#and she has like the most interesting and tragic stories of them all

[tubbytarchia]

I’ve recently rewatched dl and I wanted to find out if you had any thoughts on Pearl and Scott’s dynamic.. (double life or general idm)

BOY DO I. SIT DOWN

I've talked lots about Scott before, of how he twists the narrative the most and treats most relationships more as transactional. I will now immediately follow that sentence up with dear god please don't assume I hate Scott he's so interesting and compelling PLEASE don't think I hate him I beg of you I LIKE HIM I don't think he's evil and a villain he's just a bit fucked up like everyone else PLEASE just. believe me

Me ^

Anyway now that that's out of the way. Scott I think has an innate need for connection but denies it in favor of weaving his own narrative that he is in control of, especially so in Third Life where to me, it feels like he sought out to find a tragic love story and he got exactly that, from his perspective anyway, what with the final sequence of him meeting Jimmy again in some imagined afterlife, the one part that was scripted and it shows. Love is a variable that he can't afford the risk of. I think the story with Jimmy that he weaved was more important to him than genuine affection. In Double Life he admits to having whittled Jimmy down to nothing in order to get something from him. But then along comes Last Life

In Last Life, whatever it was, something about Pearl really appealed to him if even subconsciously and he very genuinely cared about her imo. And that was a relationship that oddly enough started as purely transactional yet quickly developed into the most meaningful one I think Scott has had. Even when he faltered in returning Pearl's affection fully, Pearl didn't care and stood by him. Well exemplified by the time he kind of froze when Pearl was boogey killed by Lizzie, but Pearl didn't even think to hold his inaction against him. (Especially fun contrasted with Pearl accidentally breaking the rules in killing boogey Joel for killing Scott lol)

But all of that was the variable that Scott sought to avoid, so in Double Life he immediately uses what he can as an excuse to ostracize Pearl, almost as if to punish her for the crime of. loving? And I'm not about to claim that Pearl is wholly innocent but I'd argue that was unwarranted. Cleo and Scott are a great dynamic in a vacuum but unfortunately Cleo is also quite terrible (but then who isn't. It's a death game, they all are. Sorry I have to keep making these remarks because otherwise I get labelled a hater) and unfortunately fuels all the worst traits in Scott while Scott very readily sticks to her. They remain an encouraging pillar to Scott, it's just that the things being encouraged are like. Their ritual to slice each other with axes at full force just to stick it to Martyn and Pearl. Pearl often gets compared to Scott as equally physically harmful but idk personally I don't think the snow bucket compares to start-of-every-session-near-death-axe-crit routine. That's again not to say that she's innocent

Upon Scott spreading completely unfounded claims about her being crazy and malicious, she starts to adopt those claims. What else is she to do to get by? She has been nice to most players and nearly none of them want her around because of rumors despite her causing harm on accident at worst. She comes close to finally finding friends in Jimmy (Tango as well but mostly Jimmy), but ruins her chances by briefly playing into Martyn's "prank" and giving him Jimmy's horn without realizing it's importance to Jimmy, after which Jimmy tells her that she's no longer welcome on the ranch. She's effectively lost everyone and it is 90% due to Scott, not due to her actually acting the way she's claimed to as she only starts to go down that path after repeated rejection (sure she let herself be physically hurt to get at Scott, but it wasn't because of malice or having lost her mind, her doing so was reasonable anyhow but got twisted into something it wasn't. It's still wrong on her part and I do think she goes at least a bit insane as Scarlet Pearl surfaces, but the point is that she wasn't that when Scott started painting her that way)

Even in the very end, Scott retains control. He retained control of not only his narrative but contributed to most others' as well, painting Pearl as the exact character he wanted her to be known as in every POV outside of her own. And as they stand face to face as the last two survivors, Scott denies her any chance to change things, taking his own life instead whilst painting himself as noble in doing so

Scott is incredibly self-sacrificial but only when he gets something out of it, and because it allows him yet more control. He wants to be able to control when he dies, and he also gets to turn it into utmost grandiose statements of nobleness when he does, which then changes others' perception of him accordingly and directly or indirectly allows Scott to get something in exchange. His suicide in DL is no different, it was for him, not for Pearl

In Secret Life Scott also instils the idea of Pearl being untrustworthy in Gem

Wild Life. grrrr. Wild Life.............clenches fist. Pearl's personal hell

I think you can infer I was. scared to say the least about Pearl upon seeing her alliance in Wild Life. In the end though I ended up just being immensely sad and disappointed. Just about nothing worked out for Pearl, only for her trauma to be mocked repeatedly by Scott and Cleo

Pearl imo shows so many signs of regression, and she holds onto Impulse as the one member of her team that isn't actively taunting her, making it a goal for herself to see Impulse win, and it is that: for her, for anything to go her way, not so much for Impulse as much as she does genuinely care for him. She really doesn't spend that much time with him, she just needs a goal to work towards for her own sake. Pearl being unstable, untrustworthy and especially pathetic are all things that continue to get enforced within the alliance, where she's often spoken to like a ticking time bomb and the team's destructiveness gets relegated to her specifically. She recognizes not feeling good about it but she doesn't recognize everything that's at play in the social dynamics of their alliance or the extent of it

She becomes scared of people becoming resentful of her were she to make mistakes all the while Scott and Cleo start enabling her worst tendencies, aka Scarlet Pearl. They don't do this a large degree but they do make an explicit point of it, or at least Cleo does. Cleo is also however, if even vaguely, trying to mend the relationship between her and Pearl, where they occasionally encourage and defend her although it's not to a significant enough degree for Pearl to really realize. After Gem's death, Cleo is also there to help although Pearl is too distraught to appreciate it

While Gem's largely the catalyst for the "pathetic" notion that Pearl adopts to her detriment over the course of Wild Life, it only affects Pearl as strongly as it does due to her having gone through what she has, and because she's in a largely unloving alliance that fuels and reminds her of her wrongdoing. Just compare her mental state here to the one in Secret Life with the Mounders. Although it does have importance to her because she seeks reconciliation, she isn't allowed to forget about Double Life, she's not allowed to heal and grow around the grief of what's happened to her

And the final two notable incidents in her and Scott's relationship are 1. Her being made to feel like she needs to kill Scott, which she doesn't and ends up picking her own method of killing him to retain any semblance of choice, and 2. best summarized by my friend's Pearl POV analysis: "Scott is wearing my clothes. instead of villainizing me, our “reconciliation” has encouraged him to embrace the qualities he thinks I represent. he matches me, and we don’t talk about our past"

I state again that I like Scott, I like Cleo, I don't think they're evil or villains, at the very least in no cut-and-dry way. They're flawed and compelling and although I feel sad for Pearl and see Scott as largely at fault for what's happened to her, I care about Scott too and he's easily in the top 5 of most intricate Life characters to me that I enjoy dissecting

You know like. enjoying any character in any other fandom that is morally reprehensible in any way. I don't know why that's such a wild concept in traffic but sigh. I have to disclaim this unfortunately

[crimsoncold]

Have to include prev's tags above in their entirety because it brings up some really relevant points...

Now just to expand a bit on this idea of paralells between characters (specifically the hotly debated one of paralells/connections between Lyanna and any of the stark kids)...

Sometimes to appreciate the full intent of an author one has to analyze the material beyond just what is explicity said by the characters in the story...

Characters often should be seen as unreliable narrators as unlike the author/readers they have limits with what they can know both about events occuring in the story and about the people around them (or even to an extent about themselves).

