#and that there would be precedent for the narrative to take that turn

[queenvhagar]

I believe Rhys Ifans’ statement “Both sides are genocidal war criminals… I think we should all enjoy seeing how they die[,]” would be wrong because the entire time the story HOTD is fundamentally about how one group, the greens, IE Alicent, Otto, and Aegon Hightower, seek to maintain the status quo of an oppressive power structure versus Rhaenyra, the blacks, whose very existence seeks to jeopardize that power structure (the patriarchal society of Westeros).

It is made explicitly clear that the chief architect of team green in the usurpation of Rhaenyra’s throne that the only reason that they cannot have Rhaenyra on the throne is explicitly because she is a woman. It’s a theme that is present throughout the entirety of HOTD’s season one as this conflict builds up.

For instance, the conversation between Alicent and Rhaenys at the end of season one where Alicent justifies why she is participating in the usurpation of Rhaenyra’s throne to Rhaenys by saying that it is not a woman’s place to rule the Seven kingdoms and instead it is a woman’s place to gently guide the hand of the men who do rule.

The story of HOTD, the civil war for the succession of the Iron Throne following the death of Viserys, the Dance of the Dragons, is fundamentally a conflict that is built on the foundation of misogyny and the writers are making that explicitly clear.

The weird false equivalency when ppl imply that both sides are equally genocidally crazy, that treads to reduce the nature of this conflict down to just simple good old fashioned greed which it really isn’t.

Don’t get me wrong, I don’t think Rhaenyra is perfect and of course I understand that over the course of the war, she’s going to do some pretty terrible things but it’s been made pretty clear that Rhaenyra’s done everything in her power to avoid this turning out into a war in the fist place.

I just don’t think by any stretch of the imagination regardless of what Rhaenyra does throughout this war, that you’re supposed to enjoy watching her die. I don’t think that’s how her character is written and I don’t think that’s what the narrative goal of her end is supposed to be. Her character is a character by all accounts some victim of the patriarchal society that she lives in. Even if she does go down the “mad queen route,” it will only be to explore how the patriarchal society has completely twisted her. How this war that was started because she dared to be queen of the seven kingdoms completely ruined her and ruined her family.

I would very much appreciate your thoughts on this and would like to learn more if this take of mine is confusing and blinded.

I think this take might be correct if you're solely going off of the show and its interpretation of Team Black as modern feminists attempting revolutionary societal change led by divinely ordained and pure Rhaenyra vs Team Green as conservative misogynists led by incompetent and unorganized abuser Aegon...

Fire and Blood is not this, though. Sexism and misogyny is one element of power and power imbalance in Westeros but it's not the only one, nor is it the only factor into why Rhaenyra's claim was disputed, despite what the showrunners are trying to portray on screen.

The reality is two ideologically different sides with fairly equal claims to the throne are trying to seize power, leading to a war that ruins the land and the family that started it. Team Green has Aegon, firstborn son of the last king, following Andal tradition going back thousands of years and most recently reinforced in the Council of 101 AC that made his own father king. Team Black has Rhaenyra, eldest daughter named by the previous king but not supported by precedent. Rhaenyra unfortunately also had some political scandals that went against her in having bastards, having Velaryons killed and mutilated, and marrying Daemon despite fear of him in power being the reason she was named heir in the first place. Any of these are valid reasons why some people might be against her coming into power. It's more than "she's a woman and I don't like women."

Rhaenyra did not press her claim to raise up the women of the realm, nor did she do it out of a desire to save the world. She wanted it because she wanted power that was promised to her. But the show can't let women simply want things for themselves. Rhaenyra has to be an advocate for peace and want the throne for some higher purpose instead of just wanting power for power's sake.

The Greens were motivated by power to push for Aegon's claim, and surely misogyny in the society helped to get Aegon on the throne, but they also put Aegon on the throne out of fear for the lives of all of Viserys' sons, who would have to be taken out of the picture to secure Rhaenyra's atypical claim lest war and rebellion potentially break out against her at any point in her reign, and Team Black had already shown willingness to resort to violence to help themselves (Rhea's death, Laenor's death, Vaemond's death, Velaryons' tongues getting cut out, Aemond's eye cut out without any punishment and instead Aemond threatened with torture over speaking the truth about Rhaenyra). It's not just "we hate the idea of a woman ruling, we hate women, and we're terrible, incompetent people."

Fire and Blood is a tale of two sides fighting for even more power than they already have who are willing to do horrible terrible war crimes against each other and innocents in order to obtain their end goal of the Iron Throne, and realistically you are interested in seeing all of them die and face the consequences of their actions. The story has weight, the characters are real and human and messy and tragic, the war is unjustified in its means and methods and purpose. It's the failure of Viserys' legacy and a reflection of the flaws of monarchy and specifically the ideals Targaryen supremacy. No side is right and the other wrong. Nobody's a hero.

This is where the show has failed in its adaptation. It has abandoned its themes, along with several characters, characterizations, and plot points, in order to create their own narrative that fits a story that they think will sell best to the casual modern viewer: essentially, redemption for Daenerys fans after the catastrophe of Game of Thrones' ending. By making up prophecy and dream stuff to give to Rhaenyra and also giving her some of that Dany "change the world" mentality that was absent in the source material, the writers can cut apart the character of Rhaenyra and make her into a new Daenerys, and this time they can give the fans want they wanted for Daenerys. Except Rhaenyra is not Daenerys at all, and their only similarity is dragon riding queen seeking to inherit their father's throne. Changing the narrative so Rhaenyra becomes the new Daenerys and a true hero of the story ruins the underlying themes of Fire and Blood and specifically the Dance.

Rhys Ifans likely read Fire and Blood and actually knows what he's talking about. The point of the Dance isn't "heroic woman attempting to overthrow the patriarchy is burned and destroyed by the patriarchy and agents of the patriarchy." The takeaway isn't just "misogyny and sexism are bad and hurt women" like the show hammers in so heavily every single episode. It's "the pursuit of power by the already powerful comes at the cost of innocents, war is never justified no matter what (and certainly not justified by manifest destiny, someone's dream of saving the world, or even 'misogynists stole my throne') and the violence of war destroys indiscriminately." There should be catharsis when gray characters who have done good but also horrific bad in the pursuit of power finally face the consequences and die early deaths. Like, for example, the end of Succession: none of the Roy siblings get what they want, and we understand why, and even though parts of their character are sympathetic and tragic to us, we can objectively view them as flawed and selfish people whose decisions led to this ultimate, inevitable conclusion where they don't get what they want, and it's deserved. This is what House of the Dragon should have been. Tragic, flawed characters on both sides acting selfishly but realistically to seize power from each other and ultimately failing. But the writers opted for an oversimplified morality tale of good vs evil to push their version of feminism into the story where it doesn't belong, at the detriment to the characters and the story to the point it goes against the themes and messages of the source material.

