#and I need to decide what goes into the narrative and what I can just cut out

[anamericangirl]

One of the main justifications I’ve heard from pro-aborts over the years is that the fetus can’t feel pain. They’ve been using that as reasoning as to why the fetus isn’t a person.

But now that there is research suggesting babies can feel pain as early as the first trimester suddenly pro-aborts say whether or not they feel pain is “irrelevant.”

Like I know that was my argument all along. The only reason it’s ever brought up in these debates is because you, the pro-aborts, bring it up as an argument!

And it just proves how completely disingenuous every single argument they try to make is. Because their incorrect assumption on the absence of pain has been a major talking point of theirs they throw out all the time to try and prove the baby isn’t a person and abortion is ok because the baby “can’t feel pain.”

So now that there’s information out there showing they are wrong about yet another thing do they adjust their beliefs accordingly? Do they go “wow all this time I was convinced they couldn’t feel pain and that’s been one of my main arguments for abortion so maybe I need rethink some things or check out this information”? No. They don’t. They immediately dismiss it because since it doesn’t fit their narrative any longer it’s now “irrelevant information.”

Funny how that works isn’t it?

It just proves the justifications they use to try to argue that abortion is ok don’t even matter to them. They don’t even believe them. They’re just throwing out empty phrases they don’t even care about the accuracy of because all they are interested in is that at the end of the day the choice of killing a baby never goes away. They don’t care if all their information is inaccurate, they don’t care what the truth is, if the baby is a person, can feel pain, has rights, none of that matters to them. You can prove they are uneducated and shamefully ignorant on every aspect of the abortion debate all day long and they literally don’t care because knowing the truth isn’t what they’re interested in.

That’s why as soon as you prove them wrong on any of their own arguments suddenly that information doesn’t matter anymore and they’ll just move on to their next equally incorrect and ignorant argument until you prove that one wrong too because again, they aren’t actually giving you the reasons they believe abortion is ok. They’ve already decided killing babies is ok and they have to make up reason why it’s ok along the way.

And that is because people who are pro-abortion are only pro-abortion because they are uneducated. And they choose to be uneducated. Don’t ever take their arguments seriously because they don’t even take them seriously. All they care about is killing babies.

The more educated a person is on fetal development and human rights the more pro-life they will be.

[spaciebabie]

What's the storyline for your ocs?

nerdy straight A middle school student katherine quin and her pals realize that their government sucks ass and b/c they are impassioned naive youth, entangle themselves in a state of affairs that will stay w/them for the rest of their lives

more under the cut b/c i wrote a lot more than i thought i would kasfjksdfjksfj (i have big feelings abt this story)

i (officially) made the story when i was 14! all the characters are based off me and my experience 2 some extent (especially katherine i mean i made her bi, biracial, gave her a mole, made her like indie games etc). originally the story was going 2 have a happy ending, but as ive grown i have more of an appreciation for....well endings that are not so happy. im thinking i change it. it would make sense w/what happens in it anyway (the story of revolution is not as happy and triumphant as 11 year old me imagined when i first acted this out w/my brother. honestly like ive changed the story entirely 2 be my own but i still gotta thank my bro cuz the orig storyline that inspired it when we played legos 2gether was a conjoined effort and i borrowed many of the characters)! as im drafting it now, the story is not particularly happy lol

the story tells a sort of generational loop that katherine goes thru? if that makes sense? i wont go too much in depth b/c spoilers but its a story of history repeating itself again and again and the endless loops pain and suffering cause and how people are scared/too comfortable/too angry to change the cycle. i think that katherine being a history nerd in the midst of watching history unfold again before her very eyes grants her a certain point of view other characters dont have (except a few who have lived experiences). although this awareness will come later in the story when she's older

it will also touch on something young folks feel 2day where ppl frequently ask, "why is this happening today? havent we progressed?" and katherine will ponder that herself (although the situations that happen in the story are strictly to the story ajsfsjfd i cant talk abt and link real life tragedies it would be too much for me). and i think that as she gets older in the story and gains knowledge and wisdom from what she goes thru, she'll hafta bear this horrifying knowledge that the sands of time dont just erode the past, but the present and future as well.

i was not expecting 2 write this much KJSFKJSDJFKSJDF

anyway! i care this story a lot. its like my childhood and has grown with me as ive aged. im really compelled to make it the best it can be and i get a lot of imposter syndrome b/c i know the ideas i have and the story itself as a whole is good, but im worried my execution will fall flat. idk its kept me from moving forward w/it or talking abt it for years.

tldr; two can basically be summed up by this image:

are things going 2 get better? can they get better? questions i think about as i write and think thru this story.

[nocturna-iv]

You're a loser, baby~

I love the level of detail in "Loser, baby" on a narrative level and how much it can tell us about HuskerDust. Husk didn't want to go after Angel; Charlie sent him. But at that moment, when the mask began to fracture, Husk extended his hand to the real Angel.

The smile? Husk has a plan. The kind of plan that involves pure nihilism and stopping self-judgment so Angel knows he's not alone. Husk doesn't need to do this, but he already knows the real Angel (when he's drunk) and likes him. So, Husk is offering the real Angel his company.

Angel is waiting for the typical “everything is going to be fine” talk. How many times has he heard it? Cuddles, hope, and light But Husk surprises him by treating him like an equal, someone who won't break. Obviously, it bothers Angel, and he gets defensive. Is this guy kidding?

The same guy who was annoyed by Angel's presence is now all over him, with the most pretentious smirk in the universe, calling him a LOSER (and baby). Angel is so confused by the turn of events.

So, obviously, Angel thinks Husk is playing with him. His face says it all! And Husk is still all over him, telling Angel the truth.

In this part, Husk shares his insecurities. Yes, there was a time, but the pain is still there. And from what he's gotten to know Angel, Husk feels like they could connect there. “You are not alone” goes both ways.

Husk manages to get Angel to open but does it with sarcasm. At this point, Angel doesn't think anyone is going to accept him as he is. So, he says something that many know: his contract with Valentino, who has a dangerous reputation. That's the opening Husk was looking for.

This part isn't Husk making light of Angel's situation. He's making it clear to Angel that he's not “unique”, that is, he's not alone. His suffering is not something that separates him from others. Husk is breaking into Angel's self-isolation due to his abusive relationship.

Obviously, Angel doesn't believe him. Years of abuse made it clear to him that no one is going to care for the real Angel. But he's indulgent with Husk, playing along, visibly skeptical, wanting to know where this is all going.

And Husk takes him by surprise again. He is gentle, guiding Angel, giving him space, always offering his hand. It's a fun dance for two. They are both losers. Husk isn't insulting him. He is telling him that it's okay to make mistakes. They both have done it.

So Angel decides to trust. Just a little. Because he knows how people react when they know who he is. Angel is barely singing, not fully entering the song.

And when Husk tells him that he's fine with Angel being like that, it's liberating. Angel sings, there is a crack in his voice, because he is having fun! He is not acting, he is being sporadic and exaggerated, almost a parody of his flirtatious mask.

Now it is Angel who seeks out Husk, recognizing him as the one who can understand him and is liberating! And Husk reaches him, reminding Angel that they're in all of this together. And Angel smiles. A big and real smile.

Husk shares his addictions to give Angel the opportunity to share his in a safe space. And now Angel sings with all his potential, being himself and having fun. And Husk reaffirms him. This is Angel, the real Angel that Husk met when Angel was drunk.

And that is the theme of the song. Embrace who you are and don't be ashamed. Take every self-destructive comment, dirty insult, and don't let them sink you. Say "So what?", it's you, you're fine, you're good.

Accept your mistakes, your failures, your flaws, and stop being your own enemy. It's hard to escape, but there is someone who understands you, and you aren't alone. Existence sucks; bite it with a smile!

And that's the point. Things aren't magically going to get better. The problems are not going to disappear. Life sucks, but you're not alone. The burden doesn't disappear, but it may be more bearable.

Angel is the one who comforts Husk, telling him that yes, existing is difficult, but he's not alone. He has him. And for Husk, that's something. The song is about them, after all.

And Husk tells him that maybe he and Angel can be losers and find happiness.

And now it's Angel who offers Husk his hand. Now it's Husk who puts his hand on Angel's. And Angel can't erase his surprise and smile.

Now Angel is the one accompanying Husk. Angel's voice becomes an instrument that follows Husk in harmony. The fun dance of two returns, but Angel includes his style. Husk no longer has to guide him.

They both reach for each other. Husk extends his hand almost at the same time as Angel, with his eyes closed, extends his.

And in the end? They both support each other, literally and symbolically. They are equals. Husk and Angel meeting in the middle. The real Angel being accepted by Husk.

[thealogie]

picture this. you're michael sheen, beloved queer-friendly welsh actor and recent twilight saga vampire. you want your favorite book to become a tv show, and you want to be the lead. so what do you do? you befriend the author. he wines and dines you, you become a confidant in the scriptwriting phase. and in the process of the GO script you decide you don't want to be crowley, actually, you want to be aziraphale. you put in the work for months to influence the author to the same conclusion. so when neil gaiman comes to you one day saying, "i know you joined on to be crowley... but how would you feel about playing aziraphale?" you say, what a novel idea! i was feeling the same way, i just didn't want to say anything! let's do it.

you're michael sheen, the lead in the adaptation of your favorite book. you meet david tennant as your leading man, a rising star (and vocal fan of yours) you've had a few vague interactions with in the past. on set you immediately find the closest friend you have ever and will ever find in your life, and you know this. the romance you have in your (yes, your) show is ambiguous, but you're michael sheen. you think that romance needs to be explicit. so what do you do? you become a nightmare on set. you get really hands-on; you make costume choices, you make story decisions, you tell your author friend at the very end of filming: aziraphale is in love with crowley and realizes it in 1941. now go do it again.

so the author goes and does it again. you get a season 2. you get 1941 part 2. you're michael sheen, and you are the lead of the adaptation of your favorite book, and the romance you littered into the character you built from the ground up has become unambiguous. everything goes according to plan. but, you see, you have a problem: the author you have baby trapped is acting a FIEND on twitter and tumblr. he's saying everything he can to imply aziraphale and crowley aren't sexually attracted to each other. he's getting a bit too bold with his character assumptions, is all i'm saying. so here's what you're going to do: you play it up with your pal david tennant. you made a show with him during lockdown. you're going to depict your lives as even more intertwined and homoerotically codependent as previously possible. you grow even closer. your wives become best friends, too, because how could they not? this has been the plan since the beginning, too. your lockdown show ends. it wasn't enough.

so you, michael sheen, of course you put in the work. if david tennant's there, you're damn sure you're there physically, spiritually, biblically, in whatever capacity you can be. it's not hard. david tennant is a big fan of yours, after all, so he MAKES SURE you're always in the conversation. you have him wrapped around your little finger, this lovely little boy, and so you know what you do next? you become neighbors. you make your directorial debut casting your best friend's wife watching her husband and male neighbor initiate sex with each other. you play into the swinging rumors (that you, michael sheen, had started). you create a narrative that you and david tennant are two homoerotic besties, and is there more going on in the background there? any deeper conspiracy? who really knows, but what you do know is that the world is talking about it.

and you, michael sheen, your entire acting career has led to this moment, your gay quips, your oscar wilde sex scene (and the interviews following), all of your queer roles, EVERYTHING has brought us to this conclusion. you have created the lab perfect conditions where season 3 must have an explicit gay sex scene. i'm sorry neil, my hands are tied! the people are clamoring for me and david tennant to have sex-- i mean aziraphale and crowley to have sex, the public decided this all on their own! i really don't think you have much choice. but of course, i would never deign to tell an author how to practice his veritable craft. i concede to whatever version of series 3 you create, and i will happy to bring this beloved character to his deserved ending.

and why do you say this? because you're michael sheen. you're just an actor who incidentally stumbled his way into leading the queer romance adaptation of your favorite book that wasn't a romance, and you just read the script the way that it was given to you. and if series 3 means an explicit sex scene between you and your best friend david tennant, then what a lovely coincidence that you had absolutely no part in making happen. because what power do you really have?

This is my favorite book I’ve read so far this year. A rare occasion where the author pulls off use of the second person pov. I really felt like I was a beloved welsh actor crossed with Machiavelli when I read this

[zukosdualdao]

so, this post was originally born from a post i saw a couple of months ago that was deriding people for criticizing katara’s main role in lok being a healer when that was never all she wanted to do but liking the scene where she heals zuko in sozin's comet. at the time i thought about responding directly and decided against it, but i have since scanned through transcripts of every instance (i could find; it's possible i could be missing something) of katara healing someone in the show and how they respond. (you know, like a normal and well-adjusted individual. lmao.)

anyway, aside from katara explicitly stating that she doesn’t only want to be a healer, another aspect of why people don’t like that this is how her story goes in lok is because of the way healing is treated in the atla narrative.

Katara: Aang, you're burned! Let me help you. [Katara heals the burn on Aang's arm.] Aang: Wow, that's good water. Sokka: When did you learn that? Katara: I guess I always knew. Sokka: [Sarcastically.] Oh ... Well then thanks for all the first aid over the years. Like when I fell into the greaseberry bramble. [Angrily.] Or that time I had two fishhooks in my thumb!

this comes, of course, after aang accidentally burns katara and she learns she can heal through her waterbending by healing her own hands. then (after comforting aang despite being the one who got hurt, not that i'm bitter), she heals aang after he gets burned in his fight with zhao. and like... there's not so much as a cursory thanks in this scene.

to be clear, because i can already hear some responses in my head and i am making a preemptive strike: i'm not saying that when other characters don't thank katara for her healing, they're like, the worst people ever for not doing so or there aren't other ways at different times where they show their appreciation. what i am saying is that it feels like this sets up a long pattern of katara's healing specifically being taken for granted, and it makes me especially uncomfortable when i see her healing as a sort of metaphorical parallel to the emotional labor often expected of her in the show, especially because this and being The Avatar's Girlfriend/Wife is more or less what she's relegated to in post-canon.

also, i have to note sokka's line here. i don't want to come down on him too hard for this, because it's obviously being written humorously (and does genuinely make me laugh, for what it's worth, if just for the inherent ridiculous nature of two fishhooks), but his sarcastically saying thanks for all the help over the years when katara says she always knew (which is supposed to be her saying it just somehow instinctively came to her) does feel like another mark in this pattern. but i also really read this as sokka trying to lighten the mood after a Difficult (TM) day, so i cut both him and the writers some slack for it.

