues in thedas, not softening anything. Taash's mum would be upset that there was no way to refer to Taash in their shared tongue that she currently knew of.

Finally, instead of having the scene where Isabela teaches us how to be a good ally which feels...well. Written poorly? More tell than show? I'd scrape that, and instead have us meet a very cool non-binary qunari who is actually from the Qun and follows the Qun. Taash could connect with them, and see that Qunari DO have a non-binary identiy (maybe they use neo-prounouns that work in Qunlat) that its okay to be qunari and be non-binary and that people have done it before them and will do it after them.

These are tiny changes, but it would make the culture in Thedas feel so much more vibrant and real, and explore how things actually function in the world, you know? It would make gender-identity tie in deeply with this world we've set up and known for years, and it wouldn't feel anarchanistic.

[velvet4510]

Why Magneto’s Storyline in X-Men: Apocalypse is The Worst (it’s not just Cherik)

Ok I just need to vent because this has been chewing away at my brain for far too long.

Cherik is far from the only reason why Erik’s family plotline in X-Men: Apocalypse is some of the stupidest, sloppiest, and most character-ruining pieces of writing I’ve ever seen. Haters may say “oh you’re just upset because he married someone who wasn’t Charles.” But, like, aside from the fact that the original timeline already established that Erik’s top priority was always the fight for mutantkind and he had no interest in settling down - whether that had anything to do with his feelings for Charles or not - the problems with the Apocalypse writing go WAY beyond just him & Charles:

Erik would never abandon his cause at this point. By the end of DOFP, Erik has just been imprisoned for a full 10 years thanks to the JFK situation. Meaning he has spent a full decade being forcibly inactive in the fight for mutants. And he just learned that all of his fears about humans and mutants came to pass in the future to the level where a time-traveler had to be sent to change the past. And he was so set on averting that future that he tried to kill his friend and the sister of the man he loved, and then made a whole speech on international TV begging for the mutants of the world to fight alongside him. This is the POLAR OPPOSITE of a man who would feel like settling down and walking away from the fight within the next decade. The Sentinels being cancelled did NOT make mutant life easy overnight; Stryker was still up to no good, and there is no way that there weren’t others like him doing the same. Yes, Raven’s actions made a very positive difference, but I think we have enough brain cells to agree that this did not mean things for mutants immediately became sunshine and rainbows to the level where Erik - the most (understandably) paranoid character in the X-Men series - would even consider taking a break, let alone giving up the fight permanently. Knowing what he did about the possibilities of the future would’ve made the Erik we know double down on his commitment to his cause and follow up on his actions in Washington.

Erik wouldn’t risk starting a young family at this moment in his life. Erik was a Holocaust prisoner, his people were massacred, his mom was shot when he couldn’t move the coin, and then Charles was shot when Erik accidentally deflected a bullet into him, and then every member of his Brotherhood save Raven were captured and killed. Not only is this more than enough grief for one character to have, but the man wouldn’t dare risk having a new family of his own when everyone he’s ever loved has gotten hurt (largely because of him), and when he’s an international fugitive. That is no time to risk being selfish, and he would know. He would’ve been the first to realize that a potential spouse and child would also end up killed, and so he’d avoid that altogether. In fact, he wouldn’t even consider it, because, as mentioned, he wouldn’t leave his cause behind. You know, if he was actually in character.

Magda is a human. At this point, Erik hates humans. Again, he has just been imprisoned by humans for 10 years for trying to save a mutant, and he just learned that in the future, humans would’ve wiped out mutants, exactly as he feared. Everything that happened in DOFP would only further inflame his already-passionate hatred of humans. He is not in the mental state to even begin to consider Charles’ philosophy and give a human a chance at a relationship, let alone marry a human.

The family lives in Poland. The country where Auschwitz is. The country where Erik and his family and people was imprisoned, tortured, and executed. The country where Erik had to watch Shaw kill his mother. Basically the LAST country in the freaking WORLD that Erik would want to ever see again, let alone spend the rest of his life in. Erik is fluent in multiple languages - he is shown to easily converse in French and Spanish in First Class - and has been all over the world thanks to his Nazi hunting, so if he really needed to flee the U.S., there were a hundred other countries he could’ve gone to and blended into (Canada, France, Mexico, anywhere in South America, heck, he even could’ve discovered Genosha during this time). But in the original timeline, he didn’t leave the U.S. at all despite being a national fugitive after escaping his plastic prison, and he never did get caught again, so….

Erik’s first meeting with Magda is completely OOC for him. Erik mentions that he told Magda who he was the first night they met and he trusted her then. EXCUSE ME??? Erik Lehnsherr does not trust strangers. Erik Lehnsherr does not tell the complete truth about himself and his past to just anyone; look at how deeply Charles had to probe before Erik opened up to him. This stupid line was obviously shoehorned in just to make their relationship seem like perfect soulmates and thus ensure it is doubly tragic when she gets thrown in the fridge 5 minutes later (more on that in a sec). Obviously the intention is for the audience to go “aww, he instantly trusted her, she instantly accepted him, this is true love…” Give me a break. You’re really telling me that Magda met this stranger one night, found out he was none other than the international fugitive who apparently killed the U.S. president and just tried to kill another president on live TV, and went “oh, no problem, honey, let’s make a baby and live the cottagecore dream!” That’s some BS if I’ve ever heard it, and I’m convinced the writers subconsciously knew it; there’s a reason that is revealed in a throwaway line rather than shown onscreen, because then nobody would’ve bought it.

