#and she is projecting so much onto him. which is part of why she doesn't respect him at all

[gilfrespecter]

Listening to coinstar by the growlers and thinking about mel so hard I get nauseous

Ridiculous stream of conscious in the tags apologies but not really

[wereh0gz]

Ok so like. A thought I've had bouncing around in my head for a day or two now is Ruby being very, VERY envious of Sonic, at least when they first meet. Like to the point where she can't look at him directly

Because here they are, looking at a person who also had Dark Gaia Energy forced into his body, who is a beast, who is sick, just like them... but he can hide it

He can feign normalcy. He can hide his monstrosity. She can't. She can't turn back into a normal mobian during the day like he can. She's stuck in her monstrous form and suffers every day because of it. She doesn't get any real normalcy

It's not like Sonic actually has it any better. He's still sick, just like they are. And there are times where his condition becomes obvious, when the sun sets and he forcefully transforms. But it never stopped him from being a hero, from having friends, from being loved by the world, from living the life they wished they could have

And maybe she resented him for it. Just a little

[sugar-grigri]

How about an analysis of Dunmeshi's latest episode?

What I find really interesting, and episode 17 made me realize it, is the extent to which Laios and Shuro are the opposite of what they portray, even worse: the image they might portray is actually that of the other.

Let me explain :

How does Shuro see Laios ? As someone stubborn and thoughtless, disconnected from reality to the point of using black magic to resurrect his little sister.

We know that Shuro would have made the same choice, which shows that even if he tries to deny it, there is a point of connection between them.

The key to these similarities and differences is Falin.

What Shuro loves about Falin is the tenderness in her every gesture, her compassion and understanding of every creature, and her smile.

When he sees this monster kill in cold blood, he realizes the extent to which he has lost his loved one, which is why he chooses to kill her to free his soul, thinking he has lost her.

But what Shuro doesn't realize is that he's exactly what he's blaming Laios for: he's stubborn and reckless, not realizing the danger and sacrifices his teammates are making for the sake of this mission.

He's also disconnected from reality, not caring about himself, his hunger or his fatigue.

Above all, and this is very interesting, Laios had said that he hadn't perceived that Shuro couldn't stand him because he was so happy to have him as a friend, that he hadn't detected any of these signals.

Shuro shares this blindness

Shuro repeats that this monster is not Falin, yet he sees her as such, to the point of embarrassment when the monster removes her blouse.

And that's the opposite of Laios, who sees his sister as the monster she is

Like the chimera Falin has become, he sees his little sister calling him and this super-cool monster.

He's the one with his feet firmly on the ground, he's the one who really cares about his team, taking care of himself and those around him through balanced meals.

The one who understands that Falin has many vital points, rather than allowing himself to be overwhelmed by despair, is Laios.

So when Shuro hits Laios, in reality he's not hitting a man who differs from him, he's hitting his own flaws, and his own failure in the situation.

This failure he projects onto Laios, a man brimming with flaws.

Not only does Laios reason with him, but if Shuro ends up taking the wiser path, it's also because he's literally fought against himself.

But it all goes even further!

Shuro realized his feelings, or rather how unique Falin was in her tenderness and altruism, towards every being, even the smallest.

But what set this whole cycle in motion was Falin's self-sacrifice, her own death.

Laios and Marcille are responsible for what follows, but they are not responsible for everything, as Shuro tries to believe.

Shuro refuses the truth

So he doesn't see Falin

He couldn't accept that her tenderness had led to his death

Nor that her tenderness gave way to extreme coldness and indifference

He won't accept his own blindness

So he hits Laios and his extreme sincerity that irritates him so much

Shuro can't see anything in the darkness of this dungeon, he's the one who's lost his footing so he has to get back up again

Laios has accepted to see everything, even the unavowable, the forbidden, the pain.

What Shuro sees in Falin is love

In Laios, what he sees is the truth

In reality, Laios has only told part of the truth; he is the other half.

But if he goes back up, it's not to abandon Falin, Shuro has to face reality, the truth, that Laios was the only one who could save his beloved. It was by fighting that he finally put his trust in Laios. And finally became a friend

[fredoesque]

ranking terror characters based on how prophet-coded they are

crozier: 4/10 crozier's kassandra status is often overstated i believe. just because franklin is wrong doesn't mean crozier is right. none of his predictions come true except those regarding the ice. that's not prophecy it's just meteorological knowledge. some points for the act of hubris we may not survive though. i can't deny that they did not survive

silna: [ERROR]/10 objectively framed as a prophet character. makes the number one most accurate prophecy in the show ("she said that if we don't leave now we're going to [disappear]."). i can't say whether she truly is one however, bc her standing outside english modes of knowledge is a big part of what casts this statement in a mysterious light. from the english (and the audience's) perspective this is prophecy, but is it from hers? or is it just, as i said before, meteorological knowledge? maybe the prophet is just another role projected onto silna, bc her having supernatural insight is easier for the english to stomach than her having knowledge they lack. this doesn't entirely preclude her being a prophet as well though, since we know that there are in fact supernatural forces at play. english perceptions of her prophethood being incorrect doesn't mean said prophethood is necessarily non-existent. maybe if we saw more of silna, especially with her own people, i could give a definitive answer, but as it stands i'm undecided. whatever the case bonus points for making that terror model without masts that looks like the actual wreck that shit was cool as hell

david young: 7/10 solid first act prophet. hounded by visions he doesn't understand. gives warnings that ultimately go unheeded. not much else to say about this one it's a classic

hickey: 2/10 wants to be a prophet so bad but has little to no insight into the future. some points for his tendency to be the first to say things that are true about the present or to utter thoughts others have but are unwilling to share. may not be an actual prophet but strangely capable of filling the social function of one

jopson: 1/10 never really does anything prophet related but gets a point for objectively looking like he knows how you're going to die at all times

collins: 3/10 collins has visions but they're not of the future; they're of the past which is a different sort of thing entirely. does get some points bc visions are still visions and the past he sees does in fact mirror the future that awaits

fitzjames: 0/10 i've put him on the list bc he's a main character but he is absolutely not a prophet on account of he doesn't know shit. he IS a walking prophecy however and that prophecy is the rot of imperialism. and scurvy

blanky: 11/10 i've said this before and i'll say it again blanky is the only character who actually understands the situation they're in. not only does he give an ominous speech about the future, but his is actually acted upon in a way that ends up contributing to it's fulfillment. that's prophecy, baby! thinking about this is why i made this post

goodsir: 9/10 gets just one big prophet moment but it's an absolute banger: jacko's death. reads the future in an animal's entrails (if you squint) which is objectively the coolest form of prophecy. like blanky's prophecy, stanley hearing it and acting to avoid it only makes the situation worse

franklin: 1/10 the point is for "i've long wanted to move below"

[shouyuus]

popular host club host!keigo who's constantly the top 1 or 2 in his host club, so he's got a long roster of regulars, but one of them happens to be a good friend of yours who brings you in one day bc you're a bit naive and she thought it was about time you got out there in the world

host!keigo who is no stranger to shy little birdies, but still has a job to do, so he does his usual thing with your friend, asks about her part time job, compliments her new hairstyle, asks if she's gotten that one toner he recommended, before turning to you and offering you a smile and a wink, and is more charmed than a man in his profession should be at the way you turn red and refuse to meet his eyes

host!keigo who keeps it casual, wears relaxed, but chic street-style clothing and keeps his roots bleached well, but almost nothing else, except for the two slits of black he inks into his inner corners; says that they keep his eyes sharp so he can see all his favorite little birds at the club, of course. and suddenly, you can kinda see why your friend likes coming here so much -- the conversation is nice and he's never too pushy, but it's effortless, the way he talks about himself and gets everyone to talk about themselves as well.

host!keigo who's earnest when he asks you about your interest and feels himself smiling when you light up and talk about the things you love -- reading, painting, photography -- your friend cuts in that it's a shame you're too shy to ask him to be a model for one of your projects bc he does photograph really well, to which you blush even harder and keigo wonders briefly if there's something in the air or in the drinks today bc wow is he feeling just a tad lightheaded and from the looks of it so are you.

host!keigo who, when your friends goes to the bathroom, leans across the booth to hand you his card, just a black card with two bright red wings embossed onto the hard cardstock, runs a finger along the line of your cheek, tilts your chin up and says, "if you ever wanna come see me too... i'll make time for you, dove. all you gotta do is ask." but when u tell him, a little too honestly, that you can't afford him, he just looks at you with a little smirk and says "like i said, dove, i'll make time for you." and leaves it at that

host!keigo who texts you good morning and goodnight, who asks you if you've eaten, who, you're pretty sure, on his days off, pings you and asks you what you're doing. so you tell him that you don't have plans and he immediately calls to ask if you want to hang out -- he picks you up at the train station, wearing just a fitted black tee and some loose-fitted jeans, but even then, people are turning around, doing double takes, but he doesn't seem to notice, only grinning and jogging up to meet you, asking if there's anywhere you'd like to go

host!keigo who takes u to the aquarium and then to the park, where you do a few doodles in your notepad. he leans over to watch and even though your first instinct is to hide your work, you let him see it anyway -- something about him makes you want to trust him, and for once, you want to lean into that. he tells you that your art is beautiful, and you ask, before you can stop yourself, if you can draw him, "it'd be my honor, little bird."