Meanwhile, back at the Outer Wall, Katara attempts to heal a member of the Terra Team. General Sung: What's wrong with him? He doesn't look injured. Katara: His chi is blocked. [Stops healing.] Who did this to you?

i find it interesting that katara has sort of naturally fallen into a token team healer role, to the degree that we don't even see them ask for her help or her agree to it; it's just automatically assumed that she will. and i mean, on the one hand, it's fairly standard to have an Assumed Healer in a fantasy action setting like this, where people will get hurt in combat and therefore the narrative needs someone whose job is to help them. the problem for me is that the show kicked up such a fuss about how women shouldn't just be allowed to be healers, and yet it's still the role no one but katara ever fills. aang is also a waterbender! why couldn't she have taught him healing, too? i genuinely think it would have added a lot to the story, but katara is The Girl (TM), so healing is what she (and only she) does, what's expected of her, and again, with very rare thanks for it.

Katara stares open-mouthed at Jet, her hands hovering near her mouth in shock. Snapping out of it, she withdraws water from her water skin, with which she covers her hands, and it begins to glow as she kneels down next to him. Cut to a shot from over her shoulder, with Jet glancing at her while she rubs her hands over his chest in an attempt to heal him. After rubbing his chest three times, the glow fades, the water stains Jet's clothing, and Katara looks back over her shoulder toward the rest of the group. Katara: This isn't good. Smellerbee: You guys go and find Appa. We'll take care of Jet. Katara: We're not going to leave you. Longshot: There's no time. Just go. We'll take care of him. He's our leader. They stare at Longshot in surprise. Jet: Don't worry, Katara. I'll be fine. [Smiles a little.]

Cut to a closer shot of Katara placing Aang's body on Appa. Katara opens the vial around her neck and uses water healing on Aang's wounded back. The rest of Team Avatar, Kuei, and Bosco all look sadly and in anticipation. The glowing from the spirit water stops, and Katara starts crying, assuming that it was not enough to save Aang. Aang's tattoos glow for a second and Aang groans. Katara, overcome with joy that Aang is alive, looks at him, who smiles a little, and she holds him closer.

writing about these together because i have less to say about them. i'm definitely not going to fault jet for not thanking katara when she tries to heal him as he literally lay dying, or aang for not having the mind to do so after she brings him back. but i am still going to fault the narrative for putting her in a position where healing is just inherently expected from her and yet very rarely allowing her to feel the emotional toll of that or to feel constricted by it. and when she does struggle against the weight of it (not necessarily of being a healer, but of being expected to be kind and good and uncomplicated with no room for other aspects of her identity, which are very tangled up in why she is The Healer) in episodes like the runaway or in the southern raiders, she just... does not receive a lot of support from the people she should be most able to rely on.

Katara: Maybe we should go upstairs. [Helping Aang up.] You need a healing session. Back in Aang's room on the ship. Katara bends some water onto the scar left by Azula's lightning attack. Katara: Tell me where the pain feels most intense. Aang: Mmm, a little higher. Uhhh! Aang briefly flashes back to the battle at Old Ba Sing Se where he rose into the Avatar State, then back to reality. Aang: Wow, you're definitely in the right area there.

not much to say here, it's just another instance where it would have been so easy to slip one thank you in, and the writers just... do not. the reason i think it bothers me so much with aang specifically is because katara is supposed to be both aang's physical healer and his emotional crutch in a way that she's not written as being for, say, toph or sokka. he's sometimes shown appreciation for her emotional support, but he still comes to rely on and expect it in ways that do not always feel healthy, and knowing that, it bothers me that he shows even less appreciation for her healing, because it's just what katara is there for.

A figure resembling the Painted Lady glides over the water on a carpet of fog and enters the village. She steps into a hut where several people are sleeping on the floor, and bends over each of them in turn, healing them with a blue glow. Her last patient is the mother of the little boy seen earlier, her son sleeping at her side. He wakes as the Painted Lady turns to go and silently follows her out the door. Little boy: Thank you, Painted Lady.

this is a genuinely sweet scene in which katara does receive appreciation and genuine thanks for her healing, but i think it's also worth noting that katara is not being recognized as herself here. still, i am genuinely very glad that it's included in the episode because (again, unless i am missing something) it is the first time katara gets thanked for her healing.

The scene cuts to show Appa landing on the edge of the battlefield. Sokka and Katara help Hakoda onto the ground, and Katara starts trying to heal him. Katara: How does that feel, Dad? Hakoda: Ah, a little, better. I need, to get back to the troops. [Attempts to stand but is too weak to.] Ahh! Katara: You're hurt, badly. You can't fight anymore. Hakoda: Everyone's counting on me to lead this mission Katara, I won't let them down. [Attempts to stand again but can't.] Ahh! Sokka: Can't you heal him any faster?

they're in a high intensity situation, and sokka is Stressed because hakoda is supposed to lead the mission, so i, like, Get It, but "can't you heal him any faster?" does strike me as another moment in which katara's healing is being taken for granted. i think it's something that would bother me a lot less if this was an isolated incident in the writing, but *gestures vaguely at whole post*.

Sokka: [Brightening.] Dad! [Rising and approaching the two.] You're on your feet again. Hakoda: [Sitting down; somewhat weakly.] Thanks to your sister.

that being said, in the next hakoda and katara scene, there is this very sweet moment, where hakoda might not be thanking katara directly but is showing a lot of appreciation and admiration for her skill in healing (and though she's not in the dialogue i included, she's around to hear it, which makes me happy.)

Katara: It's gonna take a while for your feet to get better. [Stops healing.] I wish I could have worked on them sooner. Toph: Yeah, me too.

once again, i'm not gonna fault toph for wishing katara could have healed her feet sooner, because she's been in pain all night, but the writers could have very easily (as they could have in any of these scenes!) chosen to include a perfunctory 'thanks' here, and they just didn't. i know this is getting repetitive, but i swear it's because it's largely more me being mad at the writers than the characters, lmao.

there are also a couple of scenes in which katara doesn't heal anyone, but her healing gets brought up by aang.

Aang: He doesn't look sick. You okay, buddy? [Appa groans and Aang pulls out Appa's purple tongue.] His tongue is purple! That can't be good. Katara, can you heal him?

to be fair, aang asks here, and it's not like aang gets defensive or angry when katara says appa needs medicine (and also to be fair, appa's not even actually sick, lmao, katara's being slightly trickstery), but it's another instance where katara is automatically positioned as the person who is and should be responsible for healing.

Aang: [Chuckles.] Well, not over over. I mean there's always Katara and a little Spirit Water action, [Turns to Katara.] am I right? Katara: Actually, I used it all up after Azula shot you. Aang: [Disappointed.] Oh.

i actually don't mind this so much as a writing moment, as i think it's a lot more intentional wrt aang not always conceptualizing the reality of the violence he’s facing. still, it’s another instance of katara’s ability to heal and care for him being taken for granted, and i find it especially notable it’s in of the last significant moments they share together (the other being an argument as katara urges him not to run away from the reality of their situation with ozai) before they spend the rest of the finale separate until they’re kissing without a word at the end.

and then there is the zutara healing scene, where katara heals zuko after he interferes and takes azula’s lightning to the chest when she’s aiming for katara.

Cut to Katara as she rolls Zuko on to his back and begins healing him. Zuko opens his eyes, feeling the pain lessen, and smiles weakly at Katara, who smiles back as she sheds a tear.

Zuko: Thank you, Katara.

Katara: I think I'm the one who should be thanking you.

it seems fair to me to say that one of the reasons the motifs of healing in the zutara are dynamic are so appreciated by their fans is because of how it contrasts to a lot of moments where the work katara does with her healing is under-appreciated. for one thing, it happens as part of a mutual exchange—katara heals zuko after he gets hurt saving her. (this also somewhat calls back to their scenes together in the crystal caves in the tcod, where she offers to heal his scar after they are trapped together and zuko extends her empathy.) it’s based in reciprocity. it’s also, as shown here, one of the few moments of explicit, heartfelt appreciation and thanks given for katara’s healing.

[thepersonperson]

Thoughts on JJK's ending and my Dream/Delusion Theory being wrong.

Original Theory

Follow-Up on Characters Feeling OOC

(Written using TCBscans. Click images for captions/citaitons.)

Preface

I want to say that this ending could’ve worked if it were given more time. The majority of my complaints are the rushing which I mostly blame exploitation at the hands of the manga industry and predatory contracts.

Here are my original thoughts on JJK 268 when it released and JJK 269 when it released. I've basically reverted to those opinions.

Examining JJK 268–271 as Presented

When the last chapter of Umineko came out, its author Ryukishi07 very much spat in the faces of fans. He mocked them mercilessly and it was glorious. Every single criticism he lobbed at them was warranted because he targeted the fans that refused to see the love he put into his work or engage with the story on its terms.

“Without love, it cannot be seen.”

Ryukishi gave you all the tools to solve the mystery. He told you exactly how to do it. And yet some weren’t satisfied. They wanted everything neatly handed to them in a bow. Ryukishi denied them that simple ending in favor of sticking to his vision and rewarding the fans that accepted Umineko for what it was.

I have my own issues with the ending, but none of my complaints are related to that. I can also say with confidence what happens is completely in character, it’s just not something I personally vibe with.

When I read JJK 268–271 I feel that same creator frustration. I see Gege’s fatigue with fans who care only about the surface level presentation and nothing else. There’s been so much fun setups and follow throughs. So many subtle characterizations and symbolism that goes unnoticed by those who are unwilling to see the love Gege puts into his craft.

“JJK fans can’t read.” This is a fandom joke that is very true. A massive part of the fanbase ignores subtlety and gets upset or confused by Gege following through on it. The entire Sukuna battle was like that. You could pick out all the reasoning behind their actions if you paid close attention.

But then we get JJK 269 where Gege does something he's never done before—over-explain everything bluntly in a way that adds more plot holes and hinders character development. It feels like Gege is going “You don’t understand what I put down? Ok fine! Here are the answers!” It feels like getting to tell those fans off was more important than everything else.

Instead of doing a Ryukishi where he tears into uncharitable critics and rewards those who gave him a chance, Gege just abandons it all and makes an ending that won’t fully satisfy anyone. 

With my theory, I decided to look past everything I hated. I decided to trust that if a mistake was made, Gege would call it out like usual. I decided to trust that the inconsistent locations were intentional because Gege has not once ever flubbed them. I decided to trust the clever set up and follow through that’s always been there, even when Gege’s health problems were at their worst.

I decided to look at Gege’s work with love and my heart was trampled for it. My post now serves as glaring proof the ending is botched and nothing makes sense. All the plotholes I found solutions for are bigger than ever. JJK 269 in its entirety is utterly pointless narratively. It could’ve been spent on political fallout, grief, or villain backstories, but instead it reads like a defensive Reddit post.

JJK 271 isn't Satisfying

JJK 271 made everything about JJK 269 worse and then added some more nonsense. Sukuna’s last appearance really sucked for me. I found his entire interaction with Mahito to be grossly OOC.

Mahito is a character who finds humans disgusting and doesn’t care about their opinions or what they do. They also don’t like Sukuna. When Jogo believes that the age of curses needs Sukuna to work, Mahito says they can surpass him. The very idea that Mahito would be upset by Sukuna becoming more human goes against their entire established character.

And more continuity errors!

This conversation is actually their 4th. Here are the other 3:

Sukuna warning Mahito not to touch him.

Sukuna punishing Mahito for touching him.

And Mahito telling Sukuna to shut up and watch him be even better.

Their relationship was antagonistic and Mahito desired a world without Sukuna. Why would Sukuna be with them in the afterlife?

And if Sukuna was going to change his mind it should’ve been with someone he cared about. Jogo and Gojo would’ve been great candidates. Or you know…it could’ve been Uraume themself. In the way Yuji voiced his feelings to Megumi and reached out to him, Sukuna could’ve done the same with Uraume. It could’ve been a thing that expanded more on their relationship and how it came to be. But Uraume doesn’t even get to voice how they feel about anything.

What we get is Sukuna talking to someone he doesn’t like about his emotional issues he has been suppressing and then deciding to live for a person whose history we know nothing of.

I knew him being an unwanted child screwed him up. But that kind of stuff takes a long, long time to unpack. And Sukuna, up until this point has given no indication he was ready to acknowledge his trauma, just like Gojo. Even in the end Gojo can’t admit to Toji and Geto traumatizing him. Sukuna knowing his heart and being so casually open about it just flies in the face of the subtle characterization that existed up until that point. (I wanted Hidden Inventory Arc type reveal you know! But tell not show is prevailing seemingly out of spite.)

He dies stubborn and hateful towards Yuji. He lies to him about feeling nothing and not liking flowers. For him to turn around in death and go I was wrong the entire time no problem to someone he has an antagonistic relationship with is extremely OOC because it wasn't earned. 

And since when did Sukuna fear his own curse? When was that ever hinted? All that was suggested was Sukuna having a rough childhood and being exploited by others until he had enough.

Even for all the characters that survived, this isn’t a satisfying ending. Their coping with trauma is unrealistic and contradicts earlier characterization. Their relationships are not explored further. All their arcs or goals are neglected, save Yuji. Nobara didn’t even get to meet up with her childhood friends like she always wanted to. Just the mom letter.

It’s also jarring to see that a series that began with mourning, a series that made itself different by having children deal realistically with traumatic things, end where that heart no longer exists. We have so many characters who are explicitly motivated by their trauma. And we get to see them cope with it in their unique ways and still choose to chase joy through the hurt. 

And these final 4 chapters? It’s gone. Yuta being so distressed over everyone treating Gojo like an object and not acknowledging his personhood? Gone. Megumi, Yuji, and Nobara sucking at dealing with death? Gone. They all act like none of it really mattered and won’t affect them for the rest of their lives. Those who were lost are forgotten quickly and their efforts are not remembered. (At this point, everyone ignoring Choso hurts worse than Gojo tbh.)

The Totally Not Kenjaku surviving decapitation and brain eating makes no sense if that's real. And the implications from that are horrible. All Gojo wanted to do was mourn Geto’s body. All we wanted was to see someone mourn him or acknowledge his efforts. I was hoping they’d be buried together. The idea that Geto’s body is possibly being used by a the master manipulating rapist while everyone is ok with that sickens me. (Does any remember Choso?! But hey, let’s kill all the incarnated culling game players who were victims of manipulation or outright helpful to the protagonists’ victory!)