This is particularly true when considering the opinion/perspective of a character who dies so early on in a series. So I don't think we should decide to take Ned as the ultimate arbitrator of what characters have similarities/paralells to Lyanna.

First, because he died before many major (and in this case relevant) events in the series occured and the lived experience, arcs, or even personality of his rather young children are certainty not going to remain the same as they were before his death and all the other horrible/tragic events of asoiaf (i.e. he's not even around anymore to see or comment on the ways his children's experiences/lives may serve to paralell that of his siblings or even his own... readers will have to use other sources- like the overall story itself- to evaluate these connections)

Secondly, because unlike with Arya, Ned doesn't seem to have much interest in connecting with, understanding, or simply even trying to empathize with his own daughter when it comes to Sansa (i.e. the Lyanna and Rickard of it all when it comes to Ned and Sansa) and he's likely not the best judge of character when it comes to Sansa (beyond the obvious superficial ways she currently had differed from the sons/daughter whose personality and interests Ned can more easily understand).

As well as because, likely due to the unaddressed trauma and grief around their tragic deaths and the dangerous secret Ned harbors related to Jon's parentage, he doesn't seem willing to speak much of or even willingly think about of his late family and thus wouldn't necessarily be a great source for a reader on the ways his children/nephew may resemble his parent's, his siblings, or even himself.

So keeping in mind that...

Parallels between characters can be made apparent and significant in ways other than simply explicit remarks made by someone in the story regarding the similarities between two characters.

That there isn't a limit to the number of characters one can be similar to/parallel or even act as a foil to.

And most importantly that parallels can take on many different forms, including things like physical appearance/description, personality, behaviour, background, symbolism, their lived experiences, their arcs/character development, etc.

...it becomes clear that the story itself supports the idea that readers should see parallels between a character like Lyanna and mutliple of her nieces/nephews or even her son.

There being some differences in certain areas (say physical description or personality) does not negate the ability of an author to make meaningful parallels between characters. Its feels more than fair/accurate to conclude that despite their often commented on differences both stark sisters are meant to have paralells to their Aunt Lyanna as well as to both Ned and Catelyn and most significantly to eachother!!!

Do you think Sansa is connected to the winter rose and lyanna? As in do you think there are meaningful parallels going on ?

I don't think there are intentional parallels between Sansa and Lyanna. Ned flat up says a) that Arya reminds him of Lyanna and b) Arya and Sansa are very different people. Ergo, Sansa and Lyanna are unlikely to have been similar in personality.

But that doesn't mean there isn't anything useful in comparing the two anyway. The intersection of patriarchy, feudalism, and the desire for romantic love obviously features in both their stories. Because the author's built a solid world and explored these themes consistently, there's more to his work and his characters than he might initially have intended. That's the merit of the gardening approach - it grows.

[here-for-a-good-time-hopefully]

I honestly have so much respect for Andromeda it’s insane

Because I don’t think I could keep living if most of my family was dead and my daughter and husband both died fighting in a war they have no business being in

And then having to survive to raise your grandchild alone because the only other parental figure in his life is an 18 year old kid who just came back from the dead and clearly has unprocessed trauma

[incorrectskyrimquotes]

hello ive been bedridden for like three days now so i was messing around w this picrew, here r some ideas for my other doomed prisoners (the protagonists of the other mainline games)

Talyn, The Eternal Champion

Izath, The Agent

my Nerevarine, who is not yet named bc i cant think of anything and is just "Nera" wherever i mention them in my own notes and im probably getting attached to that as a name

Cornelia, Hero of Kvatch

[widevibratobitch]

Ok, drop your favourite characters and ships from the Three Musketeers, queen. <3

the answer is pretty simple actually <3

Aramis is my babygirl, my murder kitten, my favourite little princess, my rotten soldier, my sweet cheese... truly one of the characters of all time. to me. and he ages like fine wine - the older, the more cruel and ruthless and cunning and evil he gets, the better.

im a die-hard Athos/Aramis truther 🙏 i also adore the whole thing Aramis and Madame de Chevreuse have going on, especially their fucked up little divorce in the last book, it's insane and i'm obsessed with it. I do also think Aramis and d'Artagnan are long overdue for some quality hatesex sesh! and none of these are mutually exclusive, the opposite actually. basically i live for and breathe the entire d'Artagnan/Athos/Aramis/Marie drama. it's everything to me <333

[captain-noir]

my biggest hot take is that the fandom does a lot of heavy lifting, as fandom wont to do, when it comes to many of the pairings and dynamics in the vc series. fandom perception of a thing isnt the thing in actuality yknow 

[merkerlerspeaks]

Zodi/Celeste/Raine is somehow both my baby and also the girl my inner little weird girl looks up to so much she adopts parts of her as her personality

[kyseya]

Ancient Mummy

Imagine working as an archaeologist for a museum. However things hasn’t been going so well lately and there are hardly any visitors during opening hours. Sadly, you’ll be forced to close multiple exhibitions and if conditions are not met, the entire museum might have to shut down.

But by some miracle, a new tomb has been discovered in Egypt; undisturbed, unexplored and completely untouched by humans for centuries. It’s said to be the grave of an ancient king- a pharaoh- who was betrayed and murdered by his own cousin.

It’s the perfect opportunity! Maybe you’ll find something that can bring back interest and by extension, save the museum.

You go along with a few other colleagues to the site in Egypt. The journey was a bit tough but it was a hindered percent worth it. With avid curiosity you explore alone and with the others, the different things to find inside the tomb; artifacts and additional discoveries. It’s all very interesting. Wanting to save the best for last, you finally get an in-person look at the grave itself- the sarcophagus.

You have already heard the main tale of the pharaoh within, so you are a little surprised that there is more to the story than you previously believed.

Over the entire stone coffin were multiple hieroglyphs, each one helping and becoming a story together. Your collegue read some inscriptions and told you a basic summary of what it’s about.

Centuries ago there was a king. He had a wife whom he adored more than anything. She was provided with riches, glory and honour. There was nothing he wouldn’t accomplish for her. The people saw the care he held for his wife and therefore both respected and feared her as well, since any ounce of rudeness might end up with their heads spiked on a pole. It was a punishment fitting for those who dare disrespect his queen.

Unfortunately tragedy struck- a disease, more specifically. It took the lives of many and left whole villages empty. That hardly mattered to the pharaoh though, all his focus went to his ill wife; she, too, had been snatched by death. Up until the moment of her demise the pharaoh spent all day and all night at her side, attentively worrying about her needs. When she was gone he was ruined. He didn’t eat, he didn’t sleep, he didn’t even have the energy to clean himself. What was the point? His beloved was gone so there wasn’t really anything left for him.

It was after this that everything took a turn. It appeared that the king had enough with laying around and decided to do something. There were records of him behaving strangely- even by ancient standards- and drabbling in dark magic. He was later overthrown by his brother, who ordered him to be buried alive. It was quite the terrifying penalty go give one’s sibling. The brother didn’t want the darkness to spread out into the world from the old pharaoh, so he locked him inside the sarcophagus and sealed him far away.

What a tragic story, you thought. Well it was back in the old times and a lot of things were practiced then that aren’t okay in modern day. You suppose it wasn’t the most horrible incident that have happened.

It hadn’t been long since your colleague told you the backstory of the tomb and its inhibitor, but now the others wants to get to the good part and open up the stone coffin. You don’t think it’s the best idea in the world- of course something like this needs to be examined closely and so on, but there is something special about the tomb.