Fridging. Magda and Nina exist in the movie for one reason and one reason only: To get brutally killed and give Erik even more grief and trauma so that he’ll seek revenge on the entire world, aka do what the plot demands of him, aka have the same journey as he did in First Class (more on that in a sec). That’s all. Neither of them are any more than one-dimensional plot devices. They are not characters at all. Magda isn’t even named in the actual movie (he doesn’t even say her name when she dies) - it’s so obvious they didn’t even know what her name would be when they made the movie. This is textbook fridging, and one of the worst examples of it of all time. It’s all the worse considering that Erik never met Magda in the original pre-DOFP timeline, meaning Magda originally most likely lived a long happy life and died old in bed. But now, she gets fridged just because the writers didn’t know what more to do with Erik. It’s misogyny of the highest level.

A parenthood story for Erik was already set up. DOFP already hinted at Erik being a father, with Peter’s comment about his mom. So if the writers wanted to show Erik as a father, and to include Magda, they already had a solution that would seamlessly flow from the previous film - make Erik and Peter’s relationship one of the centerpieces of the story, and let Magda be Peter’s mom! (You know, like she is in the comics!)

It doesn’t contribute anything new to Erik’s character development. From a screenwriting POV, this is unforgivable. May I remind you that Erik’s entire storyline in First Class revolved around grief and trauma for the loss of his family and people, especially his mom, and seeking revenge for it. Giving him a wife and daughter just so they can get killed too adds absolutely NOTHING to his character development. It’s merely retreading everything that already happened in his arc: he loses his family and goes on a roaring rampage of revenge. Completely superfluous, right down to Charles insisting that there’s good in him beyond the pain. The redundancy becomes apparent even in the dialogue, where Charles literally says “I told you since I first met you there’s good in you too.” The script itself can’t help but point out that all of this has happened before and literally nothing new has been added to Erik’s character arc.

See? It’s not just because of Cherik. Erik’s story in X-Men: Apocalypse is an atrocity in basic screenwriting and character development, on every level. And I will never accept it.

(Please tell me I’m not the only one who feels this way…)

[revelboo]

I love the way all your stuff blends together sometimes

Do you plan that from the start? Or has it just kinda happened as you go?

Also all the different storylines you've got going is insane and admirable, I love reading your stuff(esp Alcohol eyes and Attractive today! Oh oh and the Future freaks me out <333)

Is there a certain plotline or character you've loved writing for the most so far?? Or one you weren't expecting to enjoy so much but do??

- can I call myself the taking care of Rumble anon lmao that was my first ask I sent to you

I knew when I started separating the storylines out into the broad categories on the Masterlist, that I’d want to weave the ones in those categories together as much as possible. It’s easier to do that writing them simultaneously. These short fics are a mimicry of how I outline actual stories. I get a ton of index cards and just write short form scenes on them.

I really wasn’t expecting to have as much fun with Metroplex as I’ve had- I had honestly initially thought the request might be a joke request and just kept thinking about it until I decided to do it anyway.

Gotta take of Rumble. 18+ content. 🌶️

Alcohol Eyes Pt 5

Rumble x Reader

• Groaning, you drag a pillow over the top of your head as the light slicing in through the blinds finds your face. Leg sliding until it connects with something warm and hard to mingle with your headache and it all comes rushing back. A bit too much to drink, your ex. Rumble. Breaking the bed at some point apparently.

• Optics squinting at the bright daylight, there’s a faint worry that Soundwave might just kill him when he finds him, but as he sits up some and sees your leg you’d kicked out from under the sheet and follows the bare skin all to way up to the middle of your back, his spike is hard all over again. Soundwave becoming a later problem. Reaching for you even though he knows he needs to suck it up and talk to you. Because at some point you’re going to figure out he’s not a human in a costume and he’s not looking forward to that or your reaction. Right now, though? “Come here,” he growls.

• Hearing the bed creak dangerously as he shifts behind you, grabs your hips and settles himself between your spread thighs. Draping himself against your back, his weight driving the air from your lungs before he braces himself on a forearm and hooks the other under your hips. “Baby, I’m not even awake,” you laugh, voice wavering into a moan when his servos cup you, stroking. Definitely not the worst way to wake up as he uses his arm to tip your hips up and buries his spike inside you in a slow drive. “Right there,” you sigh, fingers fisting the pillow as you rock your hips back to meet his lazy thrusts.

• That wet heat grips his spike as he moves against you, in no real hurry this time. Just savoring the feel of you. He’s been with Soundwave so long, but he’ll need his own quarters now, for you and him. Soft things like humans like. Hips curling as he moves faster, you make those lovely sounds as he thrusts deep. You’ll be happy with him, he’ll make sure of it. Groaning as you tighten on him, hips rocking against you as you milk his spike. Pressing his mouth against the back of your shoulder. “Hey,” he says.

• “Good morning to you, too,” you laugh, feeling him lazily buck his hips against you again even as his excess wets your thighs. “That’s some dedication sleeping in all that,” you add. Because he’s still in his costume. The arm hooked under your hips shifts as his mouth brushes the curve of your shoulder and slides along your neck and up behind your ear. And in the light of day, it’s a bit too real. Like this means more to him than just fantastic, toe curling sex. You like the guy, but aren’t sure how to break it to him that it was just sex and after your ex, you’re not sure you want a relationship. At least not right now.

• “So,” he begins, reluctantly sliding free of you and you roll half on your side to look up at him, arching your brows at him. Easing back to sit, your bed creaks dangerously as he stretches out to catch your smaller hand. “Not a costume. And I’m not human,” he says, bracing for the fear. Not expecting you to start laughing as he grimaces. Because you don’t believe him.

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