It’s also why Mei Mei surviving and going unpunished or criticized for her treatment of Ui Ui sucks to see. And I guess while we’re at it. Kusakabe really did tell a 15 year old to his face he should’ve died. (And he was wrong about that like the higher ups. Yuji and Sukuna were a backup plan and the fingers were getting stronger all on their own. Gojo was the only adult who took productive action against it.)

The revolution really did die with Gojo. His dreams were good and noble. Resetting the Jujutsu Society and its exploitation was needed. But he gives up on them and asks to be forgotten. It's done in a way that feels like Gege is addressing his fans directly and telling them to get over him too.

I knew Gojo was suicidal, don’t get me wrong, but he was characterized as someone who had a hard time understanding that others did care about him. I was hoping for the revelation his intuition was wrong via a funeral or mourning. That didn't happen and it breaks my heart. 

Yuta tried to empathize with him. We see it with the Yujo plot that goes nowhere except to disrespect Gojo’s body one last time. We don't even get to know if he was cremated or buried or how Yuta felt about that experience. It is extremely hard to see this all as anything but Gege expressing resentment for Gojo’s popularity.

And I’ll give Gege credit for that. The only theme that stayed consistent was Gojo being seen as an object to be exploited by everyone, except Sukuna. (I’m not even sure if I can include Yuji and Yuta in the cares deeply for Gojo anymore. It’s so OOC for them to be like this that I want to ignore it.)

The balance of the world changed when Gojo was born. We had several chapters dedicated to how this impacted various people's lives from Toji to random curse users. His death should be just as impactful.

But you know. Kenjaku was proven right. The cycle of curses will continue on because the systemic problems were never dealt with. 

The conditions that allowed for Yuji and Sukuna to be created still exist.

Reflection

I understand why people like myself want to reject this ending. It doesn’t feel like Gege put love into it. All the fun little quirks this series had are flattened and discarded in what feels like spite. Not even the final battle has the fun energy that was present just 4 chapters ago. 

I’ve decided that I’ll accept these last 4 chapters for what they are, but reject everything they stand for. They’re more interesting to discuss and pick apart than actually read…which ironically is how I feel about Umineko’s final chapter.

And speaking of Umineko… My favorite thing about the reaction to my Dream/Delusion Theory was this—the people who said, if they can’t handle what’s in the catbox, this is their canon. 

The fans who love the series and want to weave their own tales based on this in a way that helps others cope, please tag me in your creations. (Especially you @rosemaryreality!) It’s all incredibly Umineko and I’m forever grateful I got to experience the Rokkenjima Incident in real time.

Very important to Umineko’s themes, there was a common sentiment type across those that were dismissive of my theory vs those who were receptive to it—their perception of the mangaka, Gege.

To those that believed Gege was a bad writer, the idea that he could be clever and put love into this series was impossible to them, and therefore my theory was impossible. To those that had faith in Gege as a writer, my theory was solid, even if it needed a little tweaking.

I had the most fun with those who cited manga at me to make corrections like @runabout-river. Or those who wanted clarification on the holes I missed.

The ones that were entirely dismissive? It was boring. Their arguments mostly amounted to “Gege bad”. (I won't post screenshots here because I don't want them harassed, but they are there if you want to verify them.) Not a single person offered me an interpretation where the events were literal and took place in reality using manga panel citations in a way that tied it all into JJK’s themes and characters.

That disappointed me immensely. I wanted someone to prove to me my reasoning was wrong with a similar methodology. Instead they drew rebuttals stemming from their perceived flaws or outright dislike of Gege.

This is quite literally what happens in Umineko. It’s a murder mystery that can only be solved if you consider love. Both the love within the characters themselves and the love the author has put into his creation.

Is it magic or is it a simple trick? Is it a delusion or is it reality? Depending on how you answer and solve the mystery, your interpretation of the story itself changes too. 

I wound up being wrong of course, and Gege really did screw up everything in the end. But while that delusion was real? I had a blast.

I’ll be forever grateful to everyone that proved Ryukishi right about Umineko’s core theme.

[ktownshizzle]

Wild & Free (Teaser)

Min Yoongi x Reader

Summary: Everybody says they want to marry Min Yoongi. But what if he only wants to say 'yes' to you.

Alternatively: While on the last leg of their PTD tour, Yoongi discovers there was such a thing as drive-thru weddings in Vegas, something that his pretty little brain can't seem to process having lived the last decade of every second of his life being planned by his management team, which includes you. When he goes down a rabbit hole of Youtube videos about The Little White Chapel (Omo! Michael Jordan got married there!), he starts getting all sorts of ideas - all of it starring him and you.

Genre: Fluff, Angst, Eventual Smut, Childhood friends to lovers, Idol!au, Coworkers to lovers (reader is a HYBE employee)

Notes: What can I say? We got all the tropes in this bad boy, because I don’t know when I can write again, so let’s put everything in this sucker and call it a day! This is canon-ish. I included some real-life events during this period, but it may or may not be loosely rearranged to fit the narrative - just go with it. Ginger Yoongi, because this is the LOOK I don’t give a damn what haters say. I have not written in a decade and this is me attempting to pick things back up, I hope you like it xo

BTW, the teaser scene is inspired by that leaked video of the BTS tour crew’s  private party in Vegas. It’s here if you want to see it. Enjoy! xo

Read the teaser under the cut!

!!!! Edit: Read Part 1 here !!!!

P.S. Leave a comment to be part of the taglist 🙂

***

"Yoongi, marry me!" You shout at the top of your lungs, earning laughs from the people around you. On the other side of the room, a couple of other people shout the same catchphrase, including Taehyung, who seems to get the most kick out of it out of all the members.

Coerced to do one of those Tik Tok dance challenges, Yoongi stands in front of the room, hides his face behind his hands and you watch in delight as he awkwardly sways his hips side to side. More cheers erupt and two seconds after he decides he was done.

"Hajimaaaa!" Your friend says to no one and everyone, cheeks burning as he stalks back to the chair he was occupying across yours.

You push his beer bottle towards him, "Good job, gramps."

"Fuck off," he says with no real bite, taking a long swig off his drink to cool off his reddened cheeks.

It's great to finally get some down time with the crew. After such a fast-paced, high production tour, everybody needed to blow off some steam. This Korean BBQ restaurant off the Strip was the perfect venue to get the team together for samgyupsal and drinks. The vibes were, as the kids say, immaculate.

You are already sufficiently buzzed so you sit down as Seokjin takes his turn to do the challenge. He really seems to be more into it than the man currently giving you a look.

"I heard you." He narrows his eyes at you, a small smile playing on his lips.

"What? It's the new viral catchphrase," you shrugged. "Everybody and their grandma is saying it these days."

"Not their grandma."

"You should be flattered."

Stop, you thought he would say. But his response catches you off guard.

"Only ‘cause you said it."

And he has the audacity to lick his bottom lip, a ghost of a smirk forming.

Fuck. Your throat dries up. When did it get so hot here?

“And in case you were wondering…” he leans forward, a dopey-ass grin now on his face. “The answer is yes.”

***

WHAT DO WE THINK? Join the taglist by leaving a comment so I can let you know when this story drops.

Tag: @jajabro @yooglefics

[getitoutofmymindwrites]

New beginnings | joel miller x f!reader, 7.8k

Summary: What happens when you run into that handsome stranger from the bar at Trish’s house? Where do the two of you stand two years after this unexpected encounter?

Warnings: 18+ MDNI, some back and forth on the timeline, mutual pinning, light angst, slow-burn, a smidgen of fluff, cursing, Joel being kind of a prick, Joel being an idiot, insecurities, let me know if I missed anything!

A/N: Part two of the I don’t even know your name series and yes, I know it’s been a long time coming, sorry about that! I’m confident (well, aren’t you a bold one?) that the third part will be coming much, much sooner! Thank you for taking the time to read anything I write! Love you all!

Dividers by @strangergraphics

Main Masterlist | Series Masterlist

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BEFORE

You know that warmth. You remember it. His warmth. His large, calloused hand completely encircles yours as you formally introduce yourselves. If his reflexes weren’t fast enough, you’d still be staring at him, unable to believe he’s standing right before you.

The storm of all those memories overwhelmed you and Joel realized that, unlike the rest of your company who continued to stand behind your back in blissful ignorance. Your mind had become detached from your body, which seemed to make decisions of its own; you were ready to do anything at this moment.

If he chose to show his hand and acknowledge you, you would follow his lead. If -by some miracle- he chose to lean in and kiss you, you would reciprocate. If he chose to pretend he didn’t know you, you would put up with it. You would do anything to be good for him, no common sense left in your dazed mind. But his face is serious and his warm, dry hand is firmly on yours, squeezing it lightly, in a silent form of communication, I know; it’s ok; get a grip; what the fuck. He doesn’t let go of your hand, acting as an anchor, until you decide you feel grounded enough to handle the situation. It’s at that moment that you can tell he’s waitin’ for you to be in control of the narrative. Whatever you say, goes.

You take a deep breath and tell him your name, as you finally release your hand from his and move aside to let him enter the house. The muscles between his eyebrows and around his mouth twitch imperceptibly, almost in disappointment, you think. His scent as he passes by you, hits your nostrils and your memories flood back into your mind, even stronger than before. Your body tenses and you feel your nipples tighten against the fabric of your bra. You begin to wonder how you’re gonna make it through the night.

You all move into the living room while dinner is being prepared, except for Trish who excuses herself to the kitchen. Tommy sits on the couch next to you while Joel is standing in front of the window with his arms crossed over his chest and Sarah is relaxing in her favorite spot, on some big fluffy cushions randomly scattered on the floor next to the fireplace, scrolling through her phone.

“Trish, do you need a hand?” you try to keep your voice steady, although you desperately need an excuse to leave the room. No such luck. “No babe”, comes the wrong answer, “I got it, you chill and have fun!” Why she has to be such a good friend is beyond you. You smile awkwardly and look everywhere but in Joel’s direction. Tommy puts you all out of your misery by asking you about your relationship with Trish.

“Oh, we’ve been best friends for a long time, done pretty much everything together,” you explain, deliberately raising your voice for the last part, “it’s starting to get unhealthy if you ask me,” you look towards the kitchen entrance, waiting for her reaction. “You’re not moving outta here any time soon, missy, so stop whining!” comes the reply from the kitchen. You grin as Tommy and Sarah laugh. Joel just stares at you with a scowl on his face.

“Are you staying long?” Tommy continues.

“Tommy.” Joel warns him.

“I’m just making conversation sunshine, ‘mnot being nosy!”

“It’s ok, really, no problem at all.” you intervene, feeling sorry for Tommy, still avoiding looking directly at Joel. “I’ll be out of her hair, as soon as I find a place to move to..”

“No, you won’t!” Trish protests. “Yes, I will!” you deadpan, “I told you it was getting unhealthy.”, you wink at Tommy before you could stop yourself. Why the hell did you wink at him? You need to calm down before you do something stupid. Joel’s fingers tighten, clutching his arms tighter to his chest. Shit, you don’t think straight when you’re stressed. Tommy seems to like it, though.

“Maybe we could help you”, Tommy offers, “we see lots of places ‘cause of our job, we could keep you in mind if something good comes up.”

“Tommy.” Joel drags his brother’s name across his tongue as a warning. You look at him quizzically for the first time since your handshake, wondering what they do for a living. Fortunately, you work up the courage to ask Joel directly, before Tommy has time to protest to his brother again.

“I’m a contractor” Joel informs you with the slightest hint of annoyance, as if he was reluctant to share this mundane information, “and Tommy works with me.”

“Oh, that’s cool!”, you raise your eyebrows in admiration, your eyes brightening. He takes his eyes off you and you wither inside.

“Well, never heard that one before. Joel is cool.” Tommy says in mocking surprise, giggling. You look flustered and Joel looks annoyed. “She didn’t say I was cool.” he frowns at his brother, “I know my job is far from fancy, you don’t have to just say that.” he turns his reply to you, displeased with your comment.

God, you feel like a little child in his presence, he can’t just chastise you like that, you have two kids of your own, you’re an adult, for Christ’s sake. “I know I’m not,” you say defensively and you start to get irritated. This is how the night is going to unravel? “I mean it. I have always admired people who can build and repair things with their own hands. Three pairs of eyes are now looking at you, all of them quite surprised.

Joel has absolutely no confidence in himself to start a conversation with you right now, but his curiosity gets the better of him. So, “How so?” is the next thing that comes out of his mouth.

Your eyes widen slightly in startlement at his sudden elaboration, you hadn’t expected him to continue the conversation. “Uh,” you sigh, raising your brows in deep thought and shaking your head slightly, “maybe it has something to do with my dad, he was always good at fixing things. I don’t know, it made me feel safe, taken care of. Still does, even the thought of it. I always thought that if the world ever came to an end, your kind would be the ones to survive.” you shrug, unable to look Joel in the eye and fidgeting with your fingers on your lap, the answer more intimate than you intend it to be. But you give it anyway, for him.

You want him to know that you would never lie or make fun of him. That night, however indifferent it was to him, made him indelibly etched in your memory. And even though your interaction was so brief, one night out of the thousands in your life, it made you feel something for him. Childish as it may sound, you felt he deserved your respect in some way.

There’s a moment’s silence in the room, Joel staring down at his feet, not wanting to look emotional. Taken care of. He can’t get the words out of his head; it’s what he felt for you that night, what he wanted to offer you before his chance was torn apart by the fucking knoc-

“Our kind?” Tommy intervenes once more.

“Yeah,” you try not to blush, but you can feel the heat in your cheeks, “you know, resourceful, competent, reliable.” Sarah tries to hide her grin behind her mobile phone, sneaking glances in Joel’s direction, little devil, while Tommy looks so pleased with your perception of their profession.

“Then you should definitely keep us close, take full advantage of us,” Tommy fills the silence, now his turn to wink at you, oh god, what a mess, “I’m in the same business, too, like Joel said.” Subtle. “We’d be more than happy to help darlin’, right Joel?” he turns to look at his older, brooding brother. Joel seems lost in thought or uninterested in answering. “Right?” he presses eagerly. Joel slowly raises his head, looks deep into your eyes and says nothing more than “Right” in a deep drawl of a voice. You feel the hairs on the back of your neck stand up. He makes you feel so small but you feel a glob of arousal pooling on your underwear, making you wonder what the hell is wrong with you.

Tommy turns to you expectantly, his eyes shining under the lights in the room.

“Maybe I intend to.”, you smile softly, glancing briefly at Joel before turning your eyes back to Tommy. Joel’s body stiffens, giving you the impression he’s trying to hold something back.