Ever since you’ve arrived, you have had a strange feeling following you around. It’s hard to explain. You feel almost drawn to the sarcophagus or perhaps it’s because it feels as if it is looking back at you. You tried ignoring it, however, the feeling came back stronger than ever the moment the others began preparing to open it up.

You should have told them of your concerns. If you did, then maybe this wouldn’t have happened.

The first few seconds after opening it everything was fine. All was as it should be; people flocking around to see the discovery and fawn over it while being mindful of its fragility. Then it changed. Your colleague who had been the closest had suddenly been strangled by the thin, dirty arm belonging to none other than the ancient corpse that previously had been resting in death. Everyone was silent as her face turned blue from the lack of oxygen. It was only after she fell to the floor dead that people began panicking. It was hard to process what had just happened, after all.

There was chaos.

Folk ran around like chickens fleeing from a fox that’d managed to get inside the coop. In a way, that was exactly what was going on, though. You had watched as the mummified corpse sat right up and climbed its way out of the cold coffin. It stumbled on its bony legs and quickly found a cornered man and approached him. He screamed when the mummy grabbed ahold of his face and brought it before its own. The creature started sucking the life out of the man- literally.

The man who had previously been a healthy and active person was now shrivelled up like a raisin. His face was dry and wrinkled. He died soon afterwards, only a soft wheeze leaving his lips as he passed.

The opposite seemed to happen to the former-corpse, though. It attacked more and more people and for every kill, it appeared to revert to its original state- a man, pharaoh of an ancient kingdom. The flesh grew back and filled up in the right places and he seemed human again.

How can that be? He had been dead for centuries. Although, just about everything was pretty fucked up in this moment, so his make-over is the least important factor.

You backed into a corner. Your eyes followed the mummy’s every move, it was impossible to look away. There was hardly anyone left apart from you. The one person that was still there was getting attacked by the monster and it wasn’t long until they were reduced to nothing.

Now it was just you and the creature, and it appeared it knew that too.

It turned to look at you. The mummy had now completely reverted back into a man and he was nothing short of breathtaking(and very naked, but you tried not to think about it). It pained to to admit it but it was the truth. He was easily the most handsome man you’d ever laid eyes on. His long, dark hair flowed when he stalked towards you. Despite his outer beauty, you couldn’t forget what you’d just witnessed him do.

Trembling, you pressed yourself against the wall. “Stay away.” you weakly mumbled.

‘This is it. My time is over.’

You closed your eyes in fear and braced yourself for the pain that would undoubtedly come; only it didn’t. Instead of death, a hand grazed your cheek. It was a light touch, one reserved for something valuable and fragile.

A raspy voice talked, “…My love..it is you..”

You had no idea what he said, it sounded like an ancient language. You had studied hieroglyphs but did not know anything about what speech might’ve sounded like. You decided to be brave and slightly opened your eyes.

The mummy was staring at you, but there was no malice or hatred in his expression. In fact, the only emotion you could find on his face was amazement, shock and….love? No, that can’t be. This is not some ‘lovers reunited’ situation.

“How can this be? Death took you and left me all alone- not that I hold you accountable, of course. I know you would never seek to hurt me.” the mummy kept muttering to himself. “Perhaps….the magic worked after all?”

His face brightened and he smiled gently at you. Whilst he happily went on about something, you became more confused than earlier. What the hell was going on? He committed multiple murders in one swoop and now, suddenly, he is acting like you’re friends talking about your day. He isn’t even human! Or at least not anymore, not really.

You voiced this opinion weakly, “Ummm, could you let me go?” You tried pulling away from his touch, uncomfortable at his caresses.

His brows furrowed at your reaction. From the look of it, he didn’t understand you any better than you did him. He focused at the subtle way you attempted to peel his hand off your arm. You let out a yelp when his arms snaked around your waist and he pulled you into his embrace.

He leaned down and whispered into your ear, petting your hair at the same time. “Wife, why do you seem unhappy at my presence? I do not understand. Are you not joyous at our reunion? I love you so, I cannot comprehend any reason why you would not wish to see me.”

Even if you didn’t know what he was saying, you could hear the sadness in his voice. The pain and desperation. No! You couldn’t feel sad for him. He had murdured multiple of your colleagues, he’s evil! Although, why hasn’t he killed you yet? It’s very strange indeed.

The mummy continued, “I can sense things are not as they used to be. Things are different now. Although I do not know the extent of it. However I am most certain of one thing; I have miraculously been reunited with my love and I do not plan on letting you fall through my grasp again.”

He held you in an almost suffocating hug.

“I shall make you my queen once more.”

[jonsnowunemploymentera]

We don’t appreciate enough how GRRM made House Targaryen the poster children for his de/reconstruction of the fantasy chosen family trope, and we don’t appreciate how Jon and Dany are the main lens through which he does that. House Targaryen is fantasy on steroids—magic swords, magic look, magic lineage, perhaps the most magic pet one could have in the genre, and a magic destiny that’s specific to them and only them. There’s a foretold magical conflict and its main hero (as many would think), “the prince that was promised”, specifically has to be a Targaryen. This House’s history is so rich, but from a genre perspective, it is Aerys II’s reign and Robert’s Rebellion that’s the most interesting to analyze. Aerys isn’t special himself, but he is to sire the future savior of the world. Then Rhaegar is born and tragic as they are, all the signs point to him being the promised messiah. And Rhaegar becomes THE fantasy hero on steroids. He’s the perfect heir to House Targaryen’s legacy because not only is he to be the best of them, and many think he would have been had he lived, but he is the most perfect manifestation of House Targaryen as the personification of fantasy. There’s absolutely a point to him living and dying as the heir, the inheritor, the eternal symbol of what could have been of the Targaryen’s old glory.

Part of Rhaegar’s legacy extends to his son Aegon. Aegon had everything Rhaegar didn’t. A comet was seen at his conception—and this is an most important herald for the chosen one. So he is given a song, “the song of ice and fire”, and a king’s name to match his status as the new messiah. He didn’t live long but he inherited Rhaegar’s look in his youth too; the fantasy protagonist look. But Aegon died before he could be the hero.

You see Jon and Dany as chosen ones only works so well because of their House’s history, especially as (anti)parallels to Rhaegar and Aegon. They are the unexpected inheritors and challengers to their house’s legacy but in different ways.

Dany is the most immediate and obvious heir. There’s a beauty to her being the last of them and thus, the one bearing the entire house’s legacy. Dany is THE Targaryen. And in being that, she becomes THE hero. She’s got the hero’s look, the hero’s magic and destiny, and better yet, she got the hero’s sword and pet all in one. And, she’s legitimate! She is House Targaryen. But there’s a problem….shes a girl. And we all know House Targaryen’s history with girls.

Maester Aemon’s “no one ever looked for a girl” is quickly becoming my favorite Dany-related quote because it pretty much encapsulates her entire arc, especially as an inheritor to her house’s legacy. The hero they died knowing and expecting was the boy: first Rhaegar, then Aegon. But father and son are dead. Yet Daenerys lives. She inherits everything else they did and more! The Targaryens tried and failed to bring dragons back, but it was Dany who ultimately did it.