host!keigo who makes you laugh by doing the most dramatic poses before leaning up against a tree and closing his eyes and you sketch him out, feeling your heart in your throat, but when you show him, he goes still and quiet, before asking if he can keep it. you nod and hand the sketch over, blushing bc he holds it like it's lost treasure, something he's spent his whole life looking for --

host!keigo who takes you to dollar karaoke, claps and laughs as you try to sing the current idol song, who is, unsurprisingly, fantastic at singing and tells you to pick your favorite song for him to serenade to you, who pays for all the drinks and never asks you to shell out a time; when you try to get the last round, he gently pushes your hand away and says "not today, little bird, i wanna do this so... let me."

host!keigo who, when you ask him if he does this with all his clients, bends down and flicks a bit of hair from your face before his eyes flicker down to your lips, says, "no... only the ones i really, really like."

host!keigo who offers to walk you back to the station but when you get there, he seems hesitant to say something -- when you gently ask about it, he lets out a tiny little laugh, shakes his head and says, "y'know it's weird -- all these years of being a host... i've never felt like this before but... you just -- god, how embarrassing, right? my whole job is to be good at talking to people and here i am, at a loss for words --" he pauses, runs a hand through his hair before turning back towards you with an earnest smile, "guess what im trying to say is... i spend all day tryna make people feel like they're special, like they're the only person in the entire world but... with you... it's the first time someone's made me feel like that and... i kinda wanna be selfish, be greedy and take you somewhere and keep you all to myself but..."

host!keigo who thinks he might be losing his mind when you smile up at him with that brilliant blush of yours and tell him that "if that's what you wanted... i wouldn't mind... if it were you."

[chaoticbiguysblog]

I feel like initially most people were on the same page about Tommy Kinnard, they were like ok let's see where it goes and we got Bi Buck!! Like, in April, I was on top of the world bc of Bi Buck, and I was so excited for him and eager to see where it goes, even the ones who didn't want him for Buck from the start were indifferent to him.

But I feel like the divide and the ship wars intensified was when people started using the "healthy male friendship" and "why can't two men just be friends" argument against Buddie, we have hundreds, if not thousands of those in pop culture and homophobes often use this argument against lgbt rep, so to see a group, some if not most of which are queer themselves use the same argument is off putting.

Then, whether you're his fan or a hater, you gotta agree that Tommy's character is a blank slate, he's not been given much to do, besides a few moments, and a significant part of that is him being racist and sexist to two fan favourite characters: Chim and Hen respectively (similarly people disliked Taylor for what she did to Bobby, the redemption and forgiveness before she started dating Buck was implied but it's not enough). Other than that he doesn't have a lot of qualities. And what happens is fans project a lot of things on him. What made me abandon the Tevan ship was people "stealing" Eddie's character traits and projecting it onto Tommy, while labelling him a terrible mentally insane father who uses Buck for his own gain, yada yada yada. And I love Buck and Eddie equally, so to me that was irritating.

Also, since he doesn't have many character traits, his lines, which are intended as sassy can come off as him being a dismissive and condescending dick.

Then for the off screen side of things, we were constantly told Buck is straight, by the actors and the showrunner but everyone was like eh whatever, and then our headcannons were proven right, but suddenly theorising about Eddie and that a lot of queer people including myself identify with him is looked down on if not straight up mocked, and that the canon storylines are the only ones that matter have made the fandom a bit toxic.

Buddies are often accused of blindly hating on Tommy, that he's hated only bc he's not the guy we wanted Buck to kiss, so I feel like I should lay it out as to why a lot of us went from being indifferent or open to the guy to straight up hating him.

[casscainmainly]

Bruce Wayne & Cassandra Cain in Batgirl (2000)

My last post covered the top 10 moments overall, but I had to skip a lot of my favourite moments involving specifically Batman and Batgirl. So here's a non-comprehensive, chronological list of great Bruce & Cass moments!!

Who Does She Remind You Of?

One of the most interesting things about their relationship is that initially, Cass doesn't have a name and doesn't know Bruce's name; they are purely Batgirl and Batman. This lack of alter ego allows Bruce to identify very heavily with Cass, and sets up the foundation for why Bruce acts the way he does later. He views Cass as a mirror of himself, which has both positive and negative repercussions.

You Can't Understand A Word I'm Saying

EXTREMELY underrated Bruce and Cass moment from Issue #2. Though I believe they fundamentally understand each other, there's still a disconnect between them (a disconnect Cass shares with everyone). But this disconnect goes both ways - Bruce is the one having trouble communicating here, saying 'I don't know how to say this' and pausing frequently (this speech pattern is very reminiscent of Cass' inner monologue towards the end of this run!). A great example of how neither of them are fully able to express the depth of their feelings towards each other.

Denial

A pivotal moment in Bruce's conception of Cass. When confronted with evidence that she killed a man, Bruce goes into complete denial. She's 'gentle', fully understanding his rejection of murder; how can she be a murderer? It's indicative of just how much he's projecting onto Cass, but also how much he genuinely cares about her. The second panel is underrated too - like David Cain, Bruce sees Cass as 'perfect', a word that will haunt Cass for arcs to come. This is where we start to see how Bruce's belief in Cass' perfection and morals negatively impacts her self-conception (as a perfect tool/weapon).

Good Answer

An incredible moment that's classic for a reason. Perfectly encapsulates both Cass' instinctive desire to protect, and Bruce's recognition of how similar Cass is to him. Also how his belief in her, however unintentionally, feeds into her death wish.

Jason Todd

Another underrated moment!!! This is the first major instance of conflict between death-wish Cass and no-more-dead-kids Bruce, and it's delicious. Bruce willingly opens up to her about Jason's death, and moreover, by comparing Cass to Jason, positions her as his child as well. It's sweet and sad and explains some of Bruce's more overprotective moments.

Denial 2

Not really denial but thematically it fits. When Bruce is framed for murder, the Batfam try to figure out what really happened. Cass sees that Dick has doubts, and helps him re-enact the murder so that he can believe in Bruce again. Not only is it a super sweet Dick-Cass moment, but it also shows how Cass believes in Bruce just as much as Bruce believes in Cass.

Good

A short and sweet moment that showcases how similar these two are. Bruce isn't exactly being a good dad here, but Cass genuinely DIDN'T enjoy that vacation. They just get each other. This is one of many, many times that Cass answers one of Bruce's questions perfectly (and makes Bruce smile).

Overprotective Dad Mode

In the second part of Batgirl (2000), Cass begins to explore her sexuality. This leads to issues of varying quality, BUT we do get tons of overprotective Bruce. A nice showcase of Bruce doing typical dad stuff, and Superman looking SO done. Also Cass in that first panel is hilarious.

Realisation

After lots of (rightful) heckling from Babs, Bruce finally realises that the way he's been using and treating Cass isn't right. Though this speech is couched in a lot of dismissive language ('disobedient', 'she was loyal'), I think that's just Bruce's inability to communicate. He cannot admit how much he cares for her. So he decides to fire her and tells her she jeopardises the MISSION (which, obviously, makes Cass feel terrible). Even when he's trying to put her first, his lack of communication skills only hurts her.

He Never Let Me Touch Him

The Bruce and Cass scene to END all Bruce and Cass scenes. Each panel is loaded with meaning. The first shows that despite Bruce's similarities to Cain, he still IS different; he is willing to be vulnerable around her, and allows her to do the same around him. The third panel is particularly interesting. Underneath all the ideological sniping between him and Babs, Bruce is jealous - he wants to be the centre of Cass' life and loyalty. Cass, however, doesn't fall into the trap. By pointing to the Bat, she both affirms her loyalty to his mission but also refuses any box he can put her in. She is his daughter, but she is not only his daughter, and never will be.

Honourable mention: the only reason I didn't put the Father's Day panel here was because I've already written about it. Also the scene where they mutually touch each other's faces and turn away of course!

[miraculouslbcnreactions]

This thoughts still cooking, so it might not make sense, but I think Thomas (Tomas?) Astruc is a very good case study on how being too attached to your own ideas can hinder your story telling.

I don't mean this in a "Thomas's original idea for the series was bad", but rather that he seems so attached to this concept that he can't stand other people having a differing view from him.

Chloe's the titular example here. Some people thought she deserved a redemption arc, and instead of just saying "nah, I don't think so" and continuing to write her the same way he had been, he had to prove them wrong, prove that his idea was the only correct one, and so turned her into the spawn of Satan and let her rule over Paris for some reason.

Instead of making Marinette less stalker-y, he wrote an entire episode poorly justifying it. And, imao, somewhat diminishing what PTSD actually is and does to people.