“Is it something particular you’re interested in, so we know what we’re looking for?” To your and Joel’s dismay, Tommy doesn’t let up. Your eyes turn briefly to Joel for help, but he looks down again, his arms still stiff across his chest, as if they had a mind of their own and were capable of murder if he let them go at his sides.

“Uuuuh,” you laugh nervously, “anything will do considering my situation, I can’t really be picky.”

“What’s bothering you, sweetheart?” Tommy frowns worriedly. Joel stiffens at the sound of the endearment.

Where do you start with what’s going on in your life right now? Only one person -apart from Trish- seems to know and he doesn’t look very happy at the moment. “Well, Tommy, I’ve two kids, two little girls and I can’t find a place that is decent enough, at a good price and owned by someone who doesn’t mind renting their property to a single mom.” Tommy’s brows are raised so high in shock, they would touch his hairline if they could. “Goddamn, how the hell did that happen?”

“How did what happen?” you ask confused. “You,” he says, his eyes roaming all over you in a definitively not subtle way, “being a single mom with two kids. What the hell did he d-”

“Tommy.” Joel’s tone is more raised this time, shooting daggers at his brother, warning him again to drop it. “Jesus fuckin’ Christ” Joel mutters through his teet, a look of disbelief on his face at his brother’s lack of discretion and if you weren’t already looking at him, you wouldn’t have heard it.

Trish comes out of the kitchen before you or Tommy can react.

“Ok guys, let’s move it to the dining table.” she clasps her hands together, “Dinner will be ready in ten!”

While everyone’s attention is focused on Trish, including yours, Joel’s eyes penetrate you in a silent command to look at him. You feel him staring at you and you turn your attention to him. He continues to stare at you as he asks Trish if she has any tools to fix her bathroom cabinet, since Tommy forgot the one thing he was supposed to remember. He takes his eyes off you as the others laugh at his accusation and turn to look at him.

“Yeah, I think I have a small toolbox in the supply closet upstairs, next to the bathroom. I don’t remember exac-”

“That’s ok Trish, I’m going to check on the girls anyway, I’ll help Joel look for it.” you take the opportunity to excuse yourself.

You stand up carefully, feeling your legs go numb and praying you don’t trip and make a fool of yourself in front of everyone. Joel follows behind you as you go up the stairs. You can feel the tension between you, his body heat almost warming your back. He can’t be that close though, can h-

As soon as you reach the door to the bathroom, he opens it in a hurry and pushes you in, grabbing hold of your arm as he follows suit. You gasp at his gesture and turn to face him. His eyes bore into yours, searching for something. His arms are clenched in fists at his side, giving you the impression he’s trying to control himself.

You’re both silent, despite a vocabulary so vast, none of the words seem to fit your thoughts and emotions. “You’re OK.” He speaks first. It’s not a question, not a reassurance. It’s a statement of fact. You look confused, trying to work out where he is going with this. He thought you would break down at the sight of him? Well, he wasn’t wrong, but he didn’t need to know. “Of course I am, why wouldn’t I be?” It comes out harsher than you intended.

You see in real time a series of thoughts crossing his eyes, something fragile and vulnerable in the air. But it passes as quickly as it came.

“Nothin’, nothin’.”, he shakes his head and closes his eyes, trying to clear his mind. He opens his eyes with a sigh and looks at you. You stare at each other for a good minute and then you both realize that you are together again, the two of you, in a small bathroom, behind a closed door. Your brain is blank, the only thought crossing it is to say something, say something, say something, but he beats you to it. “It’s best if we don’t tell them we know each other.” Is he serious right now? From all the things he could have said, this is what he came up with? You bite the inside of your cheek in frustration, “Well, I think we’re already past that, that firm handshake at the front door made that quite clear.”

“You played along, though. So, don’t go around accusing m-”

“Hey, hey, I’m not accusing you of anything, where is this even coming from?” you frown in confusion. He wanted you to admit you knew him in front of everyone? In front of his daughter? “Hey, guys, how do you know each other?” “Oh, we almost fucked in a bar bathroom!”. That would have gone well.

“Yeah, I’m just sayin’-”

“Look, Joel, there’s nothing to say. It’s not like I was going to shout it over the rooftops anyway.”

“What the hell’s that supposed to mean?”, he looks offended for some reason.

“Means that there’s nothing to say.” you insist sternly. “Literally.”

He laughs nervously, obviously irritated. You don’t understand why, you thought you were making his life easier. What does he want from you? “Right, right,” is all he gives you, nodding his head a few times. You raise your hands in resignation, your eyebrows raised to your forehead, your mouth open, not knowing how to navigate the situation.

“What is your problem, what do you want me to say? You pretended not to know me when you saw me and you just told me, like 30 seconds ago, not to mention anything to anyone! I think I’m doing all right so far, don’t you? How am I pissing you of exactly?” your anger makes you raise your voice slightly.

He’s all over you in a second, pinning you between his body and the bathroom door. “Keep your goddamn voice down.” he grits through his teeth, his one hand a clenched fist at his side, the other next to your head, palm flat on the door. The sudden invasion of his scent in your nostrils and the fan of his breath on your lips is all you can register, but his words come back to you and your anger boils in your gut.

“Watch your tone with me, I’m not some child you can intimidate.” you shoot back. That seems to snap him out of his headspace and he backs away slightly. He exhales loudly from his nose and rests his forehead on his outstretched arm, the other now resting on his hip. His unruly locks are so close to your face that you can practically smell his shampoo. You clench your fist to resist running your fingers through his soft hair. “Shit,” he mumbles through closed eyes, he really doesn’t seem to be able to keep his eyes on you long enough, “’msorry”.

He smells so good, so delicious, that it takes every ounce of strength you have not to wrap your hands around his broad torso. You want this moment to yourself, to wrap your arms around him and comfort him, to plant kisses all over his face, to nuzzle your forehead where his thick neck meets his shoulder, to breathe him in. The corded muscles bulging under his tanned skin make you salivate. This guy is pissing you off and all you can think of is how you’d die to touch him. Great. You rest your head on the door behind you, close your eyes and grit your teeth, trying to regulate your breathing.

“’Msorry” he mutters again, shaking his head. He looks so worried and uncomfortable, you decide to give him another chance. Maybe he’s confused, too. You both had to make a call at such a short notice, with his whole family looking at both of you expectantly to introduce yourselves. It was the logical thing to do. Wasn’t it?

Maybe he’s afraid you’d expose your naughty deeds in front of his daughter. After all, no parent wants their child to know that they’ve almost had sex with a stranger in a bar. You totally understand. And to be honest, you did leave him all hot and bothered back in that bathroom and run the opposite way, so why would he want to be in the same room with you? He probably feels insulted by your reaction that night.

Or maybe- how did you not think of this before? Maybe he has a wife. But he’s not wearing a ring. Not that it matters, lots of people take their rings off at some point. Maybe he has a girlfriend. Wouldn’t she be here with them for dinner if that was the case? With him? He doesn’t look the type, either. The cheating one. But you hardly know him, you don’t really know much about him beyond what he told you about his past that night.

“Joel.” you call his name looking at him through your lashes, your head still resting on the door.

“Hm” he hums, still in the same position.

“Joel, hey.” you try to get his attention again, this time lifting your head to look straight at him, a gentle smile on your face.

His eyes finally meet yours in a subtle, tired hey, the corners of his mouth turning up slightly.

You hold each other’s gaze taking each other in, and you both laugh softly in a quiet understanding. But this feels so warm, so soft and tender, is he really that angry with you? He must be, otherwise why the tension? You should try and put him at ease.

“Look, I understand this is awkward and unexpected; I do. But we’re fine; we’re gonna be fine, Joel.” Damn, the sound of his name in your mouth. “I won’t say anything, really, don’t worry. We’ll have a nice meal, we’ll make the typical minimum small talk and when this night is over we’ll be out of each other’s hair, you won’t have to see me again if I can help it, I don’t mean any trouble, seriously.”

And there it is again, the disappointment. “Yeah, no, I know. Sorry I snapped at you.”

Joel looks as if he’s going to say something more, but at the last moment he changes his mind.

You nod in acceptance of his apology. “Let me hand you that toolbox, before they start wondering what’s taking us so long, hm?”

“Sure.”

“Do you need any help?”

“No, it’s fine.”

“Ok, I’m gonna check on the girls and then head downstairs.”

Joel nods as he takes the toolbox from you, careful not to touch you and crouches down on his knees to inspect the damage to the cabinet. You glance in his direction one last time, admiring his wide, strong form kneeling on the floor and then close the door behind you quietly.

“Fuck.” you both exhale on either side of the door.

Two rotations of the earth around the sun had passed and Joel had become a constant in your life. He came and went like the seasons, with an orbit of his own.

Winter.

His orbit was longer and colder. The distance between you grew, more so emotionally, as if something was holding him back. The domesticity of it all was too much for him, scratching at old wounds he tried too hard to keep buried. He always cared, always kept an eye on you, but from a safe distance.

Like the time you came home late from work and cursed yourself for not cooking dinner in advance. You were starving, but the thought of making something to eat seemed like too much trouble; you were exhausted. Thank goodness the girls had their dinner ready, all you had to do was heat it up. Two minutes after you let yourself in, the doorbell rang. You rushed out of the bathroom and opened the door to a takeaway, its temperature indicating that it had just been delivered to your doorstep. You looked around but saw no one. You were pretty sure it was a mistake, but then your phone vibrated,

Eat, while it’s hot.

Did you leave these outside?

Yes.

Why?

Trish told me you were caught up at work, thought I’d save you some time.

You just kept staring at the screen, your heart warm but your mind confused. A second text came while you debated what to answer him.

Need to take better care of yourself.

No, why ‘d you leave?

Summer.

His orbit was shorter and warmer, like a pleasant summer breeze. He was around more, more involved in your life.

Like the time he was in on your house hunting trip.

Like when he talked you into buying a house and not renting because he found one for you that was beautiful and ideal and close to Trish’s so you wouldn’t be alone and your daughters would love it and it was a family house. Yes, the house was a ruin. OK, maybe not a ruin, but really old. It was beautiful, but it had definitely seen better days. It needed a lot of renovation.

“Joel, I can’t afford this.” you said as you looked around, almost pained to have to say no. It was a really lovely house.

“Listen to me-” Joel tried to make his point but you interrupted him anyway.

“I am listening to you, that’s how you convinced me to consider buying a house instead of renting an apartment. But if I do, I’ll use up all my savings, I can’t afford a renovation of this magnitude,” you continued, looking around the house, moving from room to room, imagining how you would have decorated it if it was yours.

“I’m gonna help you with that.” he said bashfully.

“How are you going to do that, Joel?” you rolled your eyes at him.

“Do you remember what I do for a living?” Joel teased you and you glared at him.

“I’m not sure, I think you mentioned something about a contracting bussiness?” you mimicked him. “Joel, I’m serious. Of course I would choose you and Tommy if i could afford it.” you said in despair, eyes wide, hands in the air as if you’re pleading with him. Which you were.

“I’ll do it in my spare time.” he suggested, looking down at his feet, avoiding eye contact and hugging his chest with his arms, as if trying to protect himself from the vulnerable position he had put himself in.

It took you a minute to register what he was implying. Your jaw dropped, unsure of what to say when you did. Your heart ached with warmth and your breath caught in your chest. It was too much.

“There’s no way I’m accepting this, you know that.”

“I really don’t min-”

“Absolutely not, not in a million years.”

“Goddamn, you’re stubborn!” he snapped, not used to not getting his way. Take the fuckin’ help, goddamn it. Your eyes looked glazed, you never had the ability to deal well with people snapping at you quite well. Especially people you cared about. Joel felt your discomfort and immediately regretted his temper. Soft things needed gentle handling. And you were soft. So soft for this world. For him.

He stepped closer to you and engulfed your hands in his with a deep sigh. “Look, I’ve done the calculation. This is the best deal you can get. The price of the house is fair. In fact, between you and me, it’s low. And I’ve already worked out what needs to be fixed.” He paused, breathing in and exhaling a little harder. “I want to do this. For y- for the girls”, he stuttered and you looked down to where your hands met. These hands. His hands. Big and warm and capable. Capable of renovating your house, capable of holding your hands in his, capable of taking you apart piece by piece. Were they capable of putting you back together again?

Your whole body tingled with another wave of warmth at his touch. But it was too much. It was always too much with him. The unbearable distance or the suffocating closeness. All because he wouldn’t make up his damn mind. He couldn’t do that to you. Give you a glimpse of affection and then pull away. Because you were sure he would eventually. As he had done so many times before. This time you had to protect yourself. So you pushed him away the only way you knew how.

You tore your hands from his tender grip as you attacked him in a raised tone pointing at him. “We are not your responsibility!” You regretted it the moment you spat it out. You didn’t have to be so harsh. So quick to anger. Please, please be angry with me. Scream at me. Turn your back and walk away. Make me feel like shit.

He looked at you in shock, his eyebrows raised, a hint of sadness on his face. And something else, more subtle. As if in understanding. As if he could hear your thoughts. You were not his to care for. You were not his to protect. “I know that.” he sighed, squeezing the back of his neck in embarrassment.

“Joel,-” you tried to take it back, there were not many things you hated more than what was happening right now. The fact that you couldn’t take back what you had just said. You felt terrible.

“Look,” he interrupted you, raising his arms in resignation. “I’m just trying to help. You moved states alone with two kids, starting from scratch. I just thought maybe I could ease some of the burden. It’s the decent thing to do.”

“Joel, you are cutting yourself short. This is beyond decent. Trish and you- and- and- Tommy and Sarah of course,” you mumbled embarrassingly, “you’re all I have and you have supported me in more ways than I can count. That’s why I can’t be a burden to you.”

“I didn’t mean you were a burden.”

“No, no, I know, this is not on you, this is me, I-”

His face was full of concern as he waited patiently for you to speak your mind.

“I don’t want to be a burden. Or to feel like one. Even if I know-, I know I’m not that to you. I know that. But just the thought of the possibility makes me freak out. That’s why I need to keep everything under control, because if I give it away, even a little, I don’t know how I could ever repay this kindness. I don’t even know if I’m worthy. I’m not-” your voice broke at this confession and you took a breath to recover, “my life is not easy to navigate, I don’t want anyone to stress over me.”

Joel seemed shocked for a moment, not believing what he was hearing. “You think you’re not worthy of kindness? That’s very cruel coming from someone like you.”