Now, Jon is Dany but flipped. From a meta point of view, he’s more fantasy protagonist than she is. He’s a boy, he’s got a big magic sword that he can swing about, and he’s perhaps fantasy’s most prolific trope in action—the magical hidden prince. But within this story, GRRM flips these two characters. Jon’s fantasy protag-ness doesn’t go away, it just morphs into something else. Unlike Dany, he may be a boy and he may have a sword, but he lacks literally everything else. He doesn’t have the look, his magic powers are from his other family, so is his magic pet, and his magic destiny has thus far developed outside his immediate association with House Targaryen. Dany is “what if Rhaegar was a girl?”, but we can’t even begin to ask these types of questions with Jon because there’s so much that precludes him from the fantasy hero role in story. He’s Rhaegar’s heir…but he doesn’t look like him…and he’s not even legitimate. So what do we do now?

GRRM destroyed his fantasy protag house and decided to build up again from the ground up, but did so by challenging the two most critical points—primogeniture and exceptionalism. With Dany, he makes a girl the Targaryen’s outward successor. This works really well because the Targaryens have a history of denying their female heirs. But now what’s left of them is a girl, and she is literally everything they could have hoped for. And she is a a reflection of her house, but her arc has at many times seen her be the antithesis of her ancestors. And I can’t help but think of the oncoming meta-textual showdown between her and Young Griff. On the surface Young Griff, a boy, is the preferred heir. But Dany is, in truth, the one.

Jon is interesting because, in my view, he challenges the Targaryen idea of exceptionalism. He’s easily the fantasy protagonist from the outside looking in. But he doesn’t have the Targaryen name, nor does he have the look. He has the blood, but what makes him special is that it is mixed with the other major fantasy protagonist house’s blood—he’s special in that he’s a hybrid. And this is interesting because if Aegon conquered the seven kingdoms because of a prophecy regarding him or one of his princely descendants, it’s quite the twist to have this messiah not even be a Targaryen prince (not in name anyway). That’s why all the hand wringing around “is Jon legitimate?” or “no one cares because he doesn’t look like Rhaegar” really isn’t the point. The point is for Jon to be the manifestation of the hero—the king—outside of that narrow framework. And if he succeeds, then GRRM would absolutely still be subverting prophecy and genre conventions.

There’s something to Jon and Dany being born as or after House Targaryen falls. House Targaryen has no crown, no throne, and their prophetic mandate has been usurped. But GRRM is so attached to them, and he certainly wants to rebuild them and hold fantasy to account. But to do so, everything we know about the Targaryens, everything the Targaryens knew about themselves, has to be challenged and put to the test by the personifications of all that a Targaryen hero couldn’t be: a girl, and a bastard.

[flawseer]

Your thoughts on the wof characters have been really interesting and I'd love to hear your take on Starflight (your assignment of him being the 'designated sufferer' of arc one is both hilarious and tragically accurate). I've always liked him, cowardly though he is he still acts when he really needs to and the dynamic between him and Tsunami is super fun (the whole outwardly combative but inwardly just wishing to be as strong/as smart as the other).

I like Starflight and I relate to him a lot, as a fellow chronic worrier who annoys his friends with constant blathering about stuff only I find interesting, and often finding myself paralyzed in the face of decisions.

It’s funny how the story puts forward a black dragon, which in media are usually portrayed as mysterious, ambiguously malevolent harbingers of doom, and makes him into this adorable dork.

He’s also the plot’s chew toy, which I am at times less enthusiastic about. Especially when jokes are made at the expense of his misfortune.

Wings of Night and Sea

Starflight’s and Tsunami’s friendship is very engaging because, in a sense, both of them complete each other. For each, emulating the other serves as their last resort when faced with a personal crisis. Whenever Tsunami encounters a situation she cannot overcome with her usual blunt and direct approach, she asks herself how Starflight would resolve the situation. When Starflight becomes overwhelmed and too scared to move, his mind conjures an image of the strongest, bravest, most unstoppable thing he knows, which is Tsunami. Though either would be reluctant to openly admit it to each other, they both rely on each other’s strengths to cover their own weaknesses.

Through this you get the sense that, while their opposite personalities annoy each other to no end—if you locked both of them in a room for three hours, they’d be strangling each other when you open the door again—at their core they have only the deepest respect for each other. It becomes especially apparent when you realize that both of their stories in their respective books have them compare themselves to the other unfavorably.

If these two ever did a DBZ-style fusion dance, the result would likely be one of the most capable and balanced characters in their series.

Starflight's misfortune

CW: Discussion of blindness

One thing I have noticed (and have alluded to a lot in previous posts) is that the plot really likes to kick Starflight in the teeth. His own story arc puts him through the wringer, but he is not even safe in the two arcs past that, where he is largely out of focus. Most of the things that happen to him in arc 1 seem to occur for the sake of the story, but past that... it sometimes feels to me like the world has it in for this guy.

I started writing a list of every bad thing that happens to Starflight over all three arcs, but it got way too long, so now I’m just going to talk about a few select things instead.

One thing that stands out to me is that every other protagonist in arc 1 gets a specific moment. That kind of scene where they enter their tribe’s biome for the first time or connect with a particular part of their culture/physiology, and are overcome with a sudden burst of euphoria or deep resonance with their own nature. Clay gets it when he submerges himself in mud for the first time and then later again when he finds his siblings, Tsunami when she sees and smells the ocean, Glory when she’s in the rainforest and feels the sun, and Sunny when they go through the magic tunnel and end up in the desert. Starflight is the only arc 1 protagonist who doesn’t get a moment like this; when he enters his tribe’s home for the first time it’s a giant craphole that makes him feel upset. It only gets worse from there.

Then there is the big one; the misfortune that happens to him at the end of his book. I struggle to talk about this because... uh... How do I put this?

I opened this post by saying I relate to Starflight on a personal level. I wouldn’t consider myself as studious or well-read as him, so it’s not a direct comparison, but I do like to draw, write and dabble in visual artistry. This is a major part of my life; how I define myself as a person and what I think makes me “me”. The thing about this though is that all of this is tied up into one thing: my sense of sight.

It follows then that what ends up happening to Starflight is the realization of the one thing I fear the most. Thinking about the possibility of losing ones sight is deeply, personally horrifying to me. It messes me up internally just to consider it happening to me.

This, the subject of becoming blind, is a very difficult topic for any story to properly engage with. There are many pitfalls you can fall into and come off as insensitive, or ignorant. The way Wings of Fire deals with this subject is to... well... it doesn’t really. Starflight is blinded and then the story skips over most of his reaction to it because the next POV character gets separated from the group while they sort it out.

In a way, this is a good thing. I don’t know how this series—which often rushes through these really uncomfortable, harrowing events—would be able to show a realistic reaction to this development. Like, losing ones sight would be a horrifying prospect for anyone, but for Starflight especially this completely uproots not only his entire life, but his sense of identity. Everything he likes doing, everything he is and wants to be in life is rendered virtually impossible by this.

Consider who Starflight is. He is a thinker, and a worrier who is always inside his own head. He dreads and fears, he seeks out worst case scenarios, I daresay he is inclined towards pessimism. Whenever his neuroticism gets him too stressed, or emotional, or worried, he has one immediate response: bury his nose in a scroll. When he arrives in a new place, he usually asks where the scrolls are at. When he is under threat of being abducted or attacked, his first instinct is to go grab his scrolls to keep them safe. Like with me and drawing, reading is how he unwinds, how he balances himself. It is what keeps him sane and functional through dealing with adversity (and he's Starflight, so he deals with a lot of adversity).