[mermazeablaze]

I thought some of my Tumblr mutuals would be interested to see this article.

Viola Ford Fletcher, aged 109, just published a memoir 'Don't Let Them Bury My Story' about her experience during the Greenwood/Tulsa Massacre. It will be available for purchase August 15th.

"Her memoir, “Don’t Let Them Bury My Story,” is a call to action for readers to pursue truth, justice and reconciliation no matter how long it takes. Written with graphic details of the 1921 Tulsa Race Massacre that she witnessed at age seven, Fletcher said she hoped to preserve a narrative of events that was nearly lost to a lack of acknowledgement from mainstream historians and political leaders.

The questions I had then remain to this day,” Fletcher writes in the book. “How could you just give a mob of violent, crazed, racist people a bunch of deadly weapons and allow them — no, encourage them — to go out and kill innocent Black folks and demolish a whole community?”

“As it turns out, we were victims of a lie,” she writes.

Fletcher notes in her memoir just how much history she has lived through — from several virus outbreaks preceding the coronavirus pandemic, to the Great Depression of 1929 and the Great Recession of 2008 to every war and international conflict of the last seven decades. She has watched the Rev. Martin Luther King, Jr. lead the national Civil Rights Movement, seen the historic election of former President Barack Obama and witnessed the rise of the Black Lives Matter movement."

[fatehbaz]

About the entanglement of "science" and Empire. About geographic imaginaries. About how Empire appeals to and encourages children to participate in these scripts.

Was checking out this recent thing, from scavengedluxury's beloved series of posts looking at the archive of the Budapest Municipal Photography Company.

The caption reads: "Toys and board games, 1940."

And I think the text on the game-box in the back says something like "the whole world is yours", maybe?

(The use of appeals to science/progress in imperial narratives probably already well-known to many, especially for those familiar with Victorian era, Edwardian era, Gilded Age, early twentieth century, etc., in US and Europe.)

And was struck, because I had also recently gone looking through nemfrog's posts about the often-strange imagery of children's material in late nineteenth- and early twentieth-century US/Europe. And was disturbed/intrigued by this thing:

Caption here reads: "Game Board. Walter Mittelholzer's flight over Africa. [...] 1931. Commemorative game board map of Africa for a promotional game published for the N*stle Company, for tracking the trip of Walter Mittelholzer across Africa, the first pilot to fly a north-south route."

Hmm.

"Africa is for your consumption and pleasure! A special game celebrating German achievement, brought to you by the N*stle Company!"

1930s-era German national aspirations in Africa. A company which, in the preceding decade, had shifted focus to expand its cacao production (which would be dependent on tropical plantations). Adventure, excitement, knowledge, science, engineering prowess, etc. For kids!

Another, from a couple decades earlier, this time British.

Caption reads: "The "World's globe circler." A game board based on Nellie Bly's travels. 1890." At center, a trumpet, and a proclamation: "ALL RECORDS BROKEN".

Same year that the United States "closed the frontier" and conquered "the Wild West" (the massacre at Wounded Knee happened in December 1890). A couple years later, the US annexed Hawai'i; by decade's end, the US military was in both Cuba and the Philippines. The Scramble for Africa was taking place. At the time, Britain especially already had a culture of "travel writing" or "travel fiction" or whatever we want to call it, wherein domestic residents of the metropole back home could read about travel, tourism, expeditions, adventures, etc. on the peripheries of the Empire. Concurrent with the advent of popular novels, magazines, mass-market print media, etc. Intrepid explorers rescuing Indigenous peoples from their own backwardness. Many tales of exotic allure set in South Asia. Heroic white hunters taking down scary tigers. Elegant Englishwomen sipping tea in the shade of an umbrella, giggling at the elephants, the local customs, the strange sights. Orientalism, tropicality, othering.

I'd lately been looking at a lot of work on race/racism and imperative-of-empire in British scientific and pop-sci literature, especially involving South and Southeast Asia. (From scholars like Varun Sharma, Rohan Deb Roy, Ezra Rashkow, Jonathan Saha, Pratik Chakrabarti.) But I'd also lately been looking at Mashid Mayar's work, which I think closely suits this kinda thing with the board games. Some of her publications:

"From Tools to Toys: American Dissected Maps and Geographic Knowledge at the Turn of the Twentieth Century". In: Knowledge Landscapes North America, edited by Kloeckner et al., 2016.

"What on Earth! Slated Globes, School Geography and Imperial Pedagogy". European Journal of American Studies 16, number 3, Summer 2020.

Citizens and Rulers of the World: The American Child and the Cartographic Pedagogies of Empire, 2022.

Discussing her book, Mayar was interviewed by LA Review of Books in 2022. She says:

[Quote.] Growing up at the turn of the 20th century, for many American children, also meant learning to view the world through the lens of "home geography." [...] [T]hey inevitably responded to the transnational whims of an empire that had stretched its dominion across the globe [recent forays into Panama, Cuba, Hawai'i, the Philippines] [...]. [W]hite, well-to-do, literate American children [...] learned how to identify and imagine “homes” on the map of the world. [...] [T]he cognitive maps children developed, to which we have access through the scant archival records they left behind (i.e., geographical puzzles they designed and printed in juvenile periodicals) [...] mixed nativism and the logic of colonization with playful, appropriative scalar confusion, and an intimate, often unquestioned sense of belonging to the global expanse of an empire [...]. Dissected maps - that is, maps mounted on cardboard or wood and then cut into smaller pieces that children were to put back together - are a generative example of the ways imperial pedagogy [...] found its place outside formal education, in children's lives outside the classroom. [...] [W]ell before having been adopted as playthings in the United States, dissected maps had been designed to entertain and teach the children of King George III about the global spatial affairs of the British Empire. […] [J]uvenile periodicals of the time printed child-made geographical puzzles [...]. [I]t was their assumption that "(un)charted," non-American spaces (both inside and outside the national borders) sought legibility as potential homes, [...] and that, if they did not do so, they were bound to recede into ruin/"savagery," meaning that it would become the colonizers' responsibility/burden to "restore" them [...]. [E]mpires learn from and owe to childhood in their attempts at survival and growth over generations [...]. [These] "multigenerational power constellations" [...] survived, by making accessible pedagogical scripts that children of the white and wealthy could learn from and appropriate as times changed [...]. [End quote.] Source: Words of Mashid Mayar, as transcribed in an interviewed conducted and published by M. Buna. "Children's Maps of the American Empire: A Conversation with Mashid Mayar". LA Review of Books. 11 July 2022.