“Someone like me?”

“Yeah, someone good and kind and caring.”

“You must have me confused with someone else.” you joked, feeling uncomfortable at his praise.

“Darling, if I had known anyone else like you, I would have held on to them for dear life," he spat, before realizing what he had said. He laughed awkwardly, frowning at the slip of his tongue and looked around the room to avoid your gaze. Why don’t you hold on to me, then? was all you could think of, but you didn’t dare ask him. So you moved on, protecting the friendship.

“I just- Jesus, I don’t know why I’m telling you this,” you murmured through your teeth, “I was brought up to be strong, never to ask for help, otherwise it was considered a weakness. I learned to do everything myself. By the time my parents grew out of their own insecurities and urged me to be more open, more vocal, it was too late for me to change.” Why on earth are you telling him all this? Why did you mention your parents?

“So, you do kindness, but you don’t accept kindness.” Joel observed and you realized that you had never made that connection.

“I- I don’t know how to receive it; what to do with it.”

In the end, he practically forced his help on you, bit by bit, one sweet word at a time, day by day, until the house was a home. Everywhere you looked you saw Joel’s efforts.

You saw the care with which he worked on this house as if it were his own. You heard his laughter as you forced him to take a break and shoved food into his mouth, knowing he hadn’t eaten all day. Every step you took on the hardwood floors reminded you of his broad back as he knelt down to replace the old floor. Every shower you took was a painful reminder of his massive, veiny hands sweating as he reinstalled the hardware. Everything felt like Joel, even in his absence.

NOW

“What is this party for, again?” you call out from her bedroom as you apply your lipstick in front of her vanity mirror. You almost didn’t come, but you knew she’d drag your ass back to her place if you didn’t.

“This is fooor..” Trish replies from her en-suite bathroom as she searches for a good excuse, unable to find one. “You know what, I don’t need a reason to have a party! Think of it as a chance to see each other more!”

“Trish, we can do this without a million people around us and me leaving my kids with a babysitter.” you roll your eyes in fake exasperation.

“Your kids are gonna be just fine. They want you to have a good time.”

“They’re four and two years old, dude.”

“Well, in that case, they want you to find them a daddy.”

“Oh my god, Trish! Seriously?” you snort at her comment.

“That’s what’s the party’s all about! You finding yourself a daddy; if I’m being honest-”

“Please don’t!” you beg her to stop.

“-you need it more than they do. That is so perfect! I actually have a couple of guys in mind and they’re a bit older, just like you like ‘em-”

“What?” you swallow tightly and you’re glad she can’t see your face right now. “What are you talking about?”

Trish pops her head through the door and wiggles her eyebrows, “They’re about Joel’s age, is what I’m talking about.” You shake your head in denial, your eyes are closed in frustration. “Trish..”

“Yeah, yeah, I know, there’s nothing going on between you; that’s why you’re both hot and flustered every time you’re in the same room.” Your shoulders slump down but you don’t answer because this is getting old.

“What, nothing to say for yourself?” Trish weighs up your reaction and lack of response.

“Frankly, I don’t know what else to say to you.” you shrug in defeat.

“Fine, then find someone to fuck, tonight. That would clear up the air.. for all parties.” Thankfully, you’re saved by the bell, “Jesus..” you mutter to yourself as she leaves you once again to open the door for the first guests.

The party is a success by Trish’s standards, as the house is overflowing with guests. Some of them you knew, most of them you didn’t.

Joel is somewhere in the crowd, chatting to a couple of ladies who have trapped him between them, ogling him like vultures. You make it your mission to rescue him, judging by the desperate look on his face and the furtive glances he throws your way.

As you move to head to his direction, an arm gently encircles your elbow. You turn to see who it is, and are greeted by a stranger. Tall, broad, sweet brown all over his features. He exudes an earthy and secure aura.

“Hi.” the stranger smiles warmly at you, looking deep into your eyes.

“Um,” you blush, why on earth are you blushing, “hi!” you say back. Original.

“I’m Marcus, a colleague of Trish’s.”

“Oh, hi, nice to meet you!” you tell him your name and shake his hand.

“I knew I was right.” he says amusedly, as if talking to himself.

“About what?”

“Trish gave me your name and told me to come find you.”

“Excellent tracking skills, are you a detective or something?”, you tease him playfully.

“Yeah, something like that..”

“Oh- I-” the words catch on your tongue.

“But I had a great lead, wasn’t that hard, to be honest.” he adds.

“Can you share it with me, or you’ll have to kill me if you tell me?” you joke. He was so easy to talk to.

Marcus tips his head back, laughing, “I wouldn’t resort to such methods; let me buy you a drink and we’ll call it even.”

You look down at your hands, your cheeks red from his attention, rolling the bottle of beer you are holding between your palms, too tightly.

“I mean, not right now; I’m sure we could work something out if you’d indulge me.” he adds sheepishly, somehow sensing your train of thought.

God, he’s adorable and not too bad to look at. Actually, he’s quite handsome. “Well, I’ll have to see if your lead is worth my time first.”

Panic rushes through you as you realize the sound of what you said while trying to be funny, and you try to correct it quickly. “Not that- oh gosh-” you feel so embarrassed, but Marcus laughs heartily and shakes his head from side to side.

“Shit, sorry, it was a joke, that’s not the only reason I would go out with you-” Isn’t it? What are you doing? What is he doing to you? Where is Joel? Shit, Joel.

You steal a glance in his direction and he’s already watching your interaction with Marcus, his face hard and unreadable.

“Isn’t it?” Marcus’s voice draws your attention back to him, your eyelids flattering in confusion. He grins, pleased, but so sweet it’s impossible to roll your eyes at him. Your shyness pours through your body language, making Marcus want to comfort you.

“Hey, hey, it’s cool, don’t worry about it. I know it was a joke; I liked it.” he says honestly, “And even if that was the only reason I’m sure by the end of the night you would have changed your mind.” he gives you a lopsided smile, but there’s no smugness on his face.

When he starts to speak again, Trish interrupts, effectively shutting him down. “What took you so long, I thought you couldn’t find her!”

Marcus smiles again, warmth and familiarity washing over you instantly, “Oh, I found her, quite quickly.” his eyes twinkling.

Trish smirks as if she’s realized something, “Come on, I need you outside.”, she grabs your arm and pulls you along, “I’m gonna steal her for a bit, sorry to interrupt.”

“It’s OK, I’m confident I can find her again.”, Marcus winks at you and your heart skips a beat.

You start to walk away, but abruptly turn back, your curiosity overpowering you.

“Never told me about that lead.” you ask him, your eyes wide and wondering.

Marcus bites the inside of his cheek, looking briefly down and then meets your gaze with a hunger in his eyes. “Oh, I had to find the most dazzling woman in the crowd.”, he shrugs as if it was the most self-evident fact in the world. “Mission accomplished.”

You replayed your interaction with Marcus in your mind as you helped Trish light the lanterns on the porch. He had been so kind, direct and sweet, making you feel seen. What bothered you was your reaction. Your insecurity, your inability to believe that he was talking about you. The urge you had to fight when you thought of looking around the room to make sure he wasn't referring to someone else.

What bothered you most was that although it had been two years since you had separated from your husband, you had never felt insecure about yourself. He couldn’t make you feel that way. Of course you doubted yourself at first, looking for your share of the blame, but his actions spoke louder than words, and you couldn’t blame yourself for everything, even if you tried.

But Joel did. He made you feel insecure, vulnerable. With his mixed signals and his constant back and forth, he managed to drive you crazy. What did he want from you? Why couldn’t he make up his mind? Why weren’t you enough? Were you too much?

Maybe it wasn’t just Joel. Maybe anyone in his position would have the same concerns. Perhaps Marcus would do the same if he found out about your family status. Where did that come from? You don’t even know the guy, stop it.

“OK,” you hear Trish behind you, “all set, let’s get back inside.”

You nod, but as you turn to go into the house, Trish comes close, a mischievous look on her eyes and lips. “Maybe, uh..” and she pauses dramatically making you furrow your brow in puzzlement. “Maybe I was wrong about the age gap, huh?”

Oh, god.

“He’s one of the good ones; I approve.” she winks at you and slaps you on the ass cheek, ushering you into the house while you roll your eyes the hardest you could manage.

“Ok, now I need to know.” He laughs heartily, his eyes wrinkling, his whole face lighting up. It didn’t happen very often. It made your heart swell that you were the one making it crinkle with laughter. You loved that face.

“What?” you reply, unsuccessfully fighting back a laugh, dragging out the vowel. You had had a few beers and were relaxed and comfortable around him. You were both standing near the stairs, giving yourselves a bit of privacy from the crowded party. You were still visible to everyone, but it was a little quieter than the constant buzz throughout the house.

“Well, you’re obviously mad at him-” Joel states matter-of-factly, as he leans his back against the wall behind him, but you interrupt before he can finish, “No, I’m not!” and slap your hand on the railing next to you for good measure.

“Uh, uh, uh, none of that,” he looks at you mischievously, “but you never say anything bad about him. So, which one was he?”

“What on earth do you mean, Joel?” and you half whimper his name, thanks to the alcohol in your system, making his cock twitch. God, the things he wants to do to you.

Joel inhales sharply, trying to keep his composure, because he really needs to know what kind of an idiot husband you had chosen to place by your side only to be betrayed; a side he would die to be by. If only he had been the right man for you.

“Which half was he?”

You burst out laughing, finally figuring out what he means. You’re impressed that he still remembers, although it makes sense since you sort of insulted him that night. You know you can’t lie for shit, so you brace yourself, anticipating his reaction. You can almost see the face he’s going to make.

“Actually..” you start, prolonging the suspense, not on purpose, but because you are choking on your own giggles. It’s going to sound so pathetic, but for some reason you can’t wait to tell him how you’ve been deliberately putting yourself down for years. “Yeah...?” His eyes are fixed on you, amused, but you can see the agony underneath.

“He was both.” And you can barely contain your laughter, almost snorting.

He is still at first, as if some invisible remote control has paused the whole scene, waiting for the oh, I’m kidding. When that moment passes, his eyebrows go up so high, his forehead fills with wrinkles. His jaw drops open and he actually looks shocked to the core, almost frightened.

“Both? BOTH?” he practically hovers over you in frustration. “So, emotionally unavailable and bad sex.” he says again, incredulous that someone like you would ever choose someone like your ex.

“Joel!” you chastise him, slapping him on the shoulder, looking around you to see if anyone has overheard your conversation.

Joel fake hisses at your fake hit and taunts you with his laugh.

You shake your head dismissively, “What can I say? You know me, I don’t go halfway, I go all the way.” you reply between laughs, pumping your fist in victory.

He shakes his head in mock despair, then looks down for a few seconds, as if he’s making his mind up for something and then up at you through his lashes. “Oh, baby,” he sighs, “you really need someone to take good care of you” his voice drops, his eyes still holding the amusement but there is a hunger behind his words.

You inhale sharply and then hold your breath as your brain fantasizes about him taking good care of you, right now. You stare at each other for a long time, as if there’s no one else around, and finally you break the silence. A slight anger begins to glimmer in your chest, but you try to push it down. “Well, no such luck on that front.” you drop the bait and see where it takes you.

He can’t say things like that and expect you to do nothing. A small glimmer of hope tries to climb over the uneasy feeling inside you. It sinks its claws into your heart, scratching at the surface of your well-hidden desire. Maybe this time he’ll take a chance on you. Maybe this time he will ask you. Maybe. You try to push that away as well.

“Maybe you should put yourself out there more.” There he is. He’s pulling back, again. It’s fucking exhausting. You know you should be more patient and see where this goes, but your anger is boiling fast, ready to pour out of every pore. He started it, so you might as well finish it.

“Unless, what I need is in here.” Please, please, don’t make me regret this. Over and over, like a mantra.

He swallows so hard you can see his Adam’s apple bobbing, his knuckles turning white around his beer bottle. His eyes keep darting between yours, searching for something.

“Pretty sure it’s not, if you know what’s good for you.” Did he just say that? Your pulse rises and you hold back the tears that tend to gather so easily at your waterline. How could he say that to you? But you recover quickly, he won’t see another drop of tears from you. Not ever again.

“What, you don’t like Marcus?”

“Who?” you see Joel’s body stiffen at the man’s name, his eyes frantically scanning yours for an answer and revenge never tasted better. You would say you were drunk on power if it weren’t for the damn beers.

“Marcus, Trish’s colleague from work, she introduced us tonight- well- not exactly, but- anyway.”, you dismiss your own comment by waving your hand in the air. “Maybe you’re right. I should start giving people a chance. Maybe I’ve waited long enough.” There’s someone interested in you. He’s interested in you and he’s shown it. You deserve to be happy. You deserve to feel the look of desire in someone’s eyes. But you’d rather it was Joel’s.

Check mate. His move now.

“Are you sure you want to lead with Marcus?” His voice full of mockery. “You don’t even know the guy.”

“Oh. So, let me get this straight.” you counter. “I should get myself out there and I should do it with someone I know. Let me think.” you take a deep breath and in that short time of in and out through your nose, you debate whether you should say it. Joel seems to catch up with what you’re thinking, raises his hand and purses his lips, but before he can speak-

Fuck it.

“Are you offering?” You ask playfully, with a saccharine smile. Sometimes you really wish you were not so direct. But you couldn’t deny the sweet satisfaction of nailing him to the wall, when you saw the look of mortification on his face. The time for regret would come, but it was not right fuckin’ now.

Joel is speechless, his eyes widen and his mouth opens and closes without a sound. He clearly thought you’d back down. Maybe he thought you liked this dancing around. Maybe he thought he had more time on his hands. Or maybe he didn’t expect you to finally confront him head-on. Still playful, but head-on.

He takes a deep breath and tries to compose himself. He starts to say something, but you don’t catch it because out of the corner of your eye you see Marcus approaching you quickly. If a higher power was listening tonight, it was focusing on the wrong part of the story.

Just before he enters your personal space and you excuse yourself, you linger slowly over Joel, touching his waist with one hand. You feel the warmth of his skin through his shirt and under your palm. You take your eyes off his and look at his plush lips as your face comes dangerously close to his. Your lips brush the space between his earlobe and his neck and you painfully accept this is probably the most you will ever have of Joel Miller. His breath hitches at the feel of your soft lips and the puff of air as you whisper in his ear, “Relax Joel, I wasn’t counting on you.”