Then this happens to him, and suddenly the one thing that makes this poor, battered boy happy, the one thing that never hurts him, is taken away forever. If I was in his place, if I learned I was suddenly blind, I would fall apart. I would cry, then scream, then cry AND scream and probably flail around in a panic. Clay would have to hold me down and restrain me so I don’t end up falling off the platform in a frenzied fit. Or worse.

So yeah, I get why the plot had to look away. Seeing this happen to Starflight—him going through this kind of anguish and then sinking into quiet despair as his world crumbles around him—would have been heartbreaking. In the end, we go on Sunny’s solo adventure and when she returns Starflight is already conveniently past the screaming fit phase and has adjusted to his new life circumstances—enough to talk and joke as if nothing happened. He then goes on to dedicate himself to bringing the wonders of literature to other blind dragons, which is a noble goal and good trajectory for his character—even if it’s a bit abrupt and I would have liked to SEE him do that instead of just being told.

Anyway.

This next one isn’t as notable because it doesn’t happen TO him, but I want to point it out to back up my claim that Starflight Ls can and will happen even in story arcs that have very little to do with him. In book 6 Moonwatcher and Darkstalker have a conversation where they discuss the concept of Nightwing powers and how they relate to the moons. The story very pointedly draws attention to the fact that Starflight nearly was born under three full moons and would have become the most powerful Nightwing of his generation if his inept caretakers had not decided to hatch him underground. While I don’t think getting these powers would have been good for Starflight in the long run, it is a bit sad considering he spent most of his childhood thinking he was born wrong because he didn’t have powers, and then Morrowseer further gaslit him about it throughout the arc.

And then we don't talk about what happens in arc 3. I am not the right person to discuss it.

My take on Starflight

I was asked to give my take on the character, so...

I already went into how I think he’s very introspective and prone to worrying. I see him as an introvert, which is something he has in common with Glory, and contrast him with Sunny, Clay, and especially Tsunami. He enjoys reading but also other activities where he gets to use his brain. He likes puzzles; I imagine he got very excited when they had to figure out the murder plot in book 2, or when he caught Blister in a lie. If he had a computer it would be full of adventure and puzzle games, and he’d hog the resident DS to play the Professor Layton series all the time.

When they found the academy, it is implied he teaches a literacy course and gives out writing assignments. That is right up his alley, but I’ve always felt he also has strong math/natural science teacher vibes. There should logically be a numbers class at that school and I can’t imagine any other character who would be more suited to teach it.

If I were asked where I would make changes to his story, I guess I would nix the part where he and Fatespeaker hook up in book 5. I have nothing against their relationship, it’s actually grown a lot on me over time. But I never liked how it started. Starflight gets rejected by Sunny and then immediately hooks up with Fatespeaker. This is really undignified for her because it takes their potentially intriguing romantic relationship and turns her into Starflight’s “rebound chick”. You really need to give yourself some time to move on from your previous attraction; rushing like this creates doomed relationships.

The original story implies that about half a year passes between the end of arc 1 and the start of arc 2. I like to pretend this gap is actually a bit longer, by like 2 or 3 years. It gives the old protagonists a bit more time to settle into the roles they’ll occupy during the next arc, and makes it more plausible to me that they could build and outfit an entire school, write the curriculum, designate roles, etc..

In that time, with things being more calm now, Starflight has opportunity to get lost in his own thoughts again. It turns out, now that the dangers of the war are no longer distracting him, he finds it difficult to cope with his blindness and sinks into a depression.

While this happens, Fatespeaker is there with him. She sees his condition worsening by the day, but refuses to give up on him. She reads to him; they talk, and they bond. Though serious self-searching and hard work, together they manage to pull out of the darkness eventually. This is how their relationship starts, and it’s also how Starflight gets the idea to invent the dragon-equivalent of braille.

Somewhere during that time, I also imagine Glory has Tamarin escorted to Jade Mountain so she can help Starflight adjust to his new situation and learn how to navigate his life without needing to rely on others. Perhaps this is what motivates Tamarin to attend the academy later.

What else is there to say? Hmm...

I think Starflight is really fond of hard candy. Jawbreakers are his favorite especially. Though given how prone to misfortune he is in the story, I’m hesitant to put him in proximity of anything with a name like that.

[avelera]

I feel like so much of the silly Mel vs. Viktor discourse when it comes to Jayce would be resolved if people realized that the plot was originally conceived as a basic morality play arc with Mel as the devil on one shoulder and Viktor as the angel on the other for Jayce.

The bones of Jayce's plot in Season 1 is of a good-guy scientist who is tempted by the allure of politics and fame, with a beautiful femme fatale politician seducing him towards power on the one side and his humble 'brotherly' relationship with his scientific partner representing Jayce's 'true self' that he is drawn away from by her machinations. It's a very, very old school, reductive, male-centric plot that literally boils down to "bros before hos".

It even makes sense for S2, with Jayce overcoming his corruption arc in S1 and returning to his "bro" only for his prior sins to tragically launch Viktor's own corruption arc as the Machine Herald only after Jayce has learned his lesson.

And then the Arcane writers and Fortiche subverted this plot. Here's how:

They made all three characters multi-faceted adults with their own agency and motivations. None of them are puppets for the others or, if they are, the time one character spends controlling the choices of another becomes part of that controlling character's sins that must be atoned for (namely, Jayce resurrecting Viktor against his will, Mel manipulating Jayce against his will, Viktor trying to control everyone against their will).

For example, they made Mel complex and interesting and a good person in her own right. Yes, she still has elements of the beauty, danger, and allure of a femme fatale but by making her her own person with her own plot and motives, none of which are malicious (at most, they are self-serving until she changes her views on Hextech and how best to bring peace to Piltover).

Jayce is still torn between Mel and Viktor but he also fully has his own agency, as many are quick to point out. He is often dragged around by the manipulations of others too (Mel yes, but also Marcus, Vi, and Ambessa influence Jayce into bad decisions). Part of his arc is learning how to be true to himself and his own goals after his time spent in the Anomaly future. But, even there, you can still see the bones of the original morality play arc, where the "Good Ending" for Jayce is to go back to his lab partner "bro" and bring both of them back to being true to themselves.

Viktor isn't just helplessly standing by while Jayce ignores him. In fact, Viktor often deliberately cuts Jayce out of his experiments. He doesn't tell Jayce about the Shimmer, or the self-experimentation, or even about Sky's death until after Jayce resurrects him with the Hexcore. Viktor has agency, he has his own goals, and while he frequently chastises Jayce for abandoning their shared dream in what I believe is another hint of the bones of the original morality play plot, he also has his own flaws and his own journey to go on independent of Jayce.

Much of the silly bickering I see between Mel and Viktor fans comes down to who "deserves" Jayce, who is "erased" by not ending up with Jayce, whether or not Mel is manipulative, or if Viktor thinks about Jayce at all when he's busy pursuing his own goals, and I think all of those are absurd arguments.

Mel is manipulative, it is part of the bones of the morality play plot that has her as the antagonist, but they made her so much more than that, that I think it's an active disservice to the character they made to reduce her story down to whether or not she ends up with Jayce. I get why people get hung up on it, because I do believe it's the core of the first draft of her plot, but the richness of her character comes from moving beyond that. Indeed, in S2, the least important part of her character is her relationship to Jayce. She has her own stuff going on.