Some other stuff I was recently looking at, specifically about European (especially German) geographic imaginaries of globe-as-playground:

The Play World: Toys, Texts, and the Transatlantic German Childhood (Patricia Anne Simpson, 2020) /// "19th-Century Board Game Offers a Tour of the German Colonies" (Sarah Zabrodski, 2016) /// Advertising Empire: Race and Visual Culture in Imperial Germany (David Ciarlo, 2011) /// Learning Empire: Globalization and the German Quest for World Status, 1875-1919 (Erik Grimmer-Solem, 2019) /// “Ruling Africa: Science as Sovereignty in the German Colonial Empire and Its Aftermath” (Andrew Zimmerman. In: German Colonialism in a Global Age, 2014) /// "Exotic Education: Writing Empire for German Boys and Girls, 1884-1914". (Jeffrey Bowersox. In: German Colonialism and National Identity, 2017) /// Raising Germans in the Age of Empire: Youth and Colonial Culture, 1871-1914 (Jeff Bowersox, 2013) /// "[Translation:] (Educating Modernism: A Trade-Specific Portrait of the German Toy Industry in the Developing Mass-Market Society)" (Heike Hoffmann, PhD dissertation, Tubingen, 2000) /// Home and Harem: Nature, Gender, Empire, and the Cultures of Travel (Inderpal Grewal, 1996) /// "'Le rix d'Indochine' at the French Table: Representation of Food, Race and the Vietnamese in a Colonial-Era Board Game" (Elizabeth Collins, 2021) /// "The Beast in a Box: Playing with Empire in Early Nineteenth-Century Britain" (Romita Ray, 2006) /// Playing Oppression: The Legacy of Conquest and Empire in Colonialist Board Games (Mary Flanagan and Mikael Jakobsson, 2023)

[curseofdelos]

I finished re-reading TLH recently, and I want to talk about the common fan interpretation of Piper as a pick me girl for a sec (let me preface this whole post by clarifying that while this is ultimately a defense of Piper as a character, it is also a critique of how Rick wrote her, Drew, and the rest of cabin 10)

The way cabin 10 is written in the books has never been great. Very early on in TLT, Rick makes a point to establish that Aphrodite had both sons and daughters:

Take note of how Rick explicitly genders Aphrodite kids in this paragraph, but uses the gender neutral "kids" to refer to the children of every other god. This is a very deliberate writing choice, and I can't think of any reason why he would have done this other than to (initially anyway) avoid associating womanhood with vanity/interest in personal appearances.

...And then in every book after this, cabin 10 heavily skews female, and traditional femininity becomes the butt of almost every joke about them.

Cabin 10 doesn't get any real focus until TLH with the introduction of Piper, Drew, and the rest of Cabin 10, in which Rick spends a lot of time establishing how different Piper is from the rest of her cabin because she rejects traditional femininity. Piper cuts her own hair, she doesn't wear makeup or care about fashion, she hates dresses etc. This is in direct contrast with Drew who's often described as wearing heavy makeup, having perfectly done hair, manicured nails etc.

Note that Piper's description of Drew's appearance is fairly neutral. Her problem with Drew is not in how she chooses to dress, but in her behaviour.

This would be fine if it weren't for the fact that every time Drew's appearance is described, it is directly preceded and/or followed by her doing something heinous. She insults and degrades Piper's appearance within seconds of meeting her, and we see this again in the Cabin 10 scene where she bullies and manipulates their siblings - kicking them out of the bathroom mid-shower, dumping a bin filled with used tampons on the floor and making them clean it up, etc.

Piper and Drew are in direct competition throughout the entirety of TLH. Piper strongly disapproves of the way Drew runs the cabin, they have differing opinions on Silena Beauregard (despite the fact Piper doesn't actually know her but I digress), and they're both interested in pursuing Jason romantically - Piper out of genuine attraction, and Drew out of the desire to break his heart for the Aphrodite Rite of Passage.

The narrative at every turn pits them against each other. Piper's intentions are always painted as pure and kindhearted while Drew is consistently characterised as a stereotypical mean girl who hurts others simply because she can. Drew is never given any motivation for acting the way she does, and her sole role in the story is to act as an obstacle for Piper to overcome so she could become counsellor (which is kind of pointless considering Piper never interacts with her cabin again after this). She's flat and two-dimensional, and never gets any real character development. Her sole personality trait is mean.

The result of all of this is that traditional femininity gets associated with shitty behaviour, while the rejection of traditional femininity gets associated with kindness and generosity. It should be stressed that Piper herself doesn't actually think that she's better than Drew because she doesn't wear makeup etc; Piper's issues entirely lie with Drew's behaviour. The worst Piper ever says is calling all of cabin 10 "shallow" which is no different to how the other characters talk about them (which is still a problem to be clear; it's just not a problem with Piper specifically, but how the narrative characterises cabin 10 as a whole). It's the narrative that paints femininity as lesser because of the way it positions tomboy Piper (the protagonist) as a better person than highly feminine Drew (the antagonist).

In fact, the most explicitly we ever see the book paint Piper's appearance as preferable to Drew's is in Jason's POV - not Piper's. After Piper gets claimed and Aphrodite changes her appearance, Jason spends several chapters going on and on about how much more beautiful and desirable Piper is when she's not dressed up or wearing makeup.

Because of all of this, it's not difficult to see why so many people in this fandom have interpreted Piper as a pick me 'not like other girls' type girl. The narrative constantly presents her as a better person than the more feminine Drew, and Jason (the boy they're competing over) chooses her at least partly because of how naturally beautiful she is without trying.

However, even though I do understand where this interpretation of her character came from, I do want to push back on it for a number of reasons.

Firstly, it is explicitly stated several times in TLH that the reasons Piper doesn't wear makeup and cuts her own hair is because (1) she doesn't like being the centre of attention (see the first screenshot of this post), and (2) she's rebelling against her father.

Piper's entire character arc in TLH centres around her initially being insecure at the start of the book to becoming more confident over the course of their quest. It is stated on several occasions early on that Piper doesn't like being the centre of attention, but by the end, she feels more comfortable in her own skin. She goes from being embarrassed/hurt by Drew's comments about her to laughing them off and standing up to her by the end.

The term "pick me girl" refers to girls who do things for external, mostly male validation. This is the exact opposite of why Piper doesn't wear makeup or conform to traditional femininity. She does this precisely because she does NOT want to draw attention to herself. The only male who's attention she is trying to get is her father's, and she's doing this by acting out in ways he doesn't approve of. Piper does want validation from her father, but she's not cutting her own hair to get his validation; she's so starved for affection that she wants any attention from him, even if that attention is negative.

Similarly, a major point of conflict for Piper is whether or not Jason is attracted to her, but she is not rejecting feminine things because she wants to impress him Jason does find those qualities in her attractive, but Piper held these opinions long before they even met. It was Jason/the narrative that paints those qualities in Piper attractive, not Piper herself. (Side note: there's a lot more to be said about how their relationship was written in TLH, but that isn't relevant to get into that here.)