I'm not saying he has to make any change (though I think making Marinette less stalker-y would be a good change), but instead of 1.) sticking to his resolve or 2.) taking the criticism, he clung dearly onto this perception of his characters and his writing suffered because of how much he had to twist things to "prove" that his original assertions were right. And also that everyone who disagreed with him was wrong and didn't understand

idk if that makes sense, but the concepts been lingering in my head recently

It makes perfect sense! I've had similar thoughts. It's hard to say for sure, but Miraculous may be a case study in "kill your darlings". I'm not deep into the behind-the-scenes lore and I was not here in the early fandom, but I do know that, at some point, a much darker version of the show was pitched. That's why these exist (image source):

[Image description: two sketches styled like comic book covers. Both have the title "The Mini Menace Ladybug". The left cover shows Marinette's silhouette in a doorway. The door's glass and the glass of a nearby window are broken. In the foreground lies a hand holding a ladybug charm. The hand is limp and surrounded by blood, implying that someone is injured or dead. The right cover is Ladybug doing a spinning kick while looking angry.]

We also have this evidence of the darker original concept:

Jeremy Zag then proposed another project... which he was unable to sell to broadcasters... the project was called "Ladybug". No one was interested, as the project was aimed more at an adult audience... Sébastien had to make sure that the project could be broadcast on Disney and TF1.... Thomas wanted to make a series for adults, but at the time, it was very complicated to make a cartoon for adults. What's more, they didn't have enough money to take on such a project. Sébastien finally agreed, but there were some changes to be made, which Thomas accepted... In the end, Thomas Astruc's entire project was discarded, leaving only the love story between the two heroes and the city of Paris, where the story was to take place.

I've been aware of this darker origin story for a while due to Tumblr and, because of this knowledge, I have often had the thought, "are the writers trying to sneak elements from this darker version into canon?" Because that's the most likely explanation for what's going on here.

If I'm right, then I think that was a terrible move on their parts. They needed to let go of the story that they couldn't sell and embrace the story that they're being allowed to tell. It's why "kill you darlings" is such good advice. Many good stories have been ruined by writers clinging to an idea that ultimately doesn't work for some reason.

It's why the sitcom How I Met Your Mother has such a universally hated ending. The show was originally supposed to go for two seasons and so they wrote an ending that would fit the second season. The show ended up running for nine seasons and, by then, the ending didn't fit, but the writers kept it and left everyone with a bad taste in their mouths, which is not what any writer wants. That's why you have to do what's best for the story even if it means abandoning something that you really love.

This early version of canon may also be why the writers are so obsessed with Marinette. My understanding is that this concept had her mainly acting as a solo hero and, oh look! What is one of canon's biggest problems? Marinette being treated like a solo hero even though she has a partner and, later on, a team!

Not saying that this theory has to be true, just saying that it would explain some things. And if they're poisoning canon by trying to include elements from their darker original? Then it makes sense to assume that they're also doing it for smaller stuff. Like I'm pretty sure I've read that the head writer wanted Chat Blanc to be a lot darker originally, but no one would green light it, so we got an incredibly lackluster episode that spat in the face of the genres Miraculous' is trying to be part of while also falling to have the sort of impact we'd expect from an episode like that. It's a good example of a darling that really should have been killed. It just doesn't fit.

(Totally unrelated sidenote, but is your blog name from Tangled? Because that's what I immediately thought of and it made me smile!)

[zeewritez]

The Sailor and The Samurai - I

Mizu x Femme Shipmate/Pirate Reader

Hi my lovelies! I haven't updated in so long and I'm sorry but college has been kicking my ass. (Why tf am I studying biochemistry - because I hate myself). Anyways, I hope to update my other stories soon (I've had chapters for months now, they just need to be edited lol). So for now, here's a little BES fic because I'm in love with this show :)

(Notes: Reader's father is Irish in the fic but she will not be described physically except for having super long curly hair because I like projecting my hair goals onto stories, also I will be using he/him pronouns for Mizu since they are currently being perceived as a man.)

Part 2 now out

Y/n woke up with a splitting headache from the rum she had the previous night. She made a note to self to not attempt to out drink her father, even if he was pushing 60. Rolling out of her cot, she slipped on a blouse and trousers she had acquired from a crew mate at some point. They barely fit, but it was far better than the dresses and corsets she wore whenever they docked back home.

She walked onto the deck just in time to watch over the vast ocean as they approached the isolated island of Japan. She'd been there many times in her career but had only ever been to the ports to assist with loading goods when the crew needed it. Today, there was no need. Instead, she watched with mild curiosity from the crow's nest as crates were loaded onto The Banshee.

The cargo seemed standard: silks, swords, exotic fish. The things nobles in England dreweld over. Yet the passengers were anything but standard. Y/n could barely believe her eyes when the infamous Abijah Fowler was brought on board with guards on each side of him. He was brought to the detention cell, which would have otherwise been used when her father was tired of a crewmate's drunken antics.

Y/n was so taken aback by Fowler's presence she nearly missed the passenger behind him: a young man, a few years older than y/n herself, clad in Japanese garb and yellow glasses. It seemed odd to her, as it was rather overcast outside but she didn't give it a second thought. What she was truly curious about was why Abijah Fowler was on their vessel.

As the ship took sail, she climbed down from the nest and made her way to the detention cell with a curious, if not mischievous, grin.

"I never thought you'd be joining us for London," she teased as she stood outside of his cel, as though dangling her freedom like a carrot. She did not like Fowler one bit, but she found him almost as amusing as she found him vile. Entertainment was hard to come by at sea, so who could really blame her?

"Well I for one am always happy to see you," he said, grabbing her hand through the bars and kissing her knuckles. She rolled her eyes as she pulled her hand back from him.

"What brings you back to the isle?" she asked. "My father doesn't even enjoy England, and he's still in good standing, legally speaking."

"Perhaps he's a better Irishman then me," Fowler said with a shrug. "What does it matter to you?"

The girl looked up in faux innocence. "Oh, I'm just curious."

"Well, why don't you hunt down the samurai that's on board and he can let you know why I'm going back to London," Fowler finally told her. "You've picked up quite a bit of Japanese, haven't ya?"

"Alright, I'll see you around then," she said as she turned to leave.

"You have your mother's rear!" He shouted out, as though y/n had forgotten why she had disliked the man so much. She said a silent prayer thanking the heavens he wasn't roaming freely as she roamed the ship looking for the mysterious man with glasses, which was simple enough.

He stood on the poop deck, staring out onto the ocean, as anyone who has ever treaded water has. The waters had a way of commanding one's attention.

"Hello good sir," the young woman greeted she climbed the stairs, stopping to curtsey out of habit. She'd managed to have some resemblance of good manners despite being raised at sea by a captain with a drinking habit.

The young man stared at her, which was a common response from many men upon seeing her for the first time, regardless of national origin. In fact, Englishmen seemed most taken aback by her appearance. Her hair was long and unkempt, falling down her back in ringlets instead of being pinned into an updo of a proper lady. Her shirt nearly fell from her shoulders and around her neck was a long, beaded necklace that seemed to trail down between her breasts. Y/n giggled at the man's reaction, having expected nothing less.

"Oh, I'm sorry," he spoke casting his eyes away from her eyes out of embarrassment, then down to her strange necklace, then back up to her eyes.

"Don't worry about it," she said, leaning against the Banshee's railing. "It is lovely to make your acquaintance, may I ask your name?"

"Mizu," he answered, finally less taken aback by the strange woman. "And you are?*

"Y/n," she said, reaching out her hand limply, again out of habit more than anything else. Mizu looked at her with pure confusion, almost fear. Y/n giggled again, this time to hide her embarrassment. "It is expected to kiss a lady's hand where we're going."

Mizu nodded and cautiously took the girl's hand, which was smaller then her own, and cool to the touch from the ocean winds. He kissed it with the gentleness most men she encountered lacked.

"You'll make a proper gentleman," y/n remarked as she retrieved her hand once again and placed it under her head. She scanned Mizu as had her. Admittedly he was rather dashing. So much so she'd forgotten what she was originally there to ask him. Fowler was the last thing on her mind. "What's with the spectacles?" she asked.

"My eyes are unnatural back home," he told her.

"Is that so?" Y/n asked rhetorically. Perhaps without thought for personal space, she leaned forward and took the yellow frames from the man's face. She was greeted with eyes that would put the sea herself to shame. "You needn't wear these anymore, your eyes are beautiful." The young sailor folded the glasses and handed them back to the blue eyed man.

A small smile graced Mizu's face at the first genuine compliment he'd heard in regard to his eyes. He looked over the beautiful yet foreign face of the woman in front of him. The journey to London was certainly something to look forward to now.

[metacrisisdoctor]

i think sometimes people have a hard time seeing jackie as an individual person and this leads to them sort of seeing her as a villian in rose's story.

in my opinion it's pretty important that as much as jackie is sometimes wrong about things, she is also right about a lot of things as well.

i do feel like jackie was unintentionally holding rose back out of fear of losing her, hence her "airs and graces" comment etc- but rarely do people think of why jackie feels like this.

think of jackie tyler. in doomsday she is forty. this means when we meet her and rose she is 39, meaning she had rose at age 20, meaning she was pregnant at age 19- the same age rose is when we meet her.