Whether or not Jayce is a victim of manipulation or whether or not he pursued power for its own sake is also showing an understanding of the basic, core plot they built the richness on top of. Jayce was seduced by Mel's manipulation and he did grasp after power, but they enriched his character by making his goals more noble and more tragic. He's always trying to fight for Viktor, for Hextech, for their shared dream, and for making Piltover a safer, better place, but how he goes about it often makes matters worse until he learns, grows, gains wisdom, and makes terrible mistakes he arguably can never make up for fully.

Jayce also isn't fully a victim of Mel's manipulation, just as she is not fully a mastermind able to control his every move. He breaks away at a certain point and makes his own (poor) decisions in ways that frighten her and make her regret her actions, until he grows enough to recognize the wisdom in her advice (though he later grows again and recognizes the original manipulation, which leads to him breaking up with her in 2.08 because Mel's sins are still there and they are the reason she and Jayce don't have hope for a future together once he realizes he can't trust her because actions have consequences in Arcane).

As for Viktor, he doesn't like Mel. In that, I think we again see the original morality play roots, with him as the angel on the shoulder disliking the devil who is seducing Jayce. But they enriched his character by having him respect Jayce's choices even as he may have privately disapproved of them, and to have his own arc to worry about with his failing health, and his other flaws like intellectual tunnel vision/naiveté, and his tendency to self-isolate in the face of his terminal illness. He has his own stuff going on.

They also subverted the morality play arc to a certain extent by having Viktor stop being the angel in S2. Indeed, the framework more or less falls away entirely and it become Jayce trying to save Viktor from himself, and from Jayce's own mistakes of not destroying the Hexcore, while Mel is busy with her own story of politics, war, and magic.

Anyway, I hope some of this makes sense. But I think if people just recognized that yes, there are elements of Mel as a bad guy in the fabric of the story, of a story where Jayce is in a balancing act between his demons and his angels, but that good writers came in and layered real people over these simplistic plots, made it so Mel's story isn't just about Jayce, Jayce's story isn't just about getting corrupted by a femme fatale, and Viktor's story isn't just about being abandoned by Jayce, and thus elevated the trope beyond its tired-out, simplistic roots, there'd be a lot less wank.

[glitter-stained]

I always feel like a little sad seeing posts about how Jason's character is inherently tragic and that's what makes it good, how him being unloved, a tragic consequence of his own actions, is inevitable, and how that shouldn't change because any change on that regard is a fundamental misunderstanding of his character. Yes, Under the Hood is a tragedy. Yes, Jason survived and for a long time people have been pretty confused at what to do with the character that survives the tragic ending. That doesn't mean he should continue to be trapped in the tragedy, that there's only value in him as long as he's unloved. And maybe that's me preaching and being a party pooper again but the idea that the teenage-to-young adult character with a mental illness that has damaged all his relationships is doomed to be lonely and have bad/upended relationships forever, that he's only good as a character as long as he's hurting others and/or himself (and usually both) and isolated because of this... It's sad, at the very least. I refuse the presumption that tragedies are the only stories wise and worth telling.

Also I personally really dislike the idea that Jason isn't and shouldn't be anyone's favourite, because he made himself nobody's favourite on purpose. Did he make himself a villain on purpose? Fuck yeah. Does any of his early attempts at reaching out to people hurt them? Indubitably. I maintain that this is because he wants to be someone's favourite as he is, at his worst, with his hands covered in blood. And I think he should be. (Without contradicting or damaging, by comparison, the relationships between other characters, that's the tightrope we need to be weary of when making such things, of course.)

It's like this: love, in most relationships, is conditional: you don't owe your friend or your partner to continue to love them if the relationship changes, if you change, if you become violent etc. If my girlfriend started murdering puppies, I would stop loving her. Ideally, however a parent's love for their child is unconditional. That's very often unfortunately not the case, but ideally it'd be, it's really not great for a kid to have zero parents that love them unconditionally. And most importantly, it's not just about actual unconditional love, it's about it being perceived. So it doesn't matter in the debate if Bruce actually loves Jason in spite of the murder, it matters that Jason asks for confirmation of it at the end of UTH and receives a negative answer. (similar arguments to be made about Catherine loving Jason and dying of drug overdose and Willis going to jail and dying - it's the potential perceived abandonment of it that would matter, not their agency and actual love. And it's not a question of whether he would be angry at it so much as that he'd yearn and hurt for it. And of course Sheila didn't love him at all.) That's why he, upon learning about Mia and reaching previously unknown to man levels of projection*, tries to rally her with the hope that, because she's "so similar to him" she would understand him. That's why upon learning about Dick "killing" Blockbuster Jason, again projecting more violently than a bullet, Jason makes Dick into his new favourite person (god, the concept behind BiB has so much potential why did it have to suck so bad...) Anyway, Jason to me is a character with a very intense, very overwhelming conception of love both in who he loves and how, who struggles to understand that other people love and show it differently, and it makes so much sense for him to keep looking for a person who will love him unconditionally (something that's both very rare and not necessarily healthy since, again, most relationships aside from parent-child relationships do not and probably should not include unconditional love). This is particularly interesting in the context of him having bpd (again, using bpd because i'm focusing on the interpersonal dimension that's been mostly studied within that frame) because BPD often functions around a vicious circle of "is afraid of rejection/abandonment -> does maladaptive behaviour in attempt to prevent rejection/abandonment OR protect oneself by being the one to leave first" which is what leads to the instability in relationships. It's a doomed prophecy: i have maladaptive patterns that make me think my girlfriend is gonna leave me at any time, I keep demanding to see her phone, assuming she's cheating everytime she leaves and thus demonizing her even though I was glorifying her five minutes earlier" then she's going to leave me, which is gonna reinforce my thought pattern that everyone always leaves me. But that also means that in rare instances in which the other person in the interact, for whichever reason, sticks around through that, then these incorrect thought patterns begin to change through the sheet logic of extinction: if i think that people always leave me because of something fundamentally wrong with me and people don't leave then eventually the idea that people are doomed to abandon/reject me is going to lose its power. That's, btw, an important part of why therapy works.

(*that one's a joke, btw. He's not projecting onto mia and dick to levels impossible to mankind, just pretty intensely. Very human levels of projection, might I add'. Just to clarify.)

Now, be mindful: I'm not saying make Jason an abusive boyfriend. I'm not saying put him in a relationship where the other stays because they're afraid of him, that's not unconditional love or acceptance that's just fear. Of course, the ideal version of it would be Jason goes to therapy but because dc hates me specifically this is never gonna happen, but imagine him being in a relationship, romantic or otherwise, with someone who is as intense and "unwell" about him as he is about them. I'm not saying it would fix him (again, get him so goddamn therapy jfc) but it would change him. And just as it doesn't have to be healthy it doesn't have to be tragic.

I was asked a while ago my thoughts on Jason's current stagnancy as a character and if I thought he could become interesting again, and I said yes and talked about the directions I dream would be explored with his character and their potential. My answer hasn't changed, and it's completely compatible with this, but I will add: I think Jason as a character has largely and for long enough been defined through his yearning to be somebody's favourite, and that if you want his mode of interacting with others and dynamic with different characters to change then this is a very logical way to do it. And it would make a lot of sense for it to be the catalyst for other changes in his character (ie in his name or philosophy).

Get that boy into a super intense long-term codependent situationship, is what I'm saying. Please.

[ficandkaboodle]

Analyses of Most Ghost Characters be like…

Terzo was a tragic and extremely deep figure who, based off observations provided by his ghouls and Bishop Necropolitis, was a brilliant mind whose ideas were bastardized and squandered, which resulted in a disappointed and bitter husk of a man who still made an effort to display kindness. However, we will likely never truly know the full story of who he was because he lied so damn often.