The other reason why I want to push back on the interpretation of Piper as a pick me girl is that she's a queer woman. In a straight patriarchal society, women (women of colour especially) are often expected and pressured to perform gender in particular ways - wearing makeup, dressing femininely, being attracted to boys and exclusively boys. In much the same way that Piper's coming out now makes it possible to read her relationship with Jason as compulsory heterosexuality, it's also possible to read her discomfort with traditional femininity as discomfort with being a straight girl. It's possible to retroactively read Piper's dislike for feminine things as her feeling uncomfortable with heterosexuality but is too closeted at this point to realise it. She does, after all, cut her hair very short at the end of TBM while she is the process of exploring her sexuality.

(To be clear: I'm not arguing that this is what Rick had always intended for her - I assume he expected Jason/Piper would be endgame at the time he was writing TLH - but I do think there's a 'death of the author' interpretation available here that her hatred of dresses etc is an early sign of her being a closeted queer woman who is beginning to explore her gender presentation and sexuality.)

I feel that sometimes, in their efforts to (rightly) criticise the way femininity gets treated in this series, some people act as if makeup is in intrinsic part of womanhood and that Piper is a misogynist for not wanting to wear it. This is not true. It is not inherently misogynistic for a woman to dislike it - especially when that woman is queer, and especially in today's society where many women are pressured into wearing makeup to be taken seriously. Piper disliking makeup is not the problem.

The problem with Piper's story in TLH is that the narrative consistently presents her as a better person than the more feminine Drew, and a more desirable option for Jason because of how beautiful she is without trying really hard like Drew and the other Aphrodite girls do. Because every highly feminine character is either a villain (Drew) or a joke (Valentina in TOA), the result of Piper and Drew's rivalry is that femininity gets demonised by the narrative. Again, it's not that Piper herself thinks she's better than Drew for hating fashion; it's the way the story puts these characters in opposition to each other that results in femininity being framed as lesser.

I think a writer with a better grasp of women's issues (and queer women's issues especially) could have written a great story here on gender as a performance, and an exploration on conforming (Drew) VS rebelling (Piper) against gender norms! How there really is no winning and women get harassed for being too feminine AND for not being feminine enough (See: the jokes about Clarisse in PJO not being a girl/being manly because she's violent and rough around the edges)! What we got instead was a story that carries the deeply unfortunate implication that girls who don't care about their appearance are kinder and more desirable than girls who do.

It's not Piper that's the problem; it's the narrative. I think a lot of people have been conflating the two, and have been unfairly pinning the blame onto Piper's characterisation when the fault lies with the plot, and with Drew's characterisation as a flat two-dimensional mean girl stereotype. I think if Drew had been given a redemption arc like Clarisse, or some amount of depth that explains why she hates Silena and acts the way she does, or even if she and Piper had learned to respect each other despite their differences, then we would be having a very different conversation.

[eriexplosion]

Tech Lives: An Ungodly Long Essay

(AKA: Turns out that my Tech Lives compilation post comment was actually a threat.)

There have been hundreds if not thousands of posts since Plan 99 aired wondering if Tech might have made it after his fall - it's probably been brought up more than any other hanging plot point, even after season 2 scooped up Omega and left us on a massive cliffhanger. Now that season 3 has started, though, Omega and Crosshair are home (for now) but we have received an almost aggressive lack of Tech info. So, I've gathered up some of the stronger Evidence for why Tech might be fashionably late but still on his way back from The Void!

THE LEAD UP

So to start, let's go back to what came before the whole Incident. This will focus mostly on season 2, seeing as that was definitely Tech's season to shine, but with bits about plotlines in season 1. Which brings us to our first bit, that's not really evidence so much as some gentle push-back on a common argument.

Doomed By Character Development?

We've all seen this particular situation before - a character is slated for a tragic death, so just before it happens the writers gives them a little extra relevance to the plot to make sure the audience really feels it when the time comes. The Clone Wars was especially good at this, giving characters like Fives an arc of his own that ended in his tragic death. Season 7 gave us a better look at Jesse, first in the Bad Batch's intro arc and then again through the Siege of Mandalore, all to bring us to the chip activation that led to his ultimate death.

When season 2 started off with one of the two intro episodes spotlighting Tech and our first breather episode of the season also spotlighting him, people started to get worried. So is it fair to say that his spotlight in season 2 was setting him up for a permadeath?

Looking at it, I don't think so, for multiple reasons. For one, Tech didn't just get a spotlight episode, his development dominated a good chunk of the whole damned season, often taking priority over the other characters that wouldn't be dropped into the mists. While giving a little bit of character development to a doomed character can be a good move, giving ALL your development to a doomed character ends up feeling like a good portion of your season was actively pointless.

The Bad Batch is not an open ended show. It seems to have been planned for the three seasons it got, and they would have gone into it knowing they had a set amount of time to work with. Dedicating so much time to developing Tech in preparation for a character death takes away all of their opportunity to develop, well, anything else.

But, along with the amount of time that was dedicated to Tech as a character through season 2, they also didn't develop him in the ways that most often get used for a doomed character. Namely...

That Sure Is A Lot Of Open Plot Lines

And not one of them got tied up. Currently, Tech has two open plot lines to himself, both started in season 2, as well as a key place in the overall show narrative arc. As the overall show narrative arc takes precedence, we'll start with that.

The Bad Batch sets up a few different narrative arcs very early. One is if clones can be more than soldiers - this is the central thing that we see them struggling against from the start, they've been created to be soldiers and don't know much else about how to function in the world. Theoretically this arc can be fulfilled with one or two of them still dying as soldiers, as long as a few of them make it to find a new life for themselves.

The arc that can't be fulfilled without everyone though is the ongoing thread of reuniting the batch. Much of the show is geared towards making the viewer want this specific end result, as soon as they talk about Crosshair, Omega says they'll just have to get him back and complete their family. The end of season 1 teases us with this only to pull it away at the last moment, then season 2 teases us with it again only to yet again pull it away, this time seemingly permanently.

Ending one of your key narrative threads you've been using to draw audiences in only 2/3rds of the way into the show and without ever resolving it... well it would be a choice. If Tech is gone for good then the last time we saw everyone together would be the end of season 1. Rewatches would lack impact because something that was made to seem so vital ended up going nowhere, and the series finale would never quite reach the height that hearing the full batch theme kick in over the team fighting droids together did. It absolutely destroys the central narrative to leave him gone without ever having reunited the family.

And then there's his personal plots.

Let's start with the obvious one. Tech got a whole potential love interest this season and they absolutely did not resolve a damn thing about it.