19 is young.

think of jackie tyler, age 21, widowed with an infant daughter, on an estate and looked down upon. in army of ghosts we see that jackie's father passed away years ago, and we never see her mother either.

this is partly why the fandoms universal eyeroll at love and monsters frustrates me. that episode fleshes jackie out and shows us how deeply alone she is, but how loyal she is to rose despite the fact that the only family she has sees her as second best. the tentoo and jackie big finish audios also bring attention to this. jackie is not afraid of rose advancing in life, she is afraid of being left behind. because she has no one.

it pains me that the bf audios with her and tentoo aren't more widely known because they explore jackie and her relationship with both the doctor and rose a lot. we see how much jackie loves, and has always loved, the doctor. how she too missed him after doomsday. how she wants to be close to him again but she's afraid of what him being back in rose's life means as well, because now that the doctor is in their world, what is stopping them from leaving again? and i think it's important that jackie feels that way because it shows that her love for rose isn't just because she was lonely, despite it having had played a large part.

she genuinely loves them both and does not want to be without them, so much so that she says if/when the tardis grows the doctor has to take them all- because he has a family now. this mirrors the doctor telling donna that rose had a family and that they had become his family as well in the runaway bride.

in this sense, we should know that the doctor and jackie are on the same page. we know how much he missed rose and how that extends to the sense of family he found in the christmas invasion. however, jackie's own poor self image leads to her projecting her own fear of being left behind onto tentoo and to his relationship with rose and it causes friction in their relationship until they can both be honest with each other in the climax of the audios when they're about to die together and realize they want to live, which is why rose trapped them into talking in the first place.

jackie struggles because rose was so young when she met the doctor, and she was RIGHTFULLY wary of their relationship considering the last time rose trusted a man he left her behind and took all her money. in the audios we hear jackie say that she was the one who payed off all of rose's debts which is a stark contrast to the idea some people seem to have that jackie didn't have a job and mooches off of rose entirely- which makes no sense anyway because how does she keep the lights on at home when rose is missing for an entire year? it's much more plausible that she and rose both have jobs, and that she was going to look for a second job.

jackie gets everything she wanted in a sense. her husband back, a son, rose is still with her, but her own low sense of self is something that is hard for her to shake off because she has been looked down upon for so long because of who she is and how she was raised, so much so that the thought that rose looks down on her terrifies her. in the end of time flashback we sees jackie say that at that point in her life she isn't gonna do much better; but rose tells her she doesn't know that which speaks volumes. rose is afraid of falling victim to the helplessness jackie has in the last twenty years, but we also see that deep down jackie also wants more to her life as well, she just thinks it's too late.

jackie is proud of rose, she grows to love the doctor, but her fear of rose losing herself entirely is a valid one. just like rose wanting more out of life is valid as well. they're both right and they're both wrong which is why they bicker but also very very clearly absolutely love each other more than anything.

this is why the ending rose gets is perfect for everyone. rose gets to keep defending the earth at unit with the doctor, a life that she always wanted. the doctor gets to, in one life, have a family and be human and jackie gets to find her sense of self again and find "more" in her life, and doesn't lose what makes her who she is at all because people like jackie - working class people - are the ones who make it possible for "bigger" things to happen which is what the purpose of the back and forth between rose and jackie is. rose wanting more from her life is valid, but it's also important to rememeber not to look down on people who you subconsciously see as "less" because "less" is just as valuable.

of course rose leaving helped jackie grow, but sometimes the way people talk about jackie is unintentionally classist while also defending rose from classism.

[soybento]

So. Here's the Thing. The drama SEVERELY changed parts of the MDZS novel. Enough that Wei Wuxian's character AND as a result (off the top of my head), Jin Guangyao, Madam Yu, Jiang Cheng and even Su She's character. This is going to be a whole thesis so here we go.

Let's start with one of the largest topics of debate in the fandom, Jiang Cheng and Wei Wuxian, and specifically Wei Wuxian's position in the Jiang Clan and the heat about Jiang Cheng's actions. In the novel, Yu Furen doesn't like him for her husband's preference of Wei Wuxian over Jiang Cheng (this is the same in the drama) and his supposed previous love interest, Wei Wuxian's mother (debated, ambiguous). Added to this is Wei Wuxian's ambiguous position in the clan. Jiang Fengmian never specifies what his rank/position is (as other people have pointed out) and as a result, all the Jiang Clan members kind of...have their own relationship w/ him courtesy of their own projections. For example, Yanli's relationship with Wei Wuxian is the simplest, mostly because she's the daughter, not a strong cultivator and is destined to eventually leave the Jiang Clan. She chooses him as her brother. For everybody else? It's a lot more complicated. Yu Furen (understandably if not justifiably) does not want to treat Wei Wuxian as her own son (aforementioned reasons). She sees him as a threat to her son's right of inheritance and also, doesn't trust the origin of his birth. This is definitely Jiang Fengmian's fault since he took in his servant's son but also not exactly since it's complicated by their close friendship and his unreciprocated feelings for Cangse Sanren. Consequently, Yu Ziyuan projects her insecurities not only on Wei Wuxian but also Jiang Cheng (we know this) and constantly compares the two of them. She wants her son to be better.

Jiang Cheng is a product of his parents and sister's relationship w/ Wei Wuxian but what I think the drama changes is the fact that Jiang Cheng cares for Wei Wuxian as a *martial brother* and a future right hand man. He gets the brother stuff because his sister has loved Wei Wuxian as her didi, he gets the firm ideas of Wei Wuxian's future position in the Jiang Clan from his mother (and also the lack of denial from Jiang Fengmian himself). He doesn't see Wei Wuxian as a brother *only*. Instead, he partially projects duty and destiny onto him because of how they were raised. This is why I don't think it was wrong of him to refuse to take in the Wen Remnants. He had a duty to the Jiang Clan that he chose to prioritize to keep himself out of the political tension that Wei Wuxian was in the center of. He didn't see it as disowning a brother but as a strategic withdrawal from the situation for his sect. Say what you will about him but I don't believe that he's unjustified in wanting to ensure the safety of his Sect (especially as clan leader). Growing up, Jiang Cheng did get a lot of conflicting opinions on his own worth. He fell short in almost all his relationships because he would approach Wei Wuxian w/ the anger and competitiveness his mother expected of him only to disappoint his sister who expected them to be siblings in the truest sense of the word. He disappointed his mother because he *did* see Wei Wuxian as more than just his fellow disciple, not just a future servant. He didn't disappoint his father but his father never made his affection for Jiang Cheng clear and this lack of communication led him to draw his own conclusions on Jiang Fengmian's preferences.

My issue with the drama is that much of this is not clearly defined or explained. He is villainized for his eventual estrangement with Wei Wuxian because we're operating from the assumption that his feelings for Wei Wuxian *are* of the sibling kind and not the messy duty vs martial brother type. His position is understandable after reading more of the novel. Plus all the changes about the siege led by him (which I'll talk abt) and Nightless City and the Qiongqi Pathway Ambush and him rejecting the Wen Remnants. And the ending at Guanyin Temple makes sense. Wei Wuxian is released from his commitments to the Jiang Clan and that is the kindest thing Jiang Cheng could do for him (again, others have pointed this out, I'm simply reiterating it). Because Wei Wuxian *does* care for Jiang Cheng as a brother but his feelings for him are also complicated by duty and obligation to the Jiang Clan and dealing w/ the complicated myriad of expectations from the Jiang family. That and less of him being a brother is what leads Jiang Cheng to think Wei Wuxian betrayed him. It's like he betrayed his duty to the Jiang Clan and not just their brotherly commitments.

Now coming to the second point, it's the drama's portrayal of Wei Wuxian as a martyr. And he can be but he's so much more complex than that. To start with, I believe his character would not have endeared himself to me as much if I hadn't started with the drama but now, I enjoy the complexity of the novel Wei Wuxian more. For example, novel villains Su She and Jin Guangyao are a lot more complex than portrayed in the drama. Because the drama kind of made them scapegoats (ironic as they portray Wei Wuxian that way) for Wei Wuxian's continued innocence. The Ambush at the Qiongqi Path is so much more complex than in the drama. Jin Guangyao *does* set it up and Su She curses Jin Zixun out of spite and Wei Wuxian *is* wrongfully cornered. But he also loses control of Wen Ning and accidentally kills Jin Zixuan all because he loses control of his emotions. I won't comment on whether this is right or wrong because Wei Wuxian was cornered. He was fighting his way out of an ambush. He made mistakes like escalating the situation by antagonizing Jin Zixun, not believing Jin Zixuan wanted to help him, and not calling off Wen Ning when asked to by Jin Zixuan (because he believed he'd be shot by the archers) and accusing Jin Zixuan of working w/ Jin Zixun to ambush him. By taking away these mistakes in the drama, it takes away the complexity of the situation and what the choices say about him. Jin Guangyao did not intend for Jin Zixuan and Wei Wuxian's confrontation to end the way it did. He wanted to put Jin Zixuan and Jin Zixun against each other in the novel (correct me if I'm wrong tho). He isn't innocent of course but his motivations make more sense than him just killing Wei Wuxian on behalf of his father with no deeper mechanations at play.