Most of how we perceive Secondo is arguably the result of Sister badmouthing him as well as ghouls being brutally candid about how he acted in interviews. However, there’s reason to believe Secondo might’ve been just as multifaceted as Terzo, in that he wasn’t being his complete self to the audience. There’s evidence that could suggest Secondo did not enjoy being Papa in its entirety so much as the perks, which were ironically also hindered by him being Papa at the end of the day. It’s not hard to interpret him as someone who might not have enjoyed being a part of the bloodline at the end of the day because of what it meant he had to sacrifice.

Copia is a manchild, likely as a result of how he grew up: Orphaned, likely a social outcast, very likely undiagnosed. As a result, he might’ve become convinced that the only way to rise above it was to become someone worthy of adoration: Papa. But even after he ascended, his troubles didn’t stop: He had to learn his parentage, didn’t address the fact that his brothers were now dead, and spent the last few months he had with the woman he now knew was his mother dissociating because he developed a fear of death. This fear, mind you, that easily ties back into the theorized likelihood that he placed his self-worth into his success. And this is before getting into his willingness to be a puppet —

Papa Nihil’s complexities come in the form of his tendencies to escape reality and the consequences these brought. He was very likely an absent father, which would have had effects on his sons (say, attention-seeking tendencies; a distrust in authority; abandonment issues). In fact, the only things he seems to seek from his youth is his extremely short-lived music career and his unstable relationship with a woman who ultimately kept quiet about their son(s) they conceived together and ultimately played his lust and delusions against him to play nepotism. And by leaning into this, he got his own children killed. He only “became a father” after he died, and it’s sad that he actually seems his most lucid then. What’s all the more mind-boggling and makes you wonder about his tenure is his ability to be in the moment and try and convince Cardi to learn to do the same. It makes you curious: Was Nihil actually a good Papa when he wasn’t distracted?

Sister Imperator is willfully emotionally constipated and will justify it as being “for the good of the church”. She has definitely been affected by her decisions and what she’s done, from her relationship with Nihil to her giving up her babies and watching them at a distance, only interacting from a work standpoint. She lies, keeps secrets, has people killed off, all to tie her spawn into the position as Papa, which is curious considering her position means she’s already above the station of Papa. She does care about Cardi, but she doesn’t care for him the way he needs to be and, as a result, arguably only exacerbates his anxious tendencies. She’s an extremely interesting character but it’s so easy to water her down to just being manipulative and evil.

………………

Analyses of Primo —

Primo is fucking crazy man I don’t — Like, he might be a serial killer; he would punch a panda for profit; we aren’t even entirely certain he’s human like I would legit headcanon that Primo is a changeling and the fandom would run with it because what choice do we have, he honestly actually could be!!!

[firelxdykatara]

I think part of what frustrates me about age gap discourse with respect to BTVS specifically is that framing Buffy's relationship with Angel as 'grown man preys on teenage girl' requires that you ignore everything about the context of the show, the context that their relationship occurs within, and also what it means for both of them as characters and for the show as a whole.

It's also just like, really boring?

Like before you get to any of the story reasons why that's just a stupidly reductive analytical framework, you have to start with this: in a story aimed at teenagers, the fantasy is of being special and desired by a sexy immortal, and because the story is aimed at teenagers, the main characters are (or start as) teenagers, since the coming of age narrative that underpins everything else doesn't work without it. Hard to tackle that transition from adolescence to adulthood with a main character who begins the series as an adult!

(And it's not as if coming of age stories for adults don't exist. Phoebe Halliwell is a very good example--unlike her older sisters, she starts off unemployed and kind of adrift and desperate to find a purpose, which she ultimately does as a witch and a Charmed One, and all of this is done while she, as the youngest, is in her early twenties at the series start, because the show is primarily aimed at adults.)

And the thing is, Angel isn't just some adult man preying on a highschooler for kicks because he can't find women his own age. As Angelus, he spent well over a century enamored with Darla and committing wanton slaughter and destruction by her side. As Angel, with the exception of Buffy, all of his love interests are adults, and his love for Buffy is not tied to her youth, innocence, or naivete, considering that it links and binds them so completely that they keep crossing in and out of each other's lives through the end of Buffy's show, with the door explicitly open for a future relationship once Buffy's finished baking.

What draws Angel to Buffy--and what makes their relationship so dangerously compelling and also ultimately spells its downfall as, within the text of the show, it is explicitly a tragedy--is the fact that she's the Slayer.

That's the key point--her status as the Chosen One! He is drawn to her (as all vampires are, to a greater or lesser extent, but it's no accident that her only other truly earth shattering romantic relationship in the series is with another vampire) because she's the Slayer, and because of the soul he was cursed to bear and the guilt he feels for the evil he committed as a vampire, he wants to protect and save her as part of his atonement. He falls in love with her because she brings light back into the darkness he has been cast into since being forced to bear a soul even as a monster. And he would be 241 years old whether he was turned as a teenager and could pass as one of her peers or turned at 26 (the show is inconsistent on the age at which he was turned and it really doesn't matter, since the buffyverse never tries to pretend vampires are 'frozen' at the age they're turned anyway), and yes, part of what is darkly compelling about their relationship is that the age difference is obvious (Sarah Michelle Gellar was 20 and David Boreanaz was 28 during season 1), but the reason Angel being an 'older man' is never considered super relevant (aside from a few lampshades) is because... it really isn't.

The important thing, the critical thing, the thing that matters in the context of their relationship is that Angel is a vampire. That's why when Angel pulls out his 'I'm 241, you're 16' spiel it rings so hollow--because that doesn't really matter to either of them and he knows it. He's trying to push her away because it's the only way he can really protect her, and even then it doesn't work, and they all suffer for it horribly, Buffy most of all. (And even then she can't stop loving him, nor he her, and that makes it all the more tragic when he realizes the only thing he can do for her is leave.)

Also, it really throws into sharp relief the fact that people care so much about Buffy being a teenage girl when it comes to her romantic relationships but not at all when it comes to her being fated to die. Something the show itself is also quite critical of, because that's part of the point--being the Slayer is an awful burden that none of them have ever had a choice but to bear, and Buffy was supposed to die at sixteen years old. The only reason she survives is because she broke the rules by trying to have a normal life in addition to being the Slayer, which is the only reason she has friends to help her and save her, and I'm supposed to look at all of that and care that her broody vampire bf was a 'grown man' when he was turned? Really?

I don't think so. You can't just be willing to take what the show says for itself at face value when it comes to all the fighting and killing and dying but then balk when it comes to sex. That just doesn't work for me. (I mean, you can, and a lot of people do, but it's frustrating, hence this post.)