Again, this takes a trope that we all know - the young army man that's going to go home and finally marry his girl, who has his whole life ahead of him, but dies tragically in his final mission - and seemingly intentionally subverts the beats. Because what makes the trope work is that the plot line is resolved as soon as that young man decides how he's going to move forward. He can't die uncertain of if he's going to marry his girl, he has to make a decision, and the longer we spend on the relationship to his girl the stronger the decision has to be to consider the narrative line resolved and free him up for some tragedy.

Tech/Phee is a tentative little 'will they or won't they' romance. They're flirting, they're feeling each other out, they're seeing if they're compatible. To tie up this narrative line we would have to find out if they are or not, get a yes or a no on the question. Will they or won't they? We simply don't know because the writers didn't put a resolution in.

We do get the traditional pre-mission scene with them, which would normally be when we get the first kiss or perhaps the promise of a date, either of which would have had me digging Tech's grave for him to fall into from the second it happened. Or even a 'we can't do this right now, but maybe some day it will be the right time' which would have been a kind of lukewarm resolution but would have at least represented a decision.

Instead we get a scene that almost aggressively refuses to resolve anything. They have an awkward interaction, but not one that says they won't get together, no promises are made for the future, no decision point is reached, and the plot line is still dangling wide open when Tech falls to his supposed death. If we truly leave it off here, well, what was the Tech/Phee subplot for? Why did we spend precious time on it when it could have been spent on something else, if it was meant to make Tech's death hit harder why did it not go further?

A second subplot with Tech is that he certainly made the most progress on seeing options outside of the Empire - it starts early on in Ruins of War when he meets Romar and gets his eyes opened to the idea of cultures that existed unconnected to the war. Serenno existed before the war and before the separatists, and Romar introduces Tech to that idea of an ongoing culture. He gets a taste of racing in front of a cheering crowd, leans further into his teaching of Omega and gets new insights from her regarding their lives as soldiers, his relationship with Phee picks up right when he finds out that she is interested in the preservation of cultures. It's a quiet little subplot, but Tech was seeing the full scope of what the galaxy contained beyond being a soldier in a war.

But, like the Tech/Phee, it never resolves. He never decides to settle down, he never chooses to stop being a soldier or even openly discusses the idea of what life will look like after. Rescuing Crosshair isn't positioned as a final mission that they have to complete in order to give up their lives as soldiers. Without that decision point being reached, the plot stays open, we never find out what he Would Have Done so we don't get a sense of the future that he would lose by dying, which is what the purpose of these types of plots is for a planned permadeath.

The Kaminoans don't create without purpose and writers working on a three season timeline don't typically write without it either. So if we spent the time on Tech/Phee but Tech is dead before it ever went anywhere, if we spent time on Tech's relationship with being something other than a soldier but he never really pursues it, what is the payoff?

Too Much of a Survivor To Die?

There's also the matter of how they chose to build Tech's character this season. Namely they beefed that man's skills up incredibly high making it intensely unbelievable that he's dead without seeing some sort of concrete proof. Things we know about Tech as of the end of season 2 include:

Incredible pain tolerance - Tech fractures his femur in Ruins of War and seems shockingly unbothered by it. The femur is frequently listed as one of the most painful bones to break. This is not a broken toe the man is hobbling around on, he fractured the strongest bone in the body and kept going through the woods. He physically fought and killed a man with that busted femur.

Lightning fast mental processing - this is of course on display nowhere so much as Faster where he's put up against droids and wins by taking calculated risks that no one else is willing to try.

A cool head in stressful circumstances - this one is hilarious because he outright says it, but Tech does demonstrate time and time again that when it comes down to it, he's able to keep calm no matter the circumstances.

Essentially, we spend the entirety of season 2 setting up why Tech is the perfect person to drop out of the sky and have him survive. He has the ability to keep calm and come up with a plan in seconds and he has the grit to keep moving even if he's grievously injured once he hits the ground. When you set a character up like this, you can still kill them, but you have to work harder to do it convincingly. Leaving Tech not at the moment of death but with probably at least a minute to act in and then not showing us the body is the exact opposite.

We have a moment in The Crossing showing us Tech's precise aim, and it comes up again to brutal effect when he shoots out the connection on the rail car. If moments through the season were used to set up that particular instant of the finale, then we can't discount the numerous scenes demonstrating his survival skills as being irrelevant to his chances.

Plus, looking back at Ruins of War - one of the big moments in the episode is towards the end, where Romar tells Tech, "I'm a survivor. Remember?" The camera then lingers on Tech for a long moment. It's not the kind of action that demonstrates his capabilities as above, but it works to associate the words with Tech in the viewers mind. Romar is a survivor, and Tech is a survivor too. And when you intend to kill someone off, it's kind of an odd choice to spend that whole season setting them up as a survivor.

THE FALL

Which brings us to the scene itself. Plan 99, implied to be one of the last ditch plans that they have. It's absolutely a heartbreaking scene, and one that can be tough to analyze when it's so well done, because it's rough to watch repeatedly. But, it's worth doing, because the scene itself is FULL of questions, some structural others more based in the visual presentation.

What is Plan 99?

Well, that's just it, we don't actually know.

We know what it's implied to be, a self sacrifice plan where one of the batch gives their life for the others to get away. But in show it's never actually defined, leaving the full meaning of Plan 99 up to interpretation. It could be as simple as what it's implied to be, but that brings up questions like 'why not provide any lead up or foreshadowing for it?' and 'does killing yourself actually count as a plan?'

Removing the assumptions from it gives us room to speculate. Is the plan actually that they leave him behind, dead or alive? Hunter ordered them to do so without a plan number in season 1, but he is the sergeant, so plan 99 could easily be something that bypasses his authority - if a batcher calls a plan 99, you go and you don't question his decision. It's certainly closer to a plan if there's something they are supposed to be doing from their end rather than just an announcement of intent.

It's not strictly evidence one way or another, but it is something of note when Tech's entire sacrifice is based around a plan that we're not privy to the details of. TBB has hidden its twists in ambiguity before, so it would not be the first time that it let us assume something only to pull the rug out later. But ambiguity is not the only thing that makes this scene stand out in the raising questions department.

Pacing Goes Out The Window

Generally speaking, a self sacrifice is the climax of an episode. Think Kanan, Hardcase, Gregor, Hevy, etc - Even a minor character sacrificing their life tends to make up the most climactic portion of any given episode, let alone one of the characters from the title squad. It gets to be the big central moment, the big rush of music and feeling, the pinnacle of the viewers attention.

Tech's sacrifice is not. It happens around 5 minutes into the episode, is rapidly moved past with barely a moment to think, and then the actual climax is Omega's capture on Ord Mantell. They even repeat the music when Omega is captured, except much stronger this time, making it clear that this is the emotional crux of the episode, this is the scene that is supposed to stick with you.