Secondly, the battle at the Nightless City. In the drama (and possibly in the novel but this isn't confirmed) he commits suicide but the timeline is important. He does lose control of his puppets in Nightless City and making Jin Guangyao the scapegoat for his loss of control *again* simplifies his character as someone that can do no wrong and is hopelessly plotted against by the rest of the world. The puppet that hurts Yanli (not fatally) is one that Wei Wuxian has lost control of and not one that's been controlled by Guangyao or Xue Yang or Su She. She sacrifices herself to save him and he *then* slaughters the rest. After he finds that Wen Ning and Wen Qing have died and they plan on leading a siege on the rest of the Wens, he raises the corpses and loses control and accidentally hurts Yanli who asks him to stop. He tries, she dies, and then he slaughters a bunch of people.

And in the novel, there are a few months between the Nightless City Massacre and his death. He defends the Wens from the siege led by Jiang Cheng (and *this* is the siege that he leads which makes MUCH more sense than the siege he supposedly led in Nightless City as shown in the drama) and when they die and he realizes he's going to lose, he kills himself (probably out of guilt?).

The implications of this are major. His sister's death doesn't push him into suicide, it pushes him into war (and Wen Qing and Wen Ning's death). It's the wtf this is a lost cause I'm fucked and everyone I wanted to protect is dead that eventually pushes him into death.

Looking at this from Jiang Cheng's perspective things make a lot more sense. He is under the (almost rightful?) assumption that Wei Wuxian lost control and killed Jin Zixuan (also Jin Zixun but lol fuck that guy). He is also not clear on the details of the ambush and while we don't know this, is given the same explanation for the ambush as everyone else. That Wei Wuxian cursed Jin Zixun. And Wei Wuxian does say that if he killed Jin Zixun he'd do it a thousand times better (worse). Following this, Jiang Cheng's sister is hurt and while her actual death is a choice that she makes, he blames Wei Wuxian for it.

I won't deny that Jiang Cheng is morally ambiguous but so is Wei Wuxian and so is Jin Guangyao and Su She. The drama is almost a softer, nicer version of the novel where the protagonist is the hero and not just the person whose perspective we're getting. But in doing so, Su She, Jin Guangyao and Jiang Cheng's character are changed to fit the narrative.

What the drama also doesn't get across is that demonic cultivation isn't a good idea!!! Lan Qiren, as much as I dislike him for his rules or whatever, did have a point. It goes against the natural order of things, there's a reason why demonic cultivation should not be taught and why Wei Wuxian never took in disciples. It would result in cultivators like Xue Yang. When drama says that Jiang Cheng was hunting and killing off demonic cultivators because he hated Wei Wuxian, it takes away from the fact that demonic cultivation does actually harm the body and soul! It does in fact require human sacrifices! Just because Wei Wuxian didn't use any does not mean that the others won't! Jiang Cheng is sure to have had a personal motivation but fanon misses that those accounts have been of the crowd and the cultivation world, not from Jiang Cheng directly. His killing of the demonic cultivators was likely not as simple as fuck that guy, I hate everyone like him.

Finally, Yanli. Surprised? I have a lot of thoughts on her though so I'm gonna have to keep going. She's at the centre of the storm and also severely sidelined. She's a motif and she's a character fighting to make choices that the world does not allow women and especially women that aren't cultivators. I think thinking of the story from *her* perspective (novel or canon) makes my appreciation for her even deeper. She is, despite Wei Wuxian's perception of her, a flawed character. But she's flawed in the same way everyone else is. She grows up in a volatile family and her mother doesn't share her sentiments but she chooses to love Wei Wuxian as a brother. Although she means well, this brings about a conflict of interest for Jiang Cheng. She's perceived as this all forgiving character by Wei Wuxian and it makes sense, we're looking at his POV *but* it takes away from the fact that she consciously chooses to be that way. I think her character brings about some very interesting ideas in society about womanhood and specifically motherhood. Her role in Wei Wuxian's life is more motherly than it is sisterly and thus, her sacrifices are almost expected. What comes to mind is that her feelings on things really aren't considered. Remember when Jiang Cheng lost his golden core? Wei Wuxian comes in and he sits across from her and he tells her that this is all his fault. She's dealing w/ the loss of her parents, her brother's sudden injury and her worry over Wei Wuxian. But she's gotta tell him gently that no, that's not true. In reality, this isn't ABOUT Wei wuxian. His continued insistence that things are his fault does bring about a degree of self centeredness because it takes away from where his attention should be. After he kills her husband, his focus is on his own guilt over his actions but less on her pain (I'm not condemning him, I'm just pointing it out). Being a martyr (as depicted in the drama not the novel as much) is incredibly selfless but also incredibly selfish. When the audience doesn't see this, Jiang Yanli's actions almost seem expected. Of course she's gotta see him for the person that he is and know that he didn't mean it etc. But these expectations take away from the very real choices she makes to continue to forgive and love and forgive. She does this with Jin Zixuan and although from Wei Wuxian's perspective, he sees it as she's too nice and kind and forgiving, it takes away from the fact that she *CHOOSES* to forgive him and it doesn't just happen as a part of her character profile. Being kind is a choice, not a personality trait. Being nice and agreeable and open etc can be personality. but altruism? That shit is where the credit is due.

The narrative does minimize her (I'm not sure if this is intentional) by making her an accessory to Wei Wuxian's development. She's sidelined during important moments like the war, the rebuilding of Lotus Pier, even the times that their parents die. She steps in when Wei Wuxian or Jiang Cheng need help or a guiding hand. She steps away when the story has to focus on other conflict. She could've easily turned against Wei Wuxian for killing her husband but she chooses to see him again and later, die for him. Jiang Cheng uses her in his own way, and so does Wei Wuxian. I do not particularly mean this as a criticism but I think it's worth noting that Jiang Yanli was a traditionally feminine character whose strength was a very conscious choice on her part and is not more or less than if she had chosen to go into war w/ the rest of them. If she didn't hold back on so many things like not protesting her engagement, playing a supporting role and staying in the background for much of the narrative until the death of her husband pushes her into the spotlight, waiting for her brothers to get back from war, waiting for Wei Wuxian to tell her what's wrong when he comes to Lotus Pier and fights w/ Jiang Cheng and seems to, supposedly, not want to be there, the story would've been different. Idk different how but definitely different. She chooses not to take up space and thus, narrative attention. She doesn't push, and she doesn't demand, and she defends quietly. I think that's why traditionally feminine characters are kind of a double edged sword when perceived. Are these qualities inherent? If yes, then they're taken for granted and...minimized. Are they chosen? If yes, then it begs the question of what a traditionally feminine character is at all. Sacrifice, standing back to let other people shine, being quiet and letting other people's actions (even those that you love) control what happens in your life. I cannot imagine that these are traits that someone is simply born with and thus, give Jiang Yanli credit because she chose to be that way!!

Ending this with, I don't believe there's a wrong medium with better or worse portrayals of the characters. I think I like the drama for some of its kinder aspects and the novel for its complexity. I just think it's important to note that Wei Wuxian is more than a martyr, Jiang Cheng more than his brother (he's in his own right a sect leader and plays an important role outside of his relation to Wei Wuxian) and Jiang Yanli more than a mother figure. And we love Lan Wangji ofc, sorry he didn't get a mention. Give more thought to characters like Jin Guangyao and Su She (yes Ik ik) and Xue Yang as portrayed in the novel. There's a theme here of classism that I don't think is appreciated enough.

The very point of this post is not to condemn or acquit any of the characters. It's just to point out how none of them are black and white.

That's it for now and I hope I didn't forget/mistake any of the details in the drama or novel!!

[wilcze-kudly]

While mostly find Kuvira a relatively straightforward character, I do love how the theme of rejection is just so ingrained into her character.

Of course we have Kuvira herself experiencing what many would call the cruellest rejection possible, being literally given away by her own biological parents.

Kuvira: [She angrily turns her head toward Korra as the shot cuts to a wide view.] Don't pretend you know what it felt like! [Wildly, waving her free arm.] The Avatar is adored by millions! I was cast aside by my own parents like I meant nothing to them.

We also see that, while Kuvira is invited with a lot of love by Su, who clearly is open to taking Kuvira into her family, Kuvira clearly didn't feel like part of the family. It isn't exactly concrete why this is the case. We can be certain that Opal, who was most likely working through her own issues surrounding not being a bender and feeling that Suyin is replacing her.

I know it's very easy to theorise that Kuvira was somehow isolated and ostracised from the Beifongs and while I can see this being the case, I haven't seen many people talk about just how avoidant Kuvira herself is.

I mean, Kuvira was horrifically rejected by the people she was meant to unconditionally trust and rely on. As a child who doesn't exactly understand why this is happening to her and that it wouldn't happen again, what better way to defend yourself if you reject them before they can reject you.