That hurt.

previous |

[bigskydreaming]

Imagine looking at a character whose entire premise is that in every stage of his life, he's made every version of himself into someone that inspires people to such a degree that EVERY SINGLE VERSION OF HIM has people wanting to literally follow in his footsteps in some way or another.....

And coming to the conclusion that like.....the most important things about him are the sum of all his trappings. His entirely homemade developed from scratch could not exist if not for what he already was and brought with him BEFORE crafting this newest version of himself trappings, with his greatest trait throughout all of it being his adaptability; his ability and willingness to roll with the punches and not try to simply weather any opposition or changes to his life but instead reshape himself as needed to better fit INTO whatever new shape his life and the world around him takes. All while managing to carry the most innate, fundamental and necessary aspects of himself from one version to the next. Thus every single version of himself is different but simultaneously every single version of himself is also undeniably the same person.

The strength of this character, to me, will always be that he can be so many versions of himself, he can become so many things, all without ever actually losing or discarding any of the aspects of himself he considers most essential, the things he's not willing to lose or give up just to keep going. Finding that road not taken by most, usually because most never even think to look for it as an option. But one that he's always able to find because the one trick he's mastered in his tumultuous life is threading that needle of not just digging in his heels in an unproductive way but rather being selective about when and where he makes a stand and decides "this is not a thing I'm willing to compromise about" but here are places and ways I can and will change and evolve and adapt in order to make it possible for me to hold onto these parts and keep them as they are.

And that's why its always so mind-boggling to me that so many writers can't seem to think of anything else to do with Dick Grayson other than invent some new reason for him to just....not be that person, or to like just take the character whose most basic fundamental trait he's NOT about to compromise on is willingly giving up his spot in the driver's seat of his own life.....and make him just a passenger in his own life and stories.

Dick Grayson at age nine....at age nineteen...at age twenty nine....the one core thread running through all versions of him is the only way he's standing back and letting you call the shots for him or putting him on the sidelines in some way is over his dead body.

HOW he goes about that, what that looks like, who he becomes and what aspects of himself he plays up at some times and what traits he lets fall by the wayside at other times when they offer less in service to his primary goal here....that changes constantly. He changes constantly.

But those changes are almost always (or at least they used to be/should be IN MY OPINION) made with the intention of keeping certain things about him or his life as consistent as possible.

That's the duality of Dick Grayson that I'm here for. The inherent contradiction of him that COULD allow for endless conflict and breaking new narrative ground in all sorts of ways if mined properly:

His eternal willingness to compromise....but only ever in pursuit of doubling down on the ways he's not willing to compromise.

Forever walking that tightrope in ways that only a kid born and raised in a circus could ever hope to.

[wearepaladin]

Just for fun I’m going to write an outline for an Elden Ring story I’ll never have the time or discipline to write in full, but would be fun to think about. Basically, if Elden Ring were a novel and less bound by the classic Soulsborne mechanic of everyone out to kill you all the time and you could theoretically talk to a bit more folk before they’re running at you with fire and cleavers.

So, more under the cut for those of you inclined for a bit of speculative reading.

So I think the most important thing to get out of the way is the nature of the protagonist, who we have playing the Tarnished of No Renown in this story, because while video games are a fun means of crafting your personalized to fight your way to victory in The Lands Between, for a novel a character who has a presence in the pre established narrative would be ideal. To that end, I have speculated the ToNR’s background based on what can be universally deduced about them based on where they were buried and rose from the Dead when Grace brought them back to life.

So, to that end, I critically went over the game starting zone, The Chapel of Anticipation. It was here where we are interred, along with the ashes of two stormhawks, a recently dead finger maiden, and a Grafted Scion waiting to kill us, with the chapel built on a sea stack with a bridge presumably leading to Stormveil Castle. Stormveil, as a reminder, was originally the fortress of a Storm King, a mysterious figure whose defeat by Godfrey/Hoarah Loux in single combat is considered among the First Elden Lord’s greatest achievements. So, for the sake of the story, based on this little bit of information, I am deciding that the contender for Elden Lord will be played by a Storm King resurrected by the Guidance of Grace, awakened in their tomb to find the Finger Maiden who knew that a lost king was interred here, and where a distant Scion of Godfrey, the Grafted Scion, knew where an old enemy may one day rise.

Thus, a newly risen Storm King would have been active before the existence of the Tarnished as they are now, and indeed, ignorant of much of the current history of the Lands Between and the Shattering of the Elden Ring and ensuing wars. Indeed, depending on the timeline, they would even see Marika as the empress of an invading theocracy and not the long established god queen of the setting. It allows for a protagonist who can fulfill the role of audience surrogate by needing to get caught up on everything, but gives them a more personal motivation than simple power: they are empowered by the force that had slain them and live to see the long wrought consequences of their defeat.

Drawing inspiration from the others titled Storm King in Fromsoftware games, and the nature of Stormveil as the largest and most heavily fortified castle in the game, (arguably anyway) I’m imagining the Storm culture as martial but somewhat isolationist since we don’t see much of their influence beyond what scant remains of their legacy can be found in the castle. The Storm King thus did not combat the Golden Order until Godfrey bested them personally.

The protagonist would then have very personal reasons for removing Godrick from Stormveil castle, not to take his great rune but their ancient home. But in the process of doing so, they meet Melina and the Roundtable Hold, opening doors to a greater understanding of what’s been going on and granting motivation to not just retake Stormveil, but to adress the broken state of the world.

The story the largely goes on as it does in the game: most of the major powers that still remain would be even less inclined to parley with the Storm King than they would some Tarnished with no Renown, but there are some key differences. Limgrave’s population would have a monarch of ancient stock to gather those Sane enough to reside in the safely of Stormveil. The world doesn’t remain static and we see the side of lordship as more than being a godkilling machine, but someone who can lead and have people follow.

Godrick, Radahn, and Rykard are still slain as the three would never be able to be talked down, as they are either determined pretender, ill beyond care, or intending to devour the world respectively. Renalla is never fought as her situation never required a violent resolution. Morgott’s situation becomes much more complex, as while still quite hostile, the growing political influence the Storm King would amass in Limgrave, Liurnia and even remnants of the Redmane army swearing allegiance after the death and liberation of General Radahn, would force a more politically intriguing conflict.

I think that the Storm King would learn that the Erdtree is sealed by thorns by either “diplomacy”’(shouting matches) with Morgott or an intrigue plot involving Black Knives at war with eachother, and lead to the events of the DLC as the SK decides they are unwilling to risk freeing Frenzied Flame or having Melina sacrificed, whatever her willingness. He instead follows a third option, and goes the Lands of Shadow, seeking not Miquella, but Messmer. This would be the beginning of the second book in a theoretical trilogy, as the events in SotE would require the space Rand still culminate with the failed apotheosis of Miquella.

However, as the SK would not arrive in the Lands of Shadow alone, but with political authority tying him to Liurnia and other Golden Order factions, Messmer’s army, having awaited eons for word from home, is receptive enough to allow the SK to engage diplomatically with Rellana and eventually Messmer. Messmer learns of the current status of the Lands Between, meets his sister Melina for the first time, and decides to call off the Crusade after the failed Apotheosis of Miquella. Using his abyssal flame, he then takes his sister’s place at the Mountaintop of Giants, bringing Flame of Mesmer to the tree his mother built her empire from.

While this is happening, the Stormking goes through their own personal journey of discovery as with both the actions committed by the Golden Order and the Hornsent in turn, they find that themself asking the hard question of whether their kingdom’s isolationist policies contributed to the pogroms and cycles of violence by inactivity: could so much harm have been avoided if they or their ancestors been less hostile to the greater lands of the world?

The story then concludes as the ancient powers that have long manipulated behind the scenes interject from various angles as Metyr, the Ancient Dragons, The Frenzied Flame and the Rot all instigate their own attempts regain control of the lands between, with various part of the assembled cast facing their respective foes, Ranni and her Allies facing Metyr and the Fingers, Millicent and remnants Miquella’s followers taking control of their destiny at the Haligtree by facing the Goddess of Rot, Melina and Morgott combining their power against the corrosive influence of Shabriri and the Chaos Flame.

All the while Storm King faces first the Dragons at Farum Azula, revealing ancient ties between the dragons and the Stormking that culminate in a duel between them and Placidusax, and then a rematch between Godfrey and The Storm King, culminating in the final battle against the powers hidden in The Erdtree itself

Then, I think, a variant on the Age of Stars ending would occur. Altered to include influence from the Duskborn and Order endings.

[fancygremlin]

Arthur and John each have a moment in the narrative where one perform a "leap of faith" and the other saves them. Both moments are quite interesting and serve to help the characters realise thay are no longer alone and that they can truly rely on one another (full analysis here, if you're interested).

However, I think there is a third "leap of faith" that occurs way later on... however this time the focus is neither John or Arthur, instead the character being saved is Noel.

Just like Arthur and John, the detective was forced to learn to be independent and self-reliant to ensure his own survival. He was separated very abruptly, and subsequently lost his only friend before being stuck in the Dreamlands. He was completely on his own against the King in Yellow, who tortured him relentlessly and cruelly for months. Noel was then carelessly spit back out in Arkham, traumatised and alone, and had to rebuild his life back up without being able to rely on anyone else.

How could he ever hope to explain all the horrors he was subjected to when no one could ever even begin to understand half of what he had to endure?

But then, years later he meets John and Arthur, and it seems that they can and do understand him. Noel allows Arthur to share his experiences in the Dreamlands... and the detective allows himself to finally recount his story too.

Then, in Part 40, Noel infiltrated a cultist base with John and Arthur and everything goes sideways. His trust in the characters is momentarily broken when John's real identity is revealed to him. Noel is then weakened by reliving his experience in the Dreamlands and nearly loses himself as the King in Yellow once again controls his mind and nearly kills him...

Noel takes a leap:

Noel was the first character that not only knew about Arthur and John's sharing a body situation, but also the first that wholly accepted them and tried to understand them better. It's only right that both Arthur and John reached out to help him and save him when he nearly lost himself.

As a side note, I think it’s really interesting how Arthur kept calling him out using his real name (Charlie), while John tried to reach him using his chosen name (Noel) during this scene. It's such an excellent, little detail which I really enjoyed.

I like to think that the use of both names is because just as Charlie/ Noel accepted both John and Arthur both as a unit and as separate people, the two characters are doing the same by accepting and recognising both the detective’s (past and present) identities as well. They decide to accept and save any and all versions of Charlie/ Noel.

Of course this is not the only interpretation. For example, the use of one name or the other might reflect how John and Arthur are recognising core parts of themselves within Noel/ Charlie instead.

John is calling the detective by his chosen name because he is honouring Noel's choice to start anew. Noel had been hurt in every possible way and reduced to nothing after his experience in the Dreamlands. The detective found that the only way to move forwards was by leaving all the (too far) damaged parts of himself behind and try to create a new self. A clean slate and new name for a new beginning to start a better life somewhere new. He needed to leave his past behind and forget the parts of himself he didn't want anymore. That was what John did too when he dissociated from the King in Yellow and began forming his own identity.

On the other hand, Arthur is calling the detective by his real name because he is honouring the person Charlie was in the past. Charlie was the part of himself that he left behind because he deemed too damaged and too ugly to salvage. Arthur drags behind his past mistakes like deadweight, he carries all the guilt and sorrow with him wherever he goes. He wants to believe that all the hurt, all the damage and all the scars he deems as the ugliest parts of himself don't make him an utterly repulsive and unlovable monster. I think he is trying to demonstrate that Charlie is just as worthy of being saved as Noel is, weaknesses and broken parts included.

Hm, and I seem to have gone off a giant tangent here... I shall stop blabbering now before I completely lose track of what this analysis was supposed to be about.

[heyclickadee]

So, here’s the thing. The finale is weird. Yes, I’m hurt by the fact that Tech didn’t come back and that a character that’s very near and dear to my heart was badly handled, and that will never sit right with me. But even apart from that, the finale fundamentally does not function as a piece of storytelling or as the end to this story. I’m glad that people are enjoying it, and I will never tell anyone not to. But I don’t think it works. (I get very negative about the TBB finale under the cut.)

It’s not just the Tech stuff or the CX-2 stuff (which may very well have been the same stuff) that got dropped. It’s *everything*. Every theme, Every narrative thread besides retrieving Omega, every character arc except marginally Omega’s, Echo’s (also marginal), and Emerie’s, which was the shortest and gets wrapped up by her deciding to help Echo rescue the kids. It all stops. It makes everything that came before seem cheap and pointless if you take it into account. And this is so, so frustrating for me, because the entire show was driving towards this incredibly rich payoff, it could have been immaculate, and then it whiffed the ball so bad in the last episode that it didn’t just miss, it managed to knock over the bleachers and set the entire court on fire.

Some examples:

1. This season had a really interesting exploration of Crosshair’s PTSD via his hand tremor and how it was something he can learn to manage, but not something that would ever fully go away. Aaaaand then his hand gets chopped off. One, that was stupid. I’ve seen some excellent posts (here’s one by @the-bi-space-ace) detailing why that was a terrible way to handle Crosshair’s lingering trauma, and others talking about how the idea there was that Crosshair needed to move on and it was severing his last ties with the empire. The former, I agree with; the latter, I don’t, because not only—not only!—does this episode stop dealing with Crosshair’s trauma, it doesn’t even deal with having cut off his hand! It just sort of occurs. No one reacts to it, no one says anything about it, there’s no follow up or commentary, nothing happens as a result—it’s an event which occurs with no results coming after it. It may as well be an animation error. You can say it was about Crosshair needing to let go and move on, but that’s something you have to project on to the text, not something that’s actually offered by it. It’s empty.

2. Crosshair again: We also have the lingering issue of Crosshair’s guilt and the fact that he never seems to get to a point where it’s resolved. There’s set up for a resolution. We have that, “Sure you have,” like about Crosshair from Rampart. We also have Crosshair saying he deserves whatever happens to him in Tantiss. And then…no pushback. No resolution. No moment of Crosshair realizing that he doesn’t need to carry that burden. Nothing that says he didn’t deserve what happened to him. He had all this character development this season, but he needed - last little push to forgive himself—and we never get any indication that he does. It, like his trauma, gets dropped like a rock.

3. Hey! More Crosshair! A good chunk of Crosshair’s arc this season was about learning that anyone can change, first, and that no one is beyond saving. Eeexcept that goes no where.