The opportunity to make it the climax of an episode was certainly there. The storyline could have been adjusted to put Tech's fall at the end of The Summit, allowing more time in Plan 99 for processing his loss and making it feel final. The pacing choice is one that doesn't allow the viewer to process the loss, only giving us maybe a couple minutes of time with actual emotional reactions before we're barreling off to the next plot point. Why was Tech's death de-emphasized within the episode if it is indeed our last moment with this central character?

Tarkin, Eriadu, & Saw Gerrera

A lot goes into the set-up for Plan 99. We have Tarkin's base on Eriadu as the setting they're working within, going up against Tarkin for the first time since early season 1. This is the big leagues, and something that's come up in multiple interviews is that when going into the den of one of the franchise's big bads we have to have consequences, something to demonstrate that Tarkin is not to be trifled with.

Sounds reasonable enough. Except Tarkin doesn't actually do anything in either of these episodes. The thing that actually threw them off was Saw's planning mixing in with their own.

All Tarkin does upon finding out that the batch is stuck on the rail is order an air strike and ignore that this would kill many of his own men. This is certainly evil, but it's standard Imperial evil. Rampart would have given that order. Hemlock would have given that order. The guy in Tipping Point that we know for 5 minutes before he fried himself would have given that order.

So if the point of this finale was to demonstrate Tarkin's power, then bringing Saw in both complicates the plot and devalues what they're claiming they are trying to show. So is the point to get them to Tantiss? No, because they fail in that. They don't plant the tracker, they're no closer to finding Crosshair than they were before.

By all accounts the point of the whole endeavor is in fact just to drop Tech off a sky rail for reasons unknown and injure Omega to force them to go back to Ord Mantell. These two things could have happened anywhere in any way of course, so why choose Eriadu and why choose to complicate the plot by introducing Saw rather than letting Tarkin handle the job?

They're questions we don't have answers to yet, but they're very hard to get answers to if Tech is dead and completely out of the picture. Having a dead body on Eriadu is fairly useless to the plot, having a living Tech on Eriadu though? That has potential to move them huge leaps forward in a very short amount of time once we bring him back in. Especially given his conversation with Saw prior to everything going downhill - Tech was in favor of gathering intel from the facility rather than destroying it.

And what about Saw, anyway? If he was genuinely there to cause problems and fly away, again, that's a plot wrinkle that isn't needed and took time away from everything else. If he's there because they needed someone to pick Tech up though? There's potential there.

Did Tech's Sacrifice Mean Anything?

In universe, Tech's sacrifice means everything, of course. It's a decision made in the moment to risk everything to save his family. It's a noble deed and one he does without hesitation. But pulling away from that narrow scope of an in universe perspective, what did we accomplish narratively with his fall?

Well... not much actually! They got over the bump in the road that they encountered all of five seconds ago and promptly crashed headfirst into another, different bump in the road. Tech's dramatic sacrifice didn't allow them to escape unharmed, it didn't allow them to find Crosshair, it just allowed them to move a few steps forward, after which Omega is almost killed and then captured, which is a fairly weak reason to sacrifice a whole major character.

But not every character death is exclusively about narrative, sometimes it's about the character arc itself. So does this close out anything for Tech's character development? Again, not really. Tech has always been completely loyal to the squad and would have risked anything for his family. He never had a choice not to fall, it was either just him or the whole team, and he is an endlessly logical actor. The action would have played out the same had it happened in the series premier or the season 1 finale, or any other time in the show. If anything it's a backtrack on his character by putting him solidly back into the soldier box that the show is trying to let the clones grow out of.

Maybe it's not about Tech's character though, maybe it's about everyone else's! Does his death change anyone's trajectory? Again... no, not really. We'll get into season 3's lack of mentioning Tech later, but in the immediate aftermath of his fall, no one's course or actions is majorly changed because of his loss. Hunter wants to go back to Pabu where it's safe, the same thing he wanted to do before they ever left for this mission. Omega puts herself in danger to save her brothers, which has been one of her defining traits since season one. Wrecker is following Hunter's lead, same as he always did. (We get very little of what Echo hopes to do, but the opening of season 3 reveals that they went back to work with Rex, exactly like they were doing before.)

So narratively nothing required him to die, the character's arc isn't completed, and the other characters aren't motivated to change. If Tech dies here, it's the picture of a shock value death. It doesn't complete or inform his character, it doesn't need to narratively happen in order to put Omega on the path to being captured, and thematically it exists just to give the viewer an unnecessary gut-punch when just the failure to rescue Crosshair and the loss of Omega would have been enough.

Framing is Everything

In a death scene there's nothing more powerful than our final shot of a character. The very last we'll ever see of them, the image that will linger in our minds when we think of that character from then on. This is especially important in animation where everything has to go through several iterations before deciding on what that final look will be. You want it to be impactful, you want the audience to have one final connection to the character before they're gone for good.

So why does Tech die with his helmet on?

If there's one thing TBB is good at, it's their expression work, and a death scene is a perfect place to show off their full range, which is why most deaths meant to have a heavy impact occur with faces unobscured. Crosshair loses his helmet and takes Mayday's off so we can see both of their faces as Mayday dies, Slip, Cade, even Clone X and Wilco, all die helmetless. Looking into older series you have Kanan dying without his mask, Fives, Hardcase, Waxer all dying helmetless with one last good look at their faces and expressions.

And while Tech's helmet gives us a good look at his eyes, the rest of his face goes unseen, and Wrecker's face as he watches this happen is completely obscured. We're denied a look at a lot of their expressions as the decision is made and Plan 99 is executed, rendering it less personal than it otherwise could have been. Tech could have lost his helmet in the blast that knocked him from the rail, Wrecker could have had his helmet knocked off at some point to give us a good look at his expression. TBB isn't known for pulling its punches, so why leave our final look at Tech's face back in The Summit and not here?

Then there's the framing choices. We get some absolutely amazing shots of Tech during the fall, from taking the shot to falling backwards towards the cloudy cover - but here's where some interesting choices are made. Rather than letting our last shot of him be a face up shot that keeps eye contact with the camera as he falls, they make the choice to have him flip over, and we hold the shot as the rail car goes down after him, partially obscuring him.

Which means instead of our last glimpse of Tech being something like this.

We end up with something closer to this.

Which, while we all love those Tech crotch shots is somewhat less impactful emotionally. These frames go through multiple departments and get multiple eyes on them before going through final animation, and no one thought that leaving him face up and unobscured until he disappears into the fog would stick more firmly in the viewer's memory?