I think Bolin hit the nail on the head here. (When will we get a Bolin Kuvira argument i need it in my life)

Kuvira fears rejection. She struggles to form proper relationships, even her one intimate relationship with Baatar Jr had a certain amount of.... padding? If you know what I mean.

I don't doubt that Kuvira had a lot of affection for Baatar. I just think that she still kept a healthy dose of diatance in her relationship with him.

Her relationship with Baatar Jr is actually really fun. It sort of mirrors Kuvira's own childhood disillusionment with relationships.

Baatar also suffers a brutal rejection from someone. Kuvira, the woman he loved, and to some extent, for whom he abandoned all previous relationships tries to kill him. Directly after he pours his heart out to her and and restates his love for her. And now it's him isolating himself, particularly from Kuvira, even when she does try to reach out. (I do giggle at how much Kuvira gets consistently swerved in the comics)

The parasocial relationship Kuvira fosters with her Empire is also worth taking into consideration. Kuvira obviously is projecting her own childhood trauma onto the entire damn country which is my fave part of her character because who does that lol.

I've mentioned this in my comparison of the Earth Empire and Russia in the throes of Stalinism but I wouldn't be surprised if Kuvira cultivating a cult of personality to bolster her leadership is also her attempting to build connections that she deems "safe".

She holds the power in these relationships, she's basically a celebrity and if someone does step out of line, they are betraying not Kuvira, but the Nation. Postulating herself as an untouchable emperess also, once again, allows her a certain level of distance from others.

I'm not sure if Kuvira is aware she's perpetuating her own loneliness. I wanna say yes, because when she is alone, she acknowledges to herself that Suyin indeed was there for her and that she can rely on her. But she's so good at manipulating and gaslighting that she may have tricked herself fully into believing she's the victim, like she had with her warcrimes at the beginning of RotE.

All in all, I think Kuvira is a very interesting character if not one that is simply putting an slightly new spin on tried and true tropes. I will say I find it quite odd how many people take what she says without a second thought when she clearly has a vested interest in lying, but she is very charismatic and fun to analyse lol.

[exoticalmonde]

The Evealia Guide Through Babel (event) - Part IV

Man, why do all of you have the most terrible names to remember? This is what actual witchcraft sounds like. Aefanyl. I'm going to scramble him like I'm scrambling these letters trying to make the name Logos out of this Scrabble.

Even more interesting is the aspect that she used magic to preserve the way she looks, so she can be eternal in his memory. It's kind of sweet, kind of... sad. Very sad if you think about how it seems like she doesn't have a long time left. I wonder if I can find anything else about her--

O, lady,

THIS MAKES SO MUCH SENSE NOW, LOOK AT THIS

SHE IS ONE OF THE SIX HEROES????

That makes... Her, Theresis, Theresa, Kal'tsit....? Two more are missing. It might be obvious but I genuinely forgot right now. I'm sure when Dr. Pinkie sees this she's going to beat me over the head since we spoke about this.

Anyways,

Ascalon is fighting with Theresis this time. It's a bittersweet goodbye too.

Theresis is still respected by Ascalon, so it's a struggle for her to face him truly. He's also giving her some fair pointers as a last goodbye.

[You still don't know what you seek, do you? To protect? That's just empty self-deceptive sentimentality. When you're unsure of your path, you merely project your motivations onto vague ideals.] <I really like this quote. Can you tell?

[I-I've thought about it carefully.]

[Perhaps. Then follow Theresa and protect her, but don't blindly adopt her ways. Think for yourself. Manfred found his answer long before you did.]

Then, Ascalon falls to one knee and turns to a mist that closes around Theresis. When it disperses, he's left with a stone knife in his hand.

As terrifying as that conversation was, nothing could prepare me for the one Theresa and Theresis had - basically agreeing that if any of them comes in the way of the other, they will have to be killed.

The Babel procession stretches far as the eye could see, past the disdainful crowd. Theresis walks towards the crowd and stand with them. He has left Theresa's side for the first time in two centuries.

They say their goodbyes.

Then something occurs, enough the silence the restless onlookers and momentarily halt the procession.

[A mercenary steps out of the line to embrace his best friend in the procession. No one can hear the whispers exchanged between the two friends by the ruins of Babel, but all are willing to wait and give them their moment of farewell.]

[A farewell between the people and their city, and between two peoples of the same blood.]

With them, Odda also part ways. With his family. His home.

For Theresa's eyes only, there's a letter. A functional ship has been excavated from Rim Billington. On it, she found something that could change the tide of history.

Given its importance, Kal'tsit has a lot of faith in its utility for their plan.

---

BB-ST-2

Awakening in Exhaustion

[Things have not gone according to plan.]

PRIESTESS???

Can I be honest? I'm going to be honest.

I don't really like Priestess. I think yesterday Dr. Kryo asked what we all think about her and my immediate response is 'I hope she died'. Which, I think if somebody (not me) has read Vigilo they might confirm what happened with her.

If anything, I think I'm going to go and have a little dip in Vigilo since it's one of those episodic stories and I checked out the Wiki long enough to figure out which episodes will be important to understand.

But overall, yeah, I don't like her and I've been struggling to understand the Doctor for long enough to know that I probably never will agree with their ideas. As Priestess says, us lower-intelligence lifeforms can't even hope to understand their greater plans.

And speaking of plans, we should move on with the Babel story.

Four Years Ago...

Summer, 1090

We're opening with Closure and Scout, how wonderful. Hm... Interesting, why do I have this nagging feeling that there's something inherently sad about the situation?

Ah.

Well, they are on a mission. Closure imparts with us the detail that she and Kal'tsit have secured the ship and have been working on dealing with the defence system for a specific package that is on board.

Snapping to Kal and Theresa, they're talking about a specialist in Originium, the only person who can help with their task. They stand before a set of doors that have not been opened for a long time, reminiscing in the fact that Kal'tsit, no matter how careful she is, still cannot predict all the contingencies.

But they open it anyway.

And this light, we're familiar with. There was once an event, where we witnessed this same feeling, the same occurrence and that same red light shining down on Kal'tsit. Though, this is a couple of years prior.

In Lone Trail.

[Search: Preserver... No signal.] [Search: Caerula Arbor... No signal.] [Search: Celestial Fulcrum... No signal.] [Search: (Unknown static noise)... No signal.] [.......] [Search complete. No signal detected on any channel.] All these spots we are familiar with and for me it was bone-chilling to see them. Preserver is a reference to the Preserver Project, which was created by the "First Civilization" at some point after the "disaster from above" that resulted in the Civilization's near-total annihilation. They are meant to act as overseers of the Sarcophagi where the Civilization's survivors are kept in stasis until they can be awakened when the situation stabilizes in the distant future so they can restore their civilization. [Image above]

Caerula Arbor is our current IS4. Known also as the "Creeping Branch" is a dying tree-like Leviathan representing the power of "Growth" who had lost His struggle in controlling the kin, causing Him to fall from grace from the Many. His roots grow towards the core of Terra and feed on the energy of the magma beneath the surface, and is said to have the potential to consume the entire planet if allowed to grow unchecked, but currently, the Arbor is acting as a mere food source that nourishes microscopic Seaborn cells in the ocean.

Celestial Fulcrum is uh...

:)

And actually, we know a little bit more about the unrecognisable static, because we have already seen it part of a concept trailer. We were actually JUST shown this, so I did such a good job strategically stalling just so I can put this in the script.

Voila, if you have not seen it yet.

This is very kindly provided by the Wiki.

[Last update: Four million, seven hundred fifty-five thousand, nine hundred and fifty-four days ago.]

Me thinks it's around 13K years and that's quite a bit since the last update.

So the Doctor was woken up rather early, with Originium still abound. Interesting part is, they're surprised about the way it has managed to survive/has evolved - through the Sarkaz and Oripathy.

Oh no this is so endearing....

It's so endearing and sad at the same time. Doctor learning about Theresa, holding her warm hands. She was so excited to learn the language of the past from Kal'tsit, but instead Doctor hits her with 'my world is lost'.

For those like me who missed it entirely SOMEHOW, Civilight Eterna is the Crown of the Sarkaz, although I'm not sure how Doctor recognises it when he was not present during it's... release(?) and whether he understands the significance of it differently to what I know.

She's showing the Doctor different parts of their... life, I suppose.

This quote stuck out to me a lot:

Before I'm immediately on my knees because of the mentioning of a pioneer chasing the stars is pushing forward with his fallen ally on his back.

This is UNFAIR,

THEY'RE BEING MENTIONED AGAIN.

After witnessing the way Terra is right now, the Doctor seems to take it in rather well. In their view, it's all moving in the right direction, a mix of ignorance and progress that feels nostalgic and beautiful. Within Theresa, the Doctor spots somebody who loves Terra, not just a single nation. Her ideals are pure, but ultimately, way too different. She might be loathed for that, because her people aren't ready for this kind of step.