4. Which brings me to my next point: There is set up for the CXs to be saved. Even if we’re laboring under the conclusion that CX-2 was never intended to be Tech at any point in the writing process (I have. Doubts. Yes, I’m calling the creative team liars, here, but with the understanding that they have contracts that may require them to lie), we do have the set up where we learn the electrocyanide zappers can be removed, and with Rex offering forgiveness to CX-1. “Whatever they did to you, whatever you’ve done, you’re still one of us.” CX-Tech or no, Crosshair’s arc was tied up with the CX plot, and because he’s the one the CXs tend to react to—or, at least, understands what was done to them—the set up was there for him to help save and maybe rehab the CXs. At the least, there was an indication that they could be saved. Eeexcept nope! That gets dropped like a rock, too, and they’re not going to deal with it. Time for maximum carnage.

5. Hunter’s arc actually takes a step backwards. Sure, he gets a technically happy ending, but because the squad is basically in the same place they were in “Pabu” back in season two (down a member but successfully hiding from the Empire in a safe place), it negates Hunter’s development towards actually taking action—and actually hurts Echo’s arc, too.

There’s been this tension all through the show between just sitting things out on the one hand (Hunter’s way) and taking direct action despite the futility on the other (Echo’s way), but instead of finding some kind of middle ground or third road, it sort of comes back around to saying that, actually, Hunter was right, they should have just gone to Idaflor back in episode three and never left even though the Pabu invasion said that no, you can’t just hide, and even Hunter’s development was moving in the opposite direction. And this also means that Echo never reaches a point where he feels like he can walk away and that he doesn’t have to get himself killed doing this. Despite development otherwise they both end up back at that conversation in “Tipping Point” without any move in either direction or resolution of that tension.

6. Omega. Okay, Omega probably comes out the best after the finale, and, conceptually, I actually love the idea of Omega becoming a pilot even if the epilogue falls a little flat for me. But stuff with Omega still got dropped, including:

- The force stuff. We have two episodes dealing with m-count (after learning in episode three what Omega was created to do). We also have Ventress telling Omega that she doesn’t have a high m-count as far as she can see, Crosshair immediately calling Ventress out for lying, and then Ventress basically saying, “Yeah, no shit, but if she has force potential she’d have to leave you behind, and it doesn’t matter what your opinion on that is, so I’m not dealing with that.” Aaaand then,m. That. Goes nowhere. Despite a bit of set up for Omega connecting to the force as early as episode one, and some more set up in Tribe, and that whole subplot of her learning how to meditate, and so on.

Now, I don’t think that it was ever going to turn out that Omega did actually have a high m-count or that she had a particularly powerful natural connection to the force. I think she’s probably got a low or baseline m-count. What I do think, however, is that we were going to see Omega connect anyway as a refutation of Palpatine’s and Hemlock’s entire scheme. Their goal (based off of the ST) was to create extremely force sensitive clones as a way for Palpatine to jump bodies without having to waste time re-learning how to connect to the force. You know—dark side, quick and easy path, focus on eugenics and raw power, etc. Had Omega connected anyway because of her big heart and desire to protect, it would have not only paid off that set up, it would have also refuted Palpatine’s and Hemlock’s entire goal. It would have worked so well thematically and the set up was THERE.

- branching off of that, I think the Omega force stuff was probably tied to the Zillo beast. We also had a through-line of Omega being good with animals and taking the time to calm them instead of responding with violence. The first time we see this is in “Replacements,” where she realizes that the ordo moon dragon (also an electrophage—I don’t know what to call these things—like the zillo beast) is just scared and hungry. This is all conjectural, but it still fits with what was set up.

- Moving on from the force stuff, we also had a through-line that started way back in episode two of the series, but which was really emphasized this season, about Omega feeling like she’s the cause of the bad things that happen to the people she loves. This is why she gives herself up during the Pabu invasion in the first place. This is never resolved! We get Omega’s confidence boost when she realizes she has the force kids to take care of, but we never get a moment where Omega realizes that she has no reason to feel guilty. She’s the glue that holds the family together! But nope! Also dropped!

- But wait! There’s more! The first two season finales have Omega watching someone she loves fall away while she’s helpless to do anything to save them. That’s perfect set up to put Omega in the same situation, but be able to save them, because she’s finally come into her own. Instead we just end up with her needing to be rescued again.

- Omega has this big speech in Shadows of Tantiss about spending her life stuck in one place or another against her will, and how she refuses to be confined like that. I don’t think Omega would have been happy just staying on Pabu for the entire rest of her childhood and young adult life, even if I think she’d want to use it on a home base. But! Dropped!

7. I still can’t get over the fact that the zillo beast is on screen for about two minutes and then just. Walks away. It’s a large beastie that’s been locked in confinement for a while and is probably hungry. And somehow it didn’t go straight to the reactors for some delicious energy smoothies. Like. It. Did. The. Last. Time. Someone. Let. It. Out. But no, that would have required it sticking around for something that was probably dropped sooooo ZILLO BEAST EXIT STAGE RIGHT I GUESS. (Edit: I have been reminded that Hemlock does say to turn off the generators once the zillo beast is out, so that at least makes sense. I still think the zillo beast should have stuck around to do something.)

8. You notice how there are a ton of commandos around Tantiss, even up through “Flash Strike?” And how they kind of largely cease to exist? And how Echo says that there are far more clones imprisoned in Tantiss than anyone thought? And then how they rescue, like, a dozen guys? Because we never find our way back to those cells Crosshair was held in during season two? And how Tarkin does mention not wanting to allow clone dissidence to turn into an uprising back in “The Summit?” Because I did. This show was never going to be about a clone rebellion, that wasn’t the point, buuut I do think the set up was there for an uprising at Tantiss itself. Begin the series with clones losing their agency en masse, end the series with some of the most subdued clones taking it back. Except nope, dropped, soooo we gotta pretend the commandos don’t exist and murder the hell out of poor Scorch.

9. SPEAKING OF. The batch does kill clones sometimes, that does happen, but they do at least usually make some kind of effort to be non-lethal even when they’re not using stun, and times when they do resort to lethal tactics are usually born out of extreme circumstances. Not here, though!! NO HESITATION MAXIMUM CARNAGE. For. Reasons I guess.

10. There’s one point IN THE FINALE where Echo mentions signaling for Rex. This never comes up again. Rex does not show up. In fact, despite being called, “The Cavalry Has Arrived,” the cavalry does not in fact arrive. There is no cavalry. Yes, I know it’s a reference to Wrecker’s first line. But I’m sorry if you call an episode that YOU HAD BETTER HAVE A CAVALRY SHOW UP. Especially when you have a one about calling them in! But that also!! Got dropped like a rock!!

11. One positive: the moment Crosshair and Hunter leaning on each other to make that shot was nice.

12. Sorry, but Hemlock’s death was deeply unsatisfying. Let’s do something more than just shoot him multiple times, okay?

13. Rampart’s death, on the other hand, was incredibly satisfying. That said, the conversation about project necromancer? I’m dying. It’s actually hilarious, because it basically goes like:

“Tell me about project necromancer.”

“Wow! How interesting!”

I’m.

Are you serious?

I’m going to become the Joker.

Yes, I know we know what project necromancer is because of a different show. That’s not the point, the POINT. Is that any pay off for project necromancer in this show got dropped. And that’s deeply frustrating from a narrative perspective.

14. Speaking of, we never find out anything more regarding that partially successful m-count transfer from episode three.

15. We also never do anything with those medical records!

16. And Omega has a whole crossbow she never actually shoots despite the fact that her role on the team was as a sharpshooter after Crosshair left, and despite her getting advice from Crosshair on how to be a sniper. The literal chekov’s gun never goes off. I’m going to go eat gravel.

17. AZI, likewise, got toted around for three seasons for no reason. Probably could have helped with the medical records. Given that he was a Kaminoan medical droid. Oh, and that Omega was Nala Se’s medical assistant. So. Hmm.

18. You can cut everything in the season past episode five and skip straight to the epilogue and end up in the same place. This is not because the other episodes are filler. Far from it! The other episodes are great and deliver some amazing set up. But, because the finale does nothing with that set up, it doesn’t go anywhere.

19. And you know what else? From a narrative perspective, there’s no reason for Hunter, Wrecker, and Crosshair to be in these episodes at all. They don’t accomplish anything and make everyone else’s job harder. Omega was doing fine, she would have gotten out with the kids with just Echo and Emerie, and Tarkin was coming to cut off Hemlock’s funding and shut everything down once Hemlock lost control of the facility anyway. I can only suppose that the whole reason they were in this episode ended up getting dropped, too.

20. CX-2. Listen, the answer we get about CX-2 isn’t that he’s not Tech. It’s, “Maybe, maybe not—you don’t get to know.” Because. He’s the only CX whose mask never comes off. After a season and a half worth of buildup of unmasking CXs and people pressing them to learn their names. It’s not a no, it’s a non-answer, which is far less satisfying.

And finally:

21: CX-Tech. I’ve seen some people speculating that there was a planned CX-Tech reveal that got scrapped at the last minute—dropped, along with the other points I’ve already laid out. And, honestly? I have to agree. Despite what the creative team says, because even their denials kind of come out weird (like the Kiners saying that the large brass chord in “Battle of the Snipers” was just a nice sounding brass chord and not a reference to “Plan 99.” They also basically say that the sacrifice theme from “Plan 99” is Tech’s leitmotif. Which. Is all over “Battle of the Snipers.” That theme. Not Crosshair’s. In a scene. Where he’s supposed to be fighting a shadow of himself who Totally Isn’t Tech but we put Tech’s leitmotif here and layered it in Techno music but nooo that was never supposed to be him. Nope. I mean, come on. I’m not stupid).This post is already long enough, so here are some posts by @apocalyp-tech-a pointing out the reasons why I think this was the case, and one by @eriexplosion pointing out why CX-2 as Crosshair’s shadow and only that doesn’t quite work. I don’t need to go over the trail that was laid out again. Up to the finale this was a character that had more screen time—and far more solo screen time—than Echo. Some people will not stop yelling that there was no evidence, and. No. I’m sorry, there was. I can’t agree.

And some people might say, well, okay, the show misdirected you guys and pulled off a twist by having CX-2 be no one, and well, I can’t agree with that either. Twists only function if the twist is more satisfying than the conclusion to which the story seems to be leading. And I’m sorry, you can’t tell me that a season and a half of CX building and three seasons (because I can find set up all the way back in episode one of the show) for Tech survival culminating in what amounts to a boss fight is more satisfying than getting to see Omega have her big brother back. You can’t.

The reason I bring this up last is because, yes, I think CX-Tech was a plot dropped at the last minute, but because I also think that it’s the dropped plot that ripped everything else apart. CX-Tech was an incredibly efficient way to tie up most of the lingering plot threads and dropped character development.

-Crosshair’s guilt? Okay, he faces down the end result of his decision to stay with the empire and possibly something he knew about (Tech would be in this situation because of Crosshair, and were given hints that Crosshair knew) and is finally able to forgive himself because they’re able to save him.

- Hunter’s decision to finally take action and be proactive rather than reactive is validated, because it’s the thing that finally gets him his entire family back.

- Echo saves someone the same way he was saved, and maybe he realizes that it is enough and that he doesn’t have to be a soldier forever.

- Wrecker’s efforts to keep the family together and keep Hunter sane finally pay off.

- Omega is able to protect the people she charges about and finally, finally has all of her brothers.

- Thematically, it rounds off each member of the batch (Omega included) traumatically losing and then taking back their agency in a way that correlates directly to who and how they are as people.

- It also rounds out the OG batchers each being haunted by a failure that has to do with the thing that makes them special.

- You get pushback against “Clone Force 99 died with Tech! We’re not that squad anymore!” because no, it didn’t, and they’re more than a squad, they’re a family.

- It comes around and closes the wound opened in Aftermath and ripped back open by Return to Kamino: they go in for Omega and lose someone, but here, they go in for Omega and get someone back.

- Would allow Tech to close off his lingering threads and finish his character development BECAUSE THOSE REMAINED UNFINISHED.

- Completely subverts the “bury your disabled” trope by making sure we know the character whose disability was explored the most’s life is more important than his death. Seems like an important thing to do in a show that is kind of about disability. Just saying.

- Makes the lack of closure and little mentions of Tech make sense from a storytelling POV because the necessarily catharsis would come from his return.

- And it would actually add some triumph to the ending. Yes, this little family survived. They outlived the war. They’re together, despite every effort to rip them apart. They made it, despite the dark times, despite the Empire, despite what they were made to do and be. They defied all of that. That would have been so, so satisfying.

As is, without Tech, without that CX-Tech reveal, we sort of end up in this weird place where all the themes are half-baked. They are more than soldiers…except Tech, who had to fall out of the story as a soldier (despite us getting the clearest glimpse of what his life outside of soldiering could have been). They get to live how they want…except Tech. They don’t leave their own behind, except Tech that one time. They should value their own lives a little…except Tech. They’re more than a squad, they’re a family…except Tech, the only one besides Omega to say that’s what they are, doesn’t get to see it, and they don’t get to have him around. We begin the series with a broken family and end it with a family broken differently. That’s not dynamic.

So there’s no really punch to the ending. It’s sort of…well, okay, we tortured a family for three seasons I guess. Relieved that the survivors are doing okay, but that’s kind of it.

22. The finale in general is just sort of a bunch of events which happen, but which don’t lead into one other. It’s weird. It’s not that too much happens, it’s that almost nothing happens. Nothing of substance, in a way. The finale is, in a word, the only true filler episode in the entire show.

TL;DR: I think a lot of stuff got dropped from the finale. I don’t know why. I suspect that it might have to do with the strikes—basically, the script was done, most everything was recorded and boarded, and then when the finale was in production they got sudden drastic budget cuts (this was during a time when the studios were disappearing entire completed shows and movies as tax write-offs), had to gut what they had planned, and couldn’t bring the writers or even showrunners in to smooth over what was gutted or to even pick what got taken out. They wouldn’t have gotten to choose or compress things. They were on strike (because the studios wouldn’t negotiate), and whoever did choose ended up just ripping out the stuff that would actually take any time or budget to deal with (so, basically everything I laid out), killing it (literally), and using the remains of what they already had recorded. And who knows how they had to fill in gaps.

But I don’t know for sure. Maybe it was that. Maybe it was a last minute decision to take certain plot points and put them in a different show. Maybe it was executive mandate. Maybe the creative team just sucked the whole time (that’s one I have a hard time buying—we have four other shows and most of this one that tell me that they’re better at their jobs than this). Maybe everyone said screw it, who even cares anymore at the same time.