The Flip Might be Intentional

And I don't just mean out of universe, as every detail of animation is often intentional, but in universe as well. If you look closely at Tech as he falls, he seems to roll his shoulders back in order to begin flipping over. It was a specific enough detail to send me searching for a reason and I found it in instructions on how to survive a long fall - the first thing that you're supposed to do? Get into the arch position like a skydiver to slow and control your fall.

The flip was important enough to not only include but to include the small detail of Tech intentionally flipping himself over into said position. It's not a confirmation but it's an interesting detail, and one that has very few other reasons to exist.

THE AFTERMATH

Image chosen because even thinking he's alive I didn't want to pull from Omega reacting to the fall on Ord Mantell. Looking at her makes me Sad. So the fall has happened, the rail car has rushed forward and crashed, and Omega fades in and out of consciousness until finally waking up on Ord Mantell to the bad news.

"What if he's hurt?"

Omega is our POV character for the show. We may sometimes see things she doesn't, but emotionally she remains the center of the narrative, the character that the target audience will see themselves in. Her ultimate thoughts on a situation are the closest we have to a clear indicator of our intended takeaway.

So it's interesting that the first thing we hear out of her, having heard that Tech 'didn't make it,' is a firm denial. He can't be gone, he might be hurt, he needs them and they need to go back for him. And, despite Hunter continuing to talk with her about it for a bit, we never actually hear Omega explicitly take it back or verbally acknowledge Tech as dead. The closest we get is 'lost' which she also uses for Echo in The Crossing.

Now, here's where the interpretation between the adult and child audience will likely differ. From an adult perspective, this is a reasonable reaction for a child her age. It comes off as very natural that she doesn't want to accept it and that she doesn't have time to really process that it's true before the scene moves on. It makes sense from an in universe perspective.

However, the main audience is still children who actually are Omega's age and who are being presented with her as their window into this world. And their takeaway, seeing that same scene, is likely to be that Omega is correct. They don't know that Tech's dead, just because an adult says it doesn't make it true and just because Hemlock says it DEFINITELY doesn't mean it's true, they have to go back and check.

If they wanted the main audience to think that Tech is dead for sure, they could have had Omega be the one to say that he's gone, with Hunter simply confirming it for her. Alternatively, Omega accepting it when Hunter tells her would also function in the same way - ultimately, as the POV character, if Omega doesn't accept it there's a strong possibility much of the audience won't accept it either, especially without other evidence.

No Body?

And, as we all know, we simply don't have other concrete evidence. Not only are the batch given no time to look for Tech's body or any confirmation that he died, but we get a whole scene with Hemlock and the goggles where he also confirms verbally that he doesn't have a body either. There's very little reason to have him say this outside of putting a bug in the viewer's ear that he might not be gone for good.

Not only do we have that verbal confirmation, but we have multiple places where a body could have been included or implied without adding much to the runtime.

Easiest place would probably be when Omega passes out - there's a trooper's corpse right there in front of her, and it would have been very easy to make that identifiable as Tech. Have one of the boys check his pulse like Crosshair did with Mayday and then be forced to leave after confirming he's dead. Would it require a little bit of fudging the details of how he landed so close to them, sure, but it would have been narratively streamlined and easy.

Have Hemlock bring his helmet rather than his goggles (and damage it in a way clearly incompatible with survival) or confirm that he did find a body but has no use for the goggles.

Put the body in Hemlock's lab when Omega is brought there at the end of the episode. Have a sheet covering him even if you want and just one of his hands hanging out, especially the one with the distinctive light on the back of it. Give us her reaction to that.

These are just the ones that don't involve adding scenes or making major changes - instead, in a franchise known for bringing back everyone and their grandmother especially if there's no body, they chose to leave it extremely vague.

Reused Score

The soundtrack for Tech's sacrifice is fantastic, I don't think anyone can argue that. In fact it's so good that it's used occasionally used as a reason for why he's dead for real. If it's a fakeout, why go so hard on the music?

It almost sounds like a reasonable argument, except that the music isn't even unique to Tech's fall. We get the same motif later in the episode with Omega's capture, and it actually comes in even harder and more impactful there than it did with Tech falling.

Reusing bits of the music has two results. It lessens the impact of hearing it with Tech if it is in fact his Death music, because it makes it clear that he is not the central feeling of the episode but rather, Omega's capture is. As mentioned before, deaths are usually the climax of their own episodes partially to avoid them being upstaged by any other plot points, but here Omega's capture is fully prioritized over the loss of one of our central characters.

The second result is that it changes the meaning of the music. It's no longer meant specifically to underscore a tragic death, but rather a more general one of loss and separation. And if it's simply about that separation, then it no longer requires Tech to be dead to have that same impact. They're apart from each other, and that's painful enough.

SEASON 3 SO FAR

Which of course finally brings us to season 3! We're five episodes in as of the posting of this, so a full 1/3rd of the season down, which gives us a good idea of how they're handling the whole grief aspect of this scenario.

They Aren't!

That's right, we simply have not directly acknowledged or dealt with the whole 'watching your squadmate fall to a presumed horrible death' thing even once in five episodes. Tech has been mentioned by name twice, we've seen his goggles once, and Wrecker makes one sideways reference to him having not made it back.

In universe, there is a several month timeskip and it seems to be implied that the majority of the grief milestones happened in that gap. For example, we don't see Crosshair finding out from Omega, we don't see Omega grieving her brother, we don't see Phee finding out (more on her in a bit) despite her fledgling romance. Months of grieving and processing skipped over and what comes out the other side is single line mentions that go by in seconds.

This is especially apparent after episode 5, where we got something to compare it to. Crosshair has a long, painful moment of grieving with Mayday's helmet when they return to Barton IV. It's deep, personal, and intimate and we take a minute with him gathering up the helmets of Mayday and his men to set them up on the crates the same way that Mayday had honored them.

Mayday is a one episode character that was important to only a single character, Crosshair - Tech is a core member of the team present through two full seasons and shown as close to every member of the squad. Yet the single scene grieving Mayday is longer and more emotionally gripping than every short mention of Tech so far in season 3.

Narrative Grief

Seeing characters grieve their loved ones onscreen is about more than just the characters themselves. It's also part of the viewer experience - through the characters' grief, we're able to process our own grief at the loss. It makes it feel real, it makes it feel personal, and the amount of grieving needs to be proportionate to the character's importance in the story.

This is especially true in a show written for children like The Bad Batch. Kids don't typically have the same experience with death as adults, and a well written main character death within a children's show will need more time and energy spent towards making the loss feel real. We see this with deaths like Kanan's; it wasn't Jedi Night that told the viewer that Kanan was really, truly dead, it was Dume, where the characters mourned him and dealt with the aftermath.