Thus the Doctor is willing to cooperate and help by first exploring the land itself to learn about the way Originium has influenced life, culture and the environment.

Ascalon is being sent after them both for protection and with a secret little task from Theresa - to explore the things other nations have, because the Sarkaz don't have the luxury to choose.

[sugar-grigri]

What is a family?

Hello everyone, I'm in exam period so we're going to start with a very short analysis

We saw in the previous analysis, in chapter 152, that Denji wanted to be a CSM and that suffering, mental and physical pain, was inherent to being a CSM. Suffering was a claim for the protagonist, that of accepting his suffering to the point of finding pleasure in it, that of accepting that experiences can be painful, of not being protected

Especially by Nayuta, the control devil who can only conceive of happiness with one person, and that's enough for her.

But above all, I think that since Denji had accepted the fact of committing himself to the path of suffering, he didn't want Nayuta to join him, hence his desire to keep her away from him.

But what this chapter shows is that a family can't be chosen, it's simply there.

People do what they do, always projecting all their frustrations onto CSM, this faceless chimera. CSM is as much a good-luck charm as a match to be burned for bad luck.

Denji's dream of being seen was full of meaning, because what people see in CSM is precisely their suffering and despair.

Yes, CSM represents suffering - yes, you have to suffer to be him, just as he will only evoke suffering for others.

The contract with the fire demon was simple: become what you want. As he had suggested to Yuko, the thought-hearing monster was suitable for a socially eccentric girl who had trouble understanding others.

So when people try to burn CSM, they're burning what they want CSM to be: their suffering.

The lighter was an image that had already been introduced by Barem, who ironically presented himself as a CSM fan, foreshadowing the fact that many CSM fans had pacted with the demon of fire, fire capable of destroying them in return.

Burning CSM to make the wannabe CSM disappear always comes down to the same logic: CSM is there to save, whether this is done by reigniting him or by killing him.

So the fire is there to atone for the suffering, Denji simply tries to tell them that the fire is already there, burning down his apartment and his Meowy family and the dogs.

Why burn Denji? When he's already burning. He has already lost a part of himself.

Denji proclaims that he seeks suffering because he wants it to be his alone. He realised that even if he stopped being a CSM, those close to him would continue to be attacked as if the cycle had never been completed.

Denji has never had any confidence in himself, obediently following the rules laid down for him every time. Nayuta's rules, which symbolise this apartment, didn't work, and neither did those of the public hunters, because even if you respect the contract, suffering will always be the end result.

So Denji tries to free himself from all these rules, because they don't allow him to escape suffering.

He also tries to free himself from his loved ones, because it doesn't allow them to escape either, but humanity won't let Denji be free.

Denji had made it clear that he didn't want to hurt mankind because he wanted to preserve the last link that bound him to them: the kiss he had with Asa (Yoru). He doesn't want to belong fully to the demons, as Nayuta had recommended, but why not become one after all?

Denji loves violence, even against humans. He likes it because he is still CSM after all, a monster whose raison d'être is suffering. Yet the link that allows him to consider himself still on the other side is a simple kiss that didn't cause him any pain.

Because this kiss is exactly Denji's life, a touch of pleasure in an existence that is always painful. A boy who can't even say he can't betray humanity because he has friends because he has none.

Nayuta has never thought of her existence as separate from Denji's, the reason for her happiness, her beloved big brother. So she is now facing her worst fear: being cut off from this dearest of beings, being rejected by him.

But as they try to keep her away from her ailing brother, telling her he's no longer her family, she realises that this thing that rejects her, that hurts himself horribly, is still her family.

More to the point, it's the person behind this faceless monster who's reaching out to him, because CSM isn't a being capable of embracing with his chainsaws. Denji's arms are outstretched to him, as if he's standing between CSM behaving like a monster and his own anxieties: there's an obvious love there. She shouldn't see her fear in the foreground, what she should see is Denji.

This thing that dares to cut ties with her, to put itself in danger to the point of suffering so much, has never ceased to be her family.

The only way to see anything apart from CSM, apart from this figure of suffering, is to love Denji.

is to see the boy behind it.

A boy who can't stop laughing despite suffering, in a way that may be terrifying, but which gradually gives the impression of a brother forcing himself to smile to avoid putting his sister in danger. Look, I'm crazy, so stay away from me! And I don't want you anyway!

His laughter is as uncontrolled as his gestures, all acting as reflexes to keep Nayuta away from danger.

CSM is a being who belongs to neither world, hero of humanity when it suits them, hero of the underworld terrified by his fellow creatures, he is held responsible for both worlds, the suffering of demons and that of men.

But Denji may not belong to either world, but he does belong to a family.

Denji may not be seen by people, but he has been seen by a demon who loves him deeply.

The hero has always been hunted because he has never been accepted by humanity, suffering while swallowing that of others, he has always had to be rekindled, to serve someone once again.

And finally he's given permission to run away.

No CSM, don't swallow the suffering of others

It's hard enough to swallow your own.

Denji, you are loved by the demon of control who now agrees to do something unnatural for her, to allow you to escape her control, her vigilance, her protection. Because she knows she doesn't have to lock you up in a gilded cage to be able to find you.

A family always waits with open arms, don't they?

[randomfoggytiger]

I don't want to shame or be age-ist, but why did they bring in Mimi Rogers as Diana? She looks so much older than both Scully and Mulder. Was she hot and in the market in the 90s? I can see that her assertiveness and self-assuredness could be attractive, but she just didn't seem to "fit in". It's almost as if Mulder went for her because of mommy issues and looking for an older woman like Scully did with Daniel and her daddy issues.

I don't know anything about the actress. My issue is just with the casting and that she fit more in line with being an older character that came across, to me, more like a wicked step mother than a potential mate.

I don't think the question is ageist. :DDD It's a reality that she does look older than Mulder-- but that really works for canon.

Actually factually, they hired Mimi Rogers because DD acted with her before (The Rapture); and he likes to bring his friends forward into new projects. But her casting also enabled David and Mimi to take their characters' interactions in a slightly different direction than the script dictated.

I get you completely, Anon-- and I agree. That angle worked for me, however: it underlined Mulder's personal growth over the past five years (and showed how glaringly unimportant Diana had become.)

Diana Fowley: the Definition of Manipulative Comfort

(Credit to: @iddoitforfreebaabe)

In the script, CC wrote Diana as a knock-out who subtly wielded her sexual prowess to draw Mulder's attention away from "the truth" (and to make Scully jealous, ahem ahem.) There was a sneering, preening quality to her that isn't present with Mimi Rogers. And I like that difference; because five years and a thriving partnership have changed Mulder as a person-- not completely, but enough. Sneering, preening superficiality would repel, not attract, the person he's become.

Moreover, Mulder is a man so haunted by his past that he sees his sister in every little girl-- or, to the point, he sees the love and security he lost in childhood in every feminine, devoted, almost nurturing brunette. (He's drawn to women who promise love, companionship, and ease up front, only to be duped by their intentions and strung along with breadcrumbs of affection later.) I don't think he's looking for other sisters or other mothers in his selection process; just that their standard of beauty has been normalized since childhood. Importantly, we see his own distinct sexual preferences separate from his traumas: Mulder is attracted to intelligent, outspoken women, be it Pheobe Green or Diana Fowley or Dana Scully (or Bambi Berenbaum, etc.) This trait doesn't define his on-screen interactions with Tena Mulder-- a very passive, emotional woman when around him-- nor distinguish Samantha in his memories. They weren't idiots, certainly; but that's not how he selectively remembers them.

Back to Diana.

THE NATURE OF DIANA AND MULDER'S PAST RELATIONSHIP

Diana Fowley is the perfect archetype of a person who latches onto potential-- for intelligence and companionship-- and stays until she decides to leave (cutting loose ends cleanly, and purposefully parting friends.) Relationships are for advantage, positive or negative.

We know this because of her reappearance: in The End, Diana expects to waltz back in and turn Mulder's affections back to herself with the snap of her fingers; in The Beginning, she chastises Mulder for doubting her dedication and loyalty to the files (read: him); and in One Son, she foists a kiss on Mulder when he is at his lowest point.

She's not a mother figure but a dangerous second thing: a prey animal who locates the wounded boy in the man and weaponizes that to her advantage-- hence, her full name (Diana meaning 'goddess of the hunt'; Fowley, a spin on the word fowler or snare.) (It's not until The Blessing Way that Mulder began to question his own mother's involvement in the conspiracy, posts here and here; which provides ample proof of the lengths his ex would have been able to twist him about without his suspicion.) Diana knows how to mask her control through silky "Fox, I know better; and you know I know better" language that skirts his animosity and detection. While Phoebe is cruel and callous and careless-- getting caught-out both times she and Mulder engaged in a relationship of sorts-- Diana is circumspect and calculating and careful. Diana exploits his weak spot-- self-punishment and a desperate need for love-- by disguising her attentions behind loving, near-maternal guidance and protection... something she would have known he lacked after Mulder unveiled his backstory. While Phoebe is reliant on relationships and adoration and praise to feel superior-- unable to face or accept rejection-- Diana doesn't rely on anyone or anything except herself (hence why CSM came to depend on her, too.)