Maybe nothing happened. Who knows? I strongly suspect something bad did happen behind the scenes that was out of the creative team’s hands—I really do, because that’s the only way I can make sense of this—but until we can get someone talking without six layers of PR and NDAs, we won’t know for sure. All I know is that The Bad Batch is an amazing show with 46 episodes that range from “fine-but-clunky” to “IMMACULATE,” with more leaning towards immaculate than not, and some incredible set up, and one episode so nonsensically bad it makes me want to eat drywall.

It’s just that the one terrible episode comes right at the end.

I love The Bad Batch. I love every single episode and all the things that were set up, but…eh, I think I’ll be ignoring the finale until further notice.

[thewertsearch]

TT: You mentioned immortality. TT: Godhood makes one immortal? […] One will live forever, unless killed. The death must be either heroic or just. TT: How are those terms defined? Broadly, mysteriously, and according to the case of the individual. One may be killed by opposing a corrupt adversary and die for a just cause, as through martyrdom, for instance. This would be heroic. Or one may be subject to corruption, and slain by a hero. This would be just.

Heroic Players can die fighting 'corrupt adversaries', whereas Just Players can be 'corrupted', and 'slain by a hero'. There's a clear dichotomy here, wherein 'corrupt' God Tiers are particularly vulnerable to self-sacrificing God Tiers, and vice-versa.

I like it. It's a very mythological way for immortality to work, and it gels well with Sburb's fantasy narrative. Rose's alliance with the Horrorterrors probably marks her as corrupted, so God Tier ascension probably wouldn't grant her true immortality.

The concept is fascinatingly ambiguous, too. Morality is a controversial subject at the best of times, and allowing Sburb to judge the ethics of a Player's actions could get very tricky, very fast. There's no doubt in my mind that Sburb and I disagree vehemently about what constitutes a just cause, and I'm sure I'm not the only one.

TT: Which sort of death will you have when I destroy the sun? Neither. I'm not a god. I'm a guardian, a servant, and a weapon. I have power and knowledge far surpassing a god. But I am not one.

First Guardians are considered far more powerful than God Tiers, then. Aradia was able to get the drop on Jack, but Jack's really just a Kernelsprite imitation of a First Guardian. Scratch is far more threatening, especially since his brain isn't scrambled by dog memories.

...that said, his brain might be a little scrambled by whatever was in that HONK code. Who knows what Alt-Gamzee was cooking there.

My master can't enter this universe until I am killed. […] TT: That almost sounds like martyrdom. Are you sure it won't be a hero's death? Quite sure. My master is a very evil man. TT: Who is he? I won't tell you his name. But he goes by the title, Lord English.

About bloody time. This guy’s been sneaking around the back of the story for over two thousand pages, and it sounds like we're finally going to shed some light on this mysterious adversary.

But you must decide which objective is more important. You may decide to attempt to destroy the sun and end my life. This will neutralize Jack, who is also much more powerful and dangerous than myself by virtue of the ring he wears in addition to drawing energy from the same sun as I. He poses a significant threat to reality.

I'm still skeptical about this assertion. What could Jack's other kernels possibly offer that his First Guardian powers don't render obsolete?

Anyway - even if Jack does have better numbers, Scratch is still far more dangerous by virtue of the mind he wields.

TT: But in the process of killing him and you, I release your master, who is just as deadly? He's more deadly. But the danger he poses is sanctioned by paradox space. It is a known quantity. His very existence in a universe will mean it will inevitably be torn apart. But there are rules to his entry, and his grim procession through paradox space is rather orderly. The present equilibrium has accounted for him, and will continue to.

I did wonder if English was part of Paradox Space's natural ecosystem, charged with destroying old universes in much the same way Sburb destroys planets.

Even if he is part of Skaia's ineffable plan, I don't think that should stop us from ending his sorry ass. We might not understand English's motivations, but we do know that his plans destroy anyone unfortunate enough share his plane of reality, and countless lives have already been ruined in Scratch’s quest to bring him out. I don't really care if Paradox Space sanctions his actions - he needs to be taken down, and if that upsets the natural order, then it's time for a new natural order.

Besides, we probably don't even need to destroy the Sun to stop Jack. We have plenty of other angles to work, from exploiting his psychological weaknesses to negotiating with his slightly more reasonable deputy. Additionally, Jadesprite won't be out of action forever, and Jack can't even harm Jadesprite, due to the aforementioned psychological weaknesses. Even if she's inherited Bec's 'don't fight Agents' programing, that doesn't stop her from simply stealing his Ring. She's done it before.

Jack however is a loose cannon. He will not stop until he destroys everything he encounters.

Yeah - to be honest, Scratch, I'm starting to think you're laying it on a little thick, here. Is Jack really the omniversal 'threat to reality' that you're making him out to be?

Let's not get it twisted - I have no trouble believing that he's dangerous to individual sessions. But does he really have the juice to wreak cosmic destruction on the scale of Lord English? His battery is only as strong as a couple of universes, and he has to share it with every other First Guardian in the cosmos.

Plus, the kids can't be the only Players in the multiverse to accidently prototype a First Guardian. I'm sure it's rare, but it can't be once-in-all-the-worlds rare. There should be plenty of other rogue First Guardians floating around Paradox Space - and if they're all enormous threats to reality, then reality should already have been destroyed.

In conclusion: No, Doc. I don't think Jack Noir is an English-tier threat. And for the record, I think there's a much more dangerous First Guardian in this equation than the Sovereign Slayer.

[xamiipholia]

Since it’s been a year since Burning Shores came out, some thoughts on Seyka:

TL;DR: Great character, really happy with her as a love interest for Aloy. They do some really interesting things with her that I never really see addressed so I wanted to talk about them.

She is tangibly shown to be much more of a match for Aloy through gameplay. Compared to other npcs, she solves things faster, does more damage, is a much more formidable melee combatant, faster climber - she even has a fucking Valor Surge using her Focus that does pretty significant tear damage to large machines like Slaughterspines. Environmental storytelling- Seyka’s skiff has at least 2-3 Tiderippers’ worth of parts, meaning she’s been out on her own killing the things to build boat motors, and she has some ambient dialogue that strongly suggests she’s fought and killed Slaugterspines before. Is some of this npc tech advancements in Burning Shores? Maybe, but it feels intentional. 

Seyka has a natural probing curiosity about the old world that for the most part Aloy’s other companions didn’t have without some significant hand-holding from Aloy to get them started, and some of her close friend (but not base team) characters just don’t have at all. I don’t mean this as a moral judgement, everyone is different and has different strengths and priorities , but it’s absolutely critical that a partner for Aloy have that kind of curiosity - it’s such a big part of her character. While she lives in this new world, she’s never going to be entirely a part of it. Like she says, she finds belonging in individuals, and not really the tribes. I don’t really see Aloy settling down in Meridian or Mother’s Heart. She needs to have a life of exploration and discovery and Seyka seems cut from that cloth too, whether she was always that way or being marooned gave her a fresh perspective.

Seyka did risk death using the focus and decided to do it anyway- in Rheng’s notes he calls for capital punishment for her. The threat is never *too* present but honestly I think that’s a broader critique of the series and pretty consistent with the writing of conflicts in Horizon. I agree they could have played up the dramatic tension a bit, but this is a person who weighed the risk of a military execution by a totalitarian state and immediately decided it was worth it to save her sister and others. I think Aloy can intimately relate, given what she went through for Beta.

Even though it’s a DLC, she has a TON of screen time, probably comparable to Kotallo in HFW, and Horizon does SO much storytelling through gameplay and ambient dialogue. I think she’s given a LOT of narrative space to breathe. She’s also has her own musical cues and leitmotifs that do a ton of foreshadowing work through the DLC - in terms of musical cues and framing she’s very associated with the acoustic guitar, and the flute melody in ‘Her Sky, Her Sea’ has for Aloy and Seyka the same function that ‘It Can’t Last’ does for Ellie and Dina in TLOU2 - next time you play Burning Shores, listen for it. That and the guitar cues from ‘The Idea of Home’ and ‘For His Entertainment’ do a lot of emotional work. It’s great stuff.

Okay and lastly- YMMV on this one - I’ve def talked about it with friends before but I don’t think I’ve said it on Tumblr. I’m a firm believer that meta narratives and the way that stories are situated and created in our own world matter and that art deserves to be taken seriously and dissected. I love Horizon, but it, and Aloy as a protagonist, are absolutely drenched in white savior and colonial storytelling tropes. Every time I play Frozen Wilds, all I can think of is Jack Sparrow going “and then they made me their chief”. There’s a lot of iffy stuff in the games, as much as I absolutely love them. We’ll have to see how H3 goes, but Burning Shores is MUCH better about this and honestly Seyka is a huge part of it. The story centers itself on a queer woman of color who is pretty tangibly presented as Aloy’s equal with her own strengths and weaknesses throughout the story and takes the lead just as often if not more than Aloy does, which I find really refreshing. It doesn’t entirely fix Aloy’s white savior issues but I think it’s a really good move for the narrative that continues the themes found in HFW about community and connection.

Horizon Zero Dawn: The Frozen Wilds (2017)

[purpledemonlilyposting]

Lorch is talking about writing again...

[Lily's Post]

Where do I even start here?

Okay first lets define what subtext is. Subtext is when a detail or meaning is conveyed indirectly through tone, dialog, character actions etc.

I talked about gay icon Gus Fring in relation to Lorch's thoughts on villains recently. Him being gay is entirely subtext. Even his final scene in Better Call Saul that practically hits people over the head who didn't pick up on him being gay is still subtext.

Gus is not the kind of man to come out and say "I'm gay", you won't see him at a Pride parade, you won't see him decking Los Pollos Hermanos in rainbow flags during June. That's just not in character for him. And yet both shows still, through subtext, communicated to us that Max was not just his friend and business partner but his lover.

(even the name of their restaurant Los Pollos Hermanos is a clue. It was not unusual for old school gays to just claim to be siblings in order to explain away why they live together)

And Gus' final scene in BCS shows him very much mooning over the sommelier he seemingly often chats with at his favorite bar. But we can also see him decide at the last moment to not get involved as his cold, dangerous drug and revenge filled lifestyle won't allow for love to spring anew. None of this needs to be stated aloud.

Okay with that out of the way lets dissect Lorch's nonsense:

So as usual Lorch's opinions on writing all absolutely come down to her not getting it and being bitter that other people do.

Whenever she talks about writing or fandom it becomes clear that the one thing Lorch absolutely can't stand is not being the smartest person in the room. But she has never been the smartest person in the room. So instead she has to decide that things other people understand that she doesn't are just worthless and overused and need to be done away with.

Subtext, worldbuilding, metaphor, lore, they're all just stupid things people use to SEEM smart, because LORCH doesn't understand them and so they must not matter.

Notice she doesn't give a single example of these things. She just starts with the assumption that people only use subtext because they think they have to or are trying to "look smart" and not because, you know, most audience members don't want to read or watch something that's basically the cliff notes of a story like you do, Lily. Subtext can aid in immersion and believability, especially when it comes to dialog.

You don't understand how to make an analogy either I see.

How the fuck is Lorch putting serialization in the same category as subtext and metaphor. Serialization is a method of story delivery, Lorch. It goes all the way back to dime novels and penny dreadfuls.

Something could be completely absent of subtext and metaphor and still be serialized. The fuck are you even talking about?

People don't "understand your point", Lorch, because you don't know what you're talking about and every single one of your opinions just comes back to your inability to understand narrative and your annoyance that other people do. But instead of expanding your understanding you try to control how people engage with and discuss narrative. You haven't deconstructed shit you just rage like a child at writing techniques that have been refined over centuries.

[cringefailvox]

i hope that valentino doesn't die in s2, and not just because i like him and want to see more of him.

i actually think val is a really good opportunity for hazbin to dig into how it defines redemption. every character in the show has a different ethical outlook on hell and the idea of redemption, but the two main ones seem to be charlie (everyone is capable of changing for the better when offered support and safety, and everyone should be provided those things regardless of what they've done) and alastor/lucifer/adam (people are naturally inclined towards wrongdoing, there are no second chances, and hell is both a punishment and cosmic justice). val is the perfect character to exemplify the struggle between these two different outlooks. CAN someone as awful and abusive as val be redeemed? and if so, what would that look like? how would we ensure his victims are safe from him while also giving him space to grow and change? if he can't be redeemed, what's the threshold for irredeemability? can we agree on what makes someone so bad there's no hope? can we quantify which sins are worse than others, and how?

(and by the way, what even gets someone into heaven, and who decides? hazbin seems like this is the main question it's beginning to focus on, so i have a lot of hope for how this one will get resolved. because at the moment, it seems like self-sacrifice is what gets you there, and that is deeply unsatisfying to me—you shouldn't have to give up everything, up to and including your life, to be considered "good enough". it's a vehemently christian idea that martyrdom is righteous and i fucking hate it.)

and if charlie's ethics are universal, she'll have to commit to redeeming people like val, otherwise she undermines her entire mission by picking and choosing who gets to have support and who doesn't. if charlie's ethics aren't universal, we could start really digging more into how her personal attachments to angel dust could present a conflict of interest in her values, like we did with vaggie; are people only worthy of her unconditional encouragement if she loves them? what are the implications of THAT?

my personal value system believes that there's no such thing as someone being irredeemable. there's only people who actively choose not to try, even after they've been provided love, support and well-intended challenges from people who want to see them grow. there needs to be space for people to be safe from their abusers and space for abusers to reform themselves and participate in society, otherwise our options become banishment or execution and i doubt that's the ethical message hazbin wants us to walk away with. val's positioning in the narrative and his close connection to angel makes him the perfect candidate to really challenge charlie's commitment to her ideals, since she doesn't already love him (like vaggie) and he isn't actively trying to be better (like angel or pentious). killing him would be unsatisfying, as well as letting everybody off the hook too easy. i want these bitches neck-deep in painful ethical dilemmas.

ultimately, i hope that hazbin goes the teshuvah route regarding sin. in judaism, teshuvah is the process of repentance for sin, but it also means "return" because the hebrew word for sin, chet, means missing the mark. sin is when we don't quite hit the target how we should have. it's not something you're born with, it's something you do, and it's something you can choose not to do. teshuvah is slow and difficult and a lifelong process, not a one-time golden ticket to heaven. i hope hazbin ends up in the same vein as this, where reforming sinners becomes more about repairing broken relationships, crafting a better society, and harm reduction instead of the ultimate goal being entry to heaven. i think that would be far more interesting and cathartic to me than anything else