Currently, with Tech, we do see holes in the team that make us miss Tech but they remain completely unaddressed by the characters. We see Tech's goggles, but Hunter isn't looking at them, he's looking at Lula. Omega mentions Tech having taught her all the plans, but without any real sadness on her or Crosshair's part. The closest we get to actually bringing it up are Wrecker saying 'not everyone came back' and Echo mentioning the datapad would be difficult without Tech, and both of those are only seconds long before moving on. They don't serve as any kind of catharsis for the viewer, relying more on gut punch impact and keeping the wound open rather than allowing it to heal. The difference between the treatment of Tech's death and Mayday's just makes it more stark.

How Do You Like Yearning?

Interestingly, though, it strongly resembles the writing team's handling of another situation: Crosshair's departure from the team in season 1 vs Echo's in season 2. The show even drew a lot of flack for the lack of discussion on Crosshair's betrayal, as outside of a couple conversations the matter often went unremarked on. Echo leaving, on the other hand, got a whole episode dedicated to processing the loss immediately after it happened.

So what was the difference? Crosshair's departure is part of a long term plot point. We're supposed to want him back, we're supposed to want the team to talk about him, anything that would ease the tension. The writers on the other hand want that tension to remain until it's time to actually resolve the plot. So we get those slow drips in between bigger encounters, we get opportunities for Crosshair to come home that he doesn't take, and we don't get the catharsis of the team actually talking about any of it. We're left to want and imagine it, using the yearning to keep it on people's minds more than anything.

If Crosshair had been discussed on screen long enough for the characters to actually come to terms with his absence, though, that would have made the plot feel more settled and resolved early on. It might be conversations we want to see, but it doesn't keep the viewer on edge and craving a resolution. Best case scenario we're just not as desperate for Crosshair to come home - worst case scenario we accept that he won't be returning and find the fact that he eventually does to be unrealistic.

Echo on the other hand gets their absence processed immediately, because their absence from the team is not meant to be a huge plot point. It's something the team has to deal with, yes, and the viewer wants to see them again just like Omega does, but Echo returning isn't meant to be a maybe, and it's not supposed to keep the viewer wondering and worrying. It's a when, not an if.

Similarly to Crosshair, Tech has never felt like a resolved plot point. We don't get confirmation on his death, we don't get any long term grieving, and we get drip fed acknowledgements that pry the wound back open. If we actually see the team discuss and come to terms with their grief and loss, the plot point closes, the wound closes and we begin to fully accept a team without Tech in it, which makes it harder to reinsert him into the storyline if he is in fact alive.

If he's truly gone for good, what is the point of denying closure to the audience? We know that they are capable of writing an intense mourning moment that feels completely in character for otherwise emotionally repressed men such as Crosshair, so why not give us that with the team mourning for Tech? A memorial, an intimate moment with the goggles, a short scene of Crosshair finding out about the loss, or anything at all really? Once again it's something that makes sense if he's alive and we're simply not being shown yet, but makes very little sense to not capitalize on if he's dead.

What's to Come

We have ten episodes of season 3 to go, and a lot to cover. Reviews have indicated that Tech is not explicitly brought up in the first eight, so the earliest we could possibly have a survival reveal is in episode 9. Will it actually happen? Maybe, maybe not. Though interestingly episode 9, The Harbinger, is almost exactly one year after Plan 99, just like The Return aired almost one year after The Outpost. Could mean nothing, but they do enjoy their anniversary dates.

One thing we do know for sure is coming up is Phee's inclusion - she's seen in the official trailer, as well as briefly in a recent twitter spot. This is interesting as Phee is, of course, Tech's teased love interest, and her connection to Tech has been emphasized multiple times, including on her Databank entry and the official 'what you need to know about season 3' guide. When she comes onto the scene, it's very likely that more information about Tech will too.

MARKETING, INTERVIEWS, & SOCIAL MEDIA

I wanted to keep this mostly focused on what can be seen within the show itself, but it's impossible to talk about whether or not Tech is alive without pointing to the absolutely bizarre messaging from the cast and crew, as well as the marketing choices surrounding his sacrifice. (Example: the Instagram Mourning Filter they layered over him in the official trailer, as seen above) I won't get quite as detailed here as in the above, but it does have to be mentioned.

Constant Focus

In between the end of season 2 and the posting of the season 3 trailer in late January, there were several posts on various official Star Wars media. The majority of them were about Tech and Plan 99. In fact, I don't think I ever saw anything mentioning the giant 'Omega's been captured' cliffhanger, just Tech. Over and over again.

Once a character is dead, marketing generally stops caring about them. They're forward focused after all, they want you coming back for what's to come not lingering on what won't be relevant again. So why the constant focus on Tech?

And it wasn't just the social media either - a huge portion of the trailers and reels included old footage of him too. For the most part this was from Plan 99 and bringing up his fall again to rip open those old wounds, but in one case they included action footage from The Summit. This was an interesting case, because the majority of people watching wouldn't have recognized it immediately. Fittingly, the entire comment section was full of nothing but 'Was that Tech?' style comments, which they would have known was going to be the case to start with.

So why are we so focused on a man that's supposedly dead? If he's genuinely never going to show up again why keep putting him in? Everything? While not even bringing him up all that often in the show? If he's dead, this is a truly bizarre marketing decision.

Never Say Die

In interviews or in official material. For several months the word 'dead' was never used for Tech anywhere, not in interviews, not in official material, nowhere. It took until January 23rd for all of the databank entries to be updated, and among all of the main cast he's only referred to as 'killed' once, and it's on Hunter's page not even his own. Then, the Friday before the premier, an interview came out referring to him as dead - on the part of the interviewer, not the creators themselves.

Everything else seems to use a variety of euphemisms. His sacrifice, his absence, his loss, he 'plummeted out of sight', he 'fell from a tram car', he did absolutely anything it's possible to do except outright die apparently.

It's an odd choice when there's known controversy over if he's dead or not. The standard operating protocol of course, in a planned comeback, is to refer to them as dead anyway and allow fandom to fuel its own speculation, but with a fandom as devastated as TBB's was, it's quite possible that the odd behavior had to be introduced just to keep speculation going. The only interviews that sound remotely final came out right before the episodes started coming out - if they had done that from the beginning, the chances of people outright refusing to come back to the show likely would have been higher.

Much like the marketing, this is not necessarily proof of anything - but in combination with the multiple odd things in the show itself, it's certainly suspicious. Speaking of suspicious...

What an Odd Thing to Say

The cast and crew themselves have not been skimping on making strange comments when it comes to the Tech situation.

There is of course the well known Joel Aron (lighting director for the series) tweet that came out the day of the Celebrations panel (AKA when the Tech trauma was at an all time high) and in direct reply to a fan that was having a hard time with Tech's death. It's hard to take it as anything but a reference to Tech given the timing, and it was certainly taken