DIANA, THE (PURPOSEFULLY) NOT-SO RAVISHING

All that logic and canonical consistency aside, the beauty in Mimi Rogers's casting is that she isn't a ravishing beauty to Mulder.

Mulder isn't head-over-heels for her like he was Phoebe Green or Bambi Berenbaum or (later) Scully. In the magazines and tapes that aren't his, in his dreams, in his Kill Switch illusion, Mulder fantasizes about larger-than-life sexuality: the Jersey Devil, Phoebe, Bambi, the blonde bimbo nurses, Jade Afterglow, Scully in sci-fi gear, etc. The exaggeration in their presentation captures his imagination and attention. (We see hints of Diana as a wanton, sexually deviant temptress here and there: namely in Mulder's vision of her in Amor Fati-- post here-- where he is not surprised to see her in aggressive, sexy lingerie-- but is surprised to hear she suddenly wants to settle down and have children, post here. And, again, "settling down" is framed as "It's time to grow up, Fox"-- another maternally slanted manipulation.) In casting Mimi, their dynamic changed from Phoebe-Green-enraptured to old-wound-manipulation.

Mulder himself wasn't gutted over their breakup-- telling Diana, without a shadow in his eyes pointing to past hurts or wounds or pain he'd overcome, "I've done okay without you." It was Diana who walked and Diana who returned; but it's Mulder who didn't ask her to stay either time. She was his partner: not in the "wildly understood definition of that term", but a literal partner who discovered the X-Files alongside him, who spent five years of her life with him, and who left-- without regrets, from either side-- for greener pastures. It had been a comfortable, not passionate, relationship. Afterwards, Mulder was content to burrow down in the basement, alone; and resented any intruder into his sanctum after she left.

And when Diana returns, he's stiff, tense; and takes a while to warm up to her presence. Yes, because of his past with her, yes because he hadn't informed Scully of said past; but mostly because he knows Diana is there for a reason. And, profiler that he is, Mulder suspects he's the reason. And he's right.

DIANA FOWLEY V. DANIEL WATERSTON

How does Mulder's draw to Diana differ from Scully's draw to Daniel?

Well, firstly, we have to discuss the similarities. Both Diana and Daniel are older partners, and both put down the instincts of their lovers (or would-be lovers, in Scully's case) to assert their own interests and end goals. ...The similarities largely end there.

The differences, however, point to the nuance of their situations.

Mulder isn't drawn to Diana because she was "his mother"-- he was attracted to her because his inner porch bug is drawn to the promise of a light at the end of the tunnel; and always coaxes him into the dangerous dark and straight towards the beam of a bug zapper. In this case, he got caught in the window screen, peering into the glow of a house but unable to advance towards or retreat from it. Diana and he had good times, comfortable times that they could remember fondly later; but their reminiscing consists of her helping on the files, not the years of their relationship beforehand. In essence, they have "the work"-- in whatever current form that was-- between them and nothing more (in contrast to his bond with Scully, which transcends Mulder's search for "the truth.")

Scully is drawn to Daniel because he is "other fathers"-- a man who not only understands her expertise and passion but rewards it with devotion and pride. While Diana left Mulder and was, apparently, perfectly content to be single as she carried out the Syndicate's aims (or because she left her options open to exploit CSM's interest), Daniel mourned and pined after his loss, letting his cracked marriage dissolve completely and abandoning his daughter to-- hopefully, maybe-- run into Scully someday. Diana and Mulder coasted five years-- another sign their relationship didn't healthily benefit either person-- before they decidedly separated. Daniel and Scully had a stormy (near) love affair, and split after the tempestuous blowout.

(By the way, Mulder and Scully, carry out those patterns with their ensuing relationships: Scully moving fast and strong with Jack and Jerse before they separate; and Mulder coasting on from case-to-couch, phone to his ear when he gets lonely at nights. Their partnership ultimately breaks each other's pattern, posts here, here, and here.)

Diana does fall in love with Mulder, though: by One Son, we see she truly has lingering feelings for her ex-- that take a backseat to her Consortium calling (and lack of characterization)-- and by Amor Fati, her affection has grown enough to manifest guilt, shame, and change-- that results in her death. However: the series portrays this as new emotional growth, not a symptom of their past relationship. Mulder doesn't expect that depth of feeling from her in The End nor The Beginning; nor even Two Fathers and One Son (hence his consternation with Scully's "jealous" suspicions, post here.) Again, "I've done okay without you" speaks volumes-- especially with the twinkle Mulder sports to show Diana that, for the first time in his life, he's found a spark: that his current "relationship" isn't comfortable or stagnant or in the past. (Which is why she reads between the lines and plans to break apart the partnership as deftly as possible.)

CONCLUSION

Hopefully these thoughts helped in some way or form. :DDDDD But what do you think, Anon?

Thanks for reading~

Enjoy!

**Note**: Here's the interview mentioned in the tags.

[kerubimcrepin]

Liveblog - Dofus, livre 1 : Julith [PART 23]

I think after this it's kinda natural that Joris will never ever put his trust into anyone that isn't Kerubim or Atcham ever again.

I am once again asking why Kerubim has these books and what was he doing at devil's sacrament.

He's never beating those necromancy allegations.

There's a canonical name for the evil-ass looking huppermages.

Once again, this is Them in Dofus 2 when they reveal to Joris that they framed Julith or something. (source: my beautiful mind)

The Dessous comic implies that Marline bought this stuff from Kerubim which is so funny. It's beautiful how little of a shit the man gives for the safety of others.

I may not like Khan in his present form, as a macho gobbowler, but I like the idea of him. Joris, and his little "ghnhnn I have to do what's right, I have sacrifice my happinesss for other people" complex needs someone like that in his life who will buy him alcohol and help him run away from home when he's 14-16.

I'm sure if given another movie, or a show, Ankama's plan would have been to make Khan more likeable. He seems like a ride-or-die friend.

A scene ago he was in Julith's arms. So, she found it important to get him into the arms of this dofus-powered doll. Personally, I like to think that he started thrashing and maybe even bit her.

What did she lie about though? Liking him? Not wanting the Dofus? Being a competent person and not a fuck-up? (I love Bakara and say all of this with affection)

Once again, I empathize, that Julith was gloating about this to Bakara. That she doesn't really care about Joris (and by extension, Joris's feelings.)

She is killing a thousand people, who did nothing to her. These are civilians who came to watch a sports match. How many mothers are here with their sons and daughters who just wanted to look at their idols? If Joris never had Grougalorasalar's soul, if he and Kerubim never learned of her plan, THEY would have been among these viewers.

Julith is a very interesting character because she's ruthless, she has no morals, absolutely no understanding or compassion for others, — even Bakara or her own son, — and yet she is driven by love almost entirely. And that's her one redeeming quality.

But also — does it really change things, when you're driven by love to kill a thousand innocent people? To ruin your son's life? Because it doesn't really change much, to me...

I think there's a tragedy in that. She does love the idea of Joris. She loves what she sees of him, his voice, his face, and eyes. If she learned more about him, she'd probably love the parts he didn't show too. She'd love to see how he grew up.

She'd love how committed he is to those he loves. She'd love his ruthless march towards what he thinks is right that will allow him to close his eyes as he does unforgivable things. The only thing she would dislike is his loyalty to Bonta.

But the reverse will never be true. Joris can become a warmonger, a dictator, and a war criminal, but he would loathe to place his needs above those of others. He wouldn't do horrible things if he didn't think it was for the greater good of mankind.

As a 600yo man, Joris has lived through two apocalypses, — and yet people like Nox and Julith will lose 1-4 loved ones and go insane, killing people. I doubt he feels much for her, except for disgust.

Their friendship is so important to me. But also, somewhere out there, Tatak is crying.

I think one of the great tragedies of Joris's character is that he is doomed to break his own moral code, slowly but surely.

One must imagine Joris Jurgen living happily with the blood of innocents on his hands, because the alternative is more haunting.

One of her main issues is that she projects the actions of a few onto literally everyone in Bonta. Which is a very crazy fucking reach.

But I understand how she arrived at this reach to begin with: I don't think she was ever happy, before Jahash, and when she finally was happy, for once in her entire life, they took even that away from her.

You wanna know who else in this scene is going to have only 2 people who give meaning to his life? Jo—— [I am forcefully restrained by the police]

I just really like pointing out the similarities between Joris and Julith, — and the way these similarities underline their differences.

Once again: she doesn't give a shit about anyone's opinion. She is betting everything onto a nebulous future where Joris and Jahash and Bakara forgive and forget everything she did, and they live as a happy Fambly (in Brakmar, because that's a GOOD city and they will LOVE to move there, after being no longer welcome in Bonta due to the 1000 dead people.)

(Guy whose very emotional and Julith and Joris voice) guys I think she's starting to realize that their familial relationship is going to be unfixable.

Joris and everyone present here are quite aware that stopping this will kill one of them.

They are also very aware that one dead person is better than a thousand.