[rootspiral]

Agatha All Along deep dive: episode 9 part 2

(Wandavision entries: [1][2][3])

(AAA entries: ep1 [1][2][3][4] ep2 [1][2][3][4] ep3 [1][2][3] ep4 [1][2][3][4][5][6][7][+1] ep5 [1][2][3][4][5] ep6 [1][2][3] ep7 [1][2][3][4][5][6] ep8 [1][2][3][4][5][6][7][8][9] ep9 [1][2][3][4][5][6])

I'm glad nicky came up with a cool new tune because according to period movies and shows greensleeves is the only song anyone ever knew

look at that meek little smile, ughhhh. nicky is like two days old and this asshole has already figured out he's the perfect prop for her murder sprees. and these poor women are calling her sister and are willing to help too.

the spell is te accipimus in circulum, we accept you in the circle, and yes that makes me cry a little. we accept you in our community. and the spell is yellow air magic, which sounds like the most empathic kind if Lilia is any indication.

that's interesting, you can't really tell that well from screencaps but go rewatch the scene, this witch is making mushrooms grow with yellow magic instead of green?? is it just a spell (she is holding a book) or have I been getting it all wrong and color has nothing to do with the type of magic one has?

or maybe??? the color depends on the coven you're in?? the salemites all had blue magic for example. and now that I think about it the stone circle is a protection spell but it's not red/orange.

the meaning of this scene is so glaring dear lord. agatha was never going to give these women a chance to prove that yes, there are people out there who could love and help and accept her. she has shut herself up to that possibility a long time ago.

and she stole the soup too. awful.

I've seen all the different theories about nicky needing to feed on witches too, or nicky needing soul sacrifices to survive because he's the son of death etc. we don't have enough evidence to prove anything yet, but personally I headcanon nicky as a totally normal kid, that makes this story even more tragic.

and aww that baby suckling on the little pudgy fist

nicky doesn't look that happy about what he's been asked to do, does he?

we establish that nicky was sickly (maybe he was born with some internal defect that rio temporarily patched up?) we also see him steal the bell agatha will use for her Road scam in the future.

and we meet yet another witch being kind and wanting to help.

agatha: I love this six year old so much I'm gonna make him accessory to murder

dO yOU ShaME YouR MOtHER

and the big fake gasp too. as usual this bitch has conned a whole community

like, she's convinced herself that other witches are bad and are after her WHILE relying on witches's good hearts to con and kill them. what sort of mental gymnastics???

color goes from yellow to purple. nicky waits outside while his mom commits murder, it's not a good look on agatha. completely fucked up, actually.

(I'm terrified that the goat will end up being an agent of mephisto or something idiotic like that, lemme tell you. I hope they're just keeping it for milk and company.)

and here's the million dollar question. nicky has seen his mom kill literally since he was born, and now he's old enough to start realizing what that means.

oooh I know that look, that's agatha when she's put on the spot. she avoids his gaze, she can't be sincere with him.

and of course she's teaching herself spells from a book. nerrrrrrd

nicky, bless his soul, appears to give it a good thought and then offers a practical suggestion. I guess he wouldn't mind to have a roof on his head and some friends too.

GREAT acting from kathryn here. the quick OH SHIT face followed by the super final NO, with her jaw so rigid. in typical agatha fashion, when she's upset she becomes avoidant.

this is evanora's legacy. despite agatha's immense love for nicky, she is passing all that pain down and inflicting it on him.

remember when she called billy a survivor? this is the greatest asset in her opinion, the one she wants to teach her son. the truth is, she is angry at witches because she is scared of them, she's scared of being targeted again. but look at that kid's dark circles, I can't believe she's making him sleep in the woods, sick as he is!

really really fantastic subtlety. agatha wants to sound wise and strong, but she looks scared, uncertain, guilty.

see how nicky looks at agatha while he sings? he's checking to see if she's noticing, because his mom likes music and likes his voice. he's afraid he has upset her and wants to make her smile. he tried to reason with her, and now he tries to soothe her. this is what happens when you have an immature parent, a child will want to help, they will try to fix things. they'll end up parenting their parent, and it should always be the other way round.

agatha takes the bait. she's relieved that the conversation has moved to a safer subject. but oh, this script is so good. this is a mostly innocent, mostly sweet remark, but with a possessive undertone. don't forget that you are mine, she says.

and still, the love is real. even in a fucked up situation like this, these moment of happiness are precious and genuine and will linger on. look at how adoringly nicky looks at his mom, she's literally the sun and center of his small world, and that's how agatha likes it: she created nicky because she needed someone who could be hers without any baggage or consequences. but it turns out that raising a child is not a cheat code for love, it's one of the most difficult, most significant and impactful decisions a human can make.

go to episode 9 part 3

[deathbxnny]

Hey! May i request some abyss princess lumine, Skirk and Arlecchino x Jingliu! Reader? The reader used to be from the fallen nation of khaenriah, they were a legendary figure as they were known as the strongest swordman/swordswoman of all time. Their strengh and skilled with the blade could even rivals those of gods. However after the fall of their nation they were corrupted with the abyss. However it took a different effect on them, instead of rotting their flesh. It made them unhinged and unstable as they are ruthless and merciless. However they usually keep a blindfold as a way to surpress their bloodlust. However despite all of this they are kind and respectful until they are provoke.

I really loved writing this, Anon, so thank you for the requested and I hope you'll like this!<3

Content: Angst, mentions of death, reader is unhinged, can be read as either platonic or romantic, sfw

Reader has no set pronouns.

((Not fully proofread))

》LUMINE

She pitied you, she really did. In a way, she even felt guilty and responsible for the state you were in. Lumine had met and seen you in your prime, back when you were revered as a powerful figure that reigned over battlefields with you sheer strength alone. And now, only a shell of that remains. A fragile one that's at risk of falling apart at any moment. It was tragic and yet another reminder as to why she was doing the things she did. It was important for her to prevail with her plans, if not just for you.

Your mental state was extremely unpredictable, something she learned to deal with over time. You were an even match, and that kept her bloodlust from attempting to kill her. For now, that is. She knows that she can never let her guard down around you, as much as she hates it. On most days, however, you simply calmly reminisce on a long gone past with her, perhaps out of necessity to hold onto something familiar.

Your relationship is filled with turbulent ups and downs that she always handles with ease. You may not be seeking a cure anymore to your deteriorating mental state, but she forever will look for one if it means to bring you back to your former glory.

》SKIRK

You knew each other. It's the first thing she claimed when meeting you, whilst you tried confirming it through a violent battle. It was a tie. And so, you began traveling through the Abyss together, wondering what it was that led your paths to cross. You apologized for your previous transgressions as well, something that piqued her interest greatly and hinted at your irreversible mental state.

She was careful with this fragility of yours and kept you away from the bloodlust by helping you train for it. It was natural to her to teach others, and surprisingly, you kindly accept her offer. Your condition may be incurable, but that doesn't mean that you don't understand the importance of discipline. You begin to learn that you two are strong-willed and very similar through it, a fact you enjoy deeply.

Once you open up about your past and your previous glorious life plagued by victorious battles and unparalleled power, you find yourself reflecting on Skirk's starting words to you. Was it perhaps the connection through the Abyss that made you familiar to one another? Or have you truly met before the fall of your home and nation? There was still so much to learn and experience at her side, that's for sure.

》ARLECCHINO

She has stern control over your chaotic state of mind. To some, this may be concerning, but to the both of you, this was a kind mercy. She helped you regulate the bloodlust and keep it away when it got unbearable. And you appreciated her deeply for it, especially as you knew each other for a long time.

Before your nation fell, she had heard and seen you in all your glory, fight against God's and mortals alike, making you a legend. Your stories had been lost to time by now, but that doesn't mean that she ever could forget them. You are a part of the home now, and the children are trained to deal with your unpredictability as well. They enjoy how kind and respectful you are and strive to be the same.

But alas, the pain and agony the curse had left you in made her secretly look for a cure. She was lucky not to be corroded by it in such a terrible way. And so she used her luck to help you out as well. She figured that she owed you at least that for sticking around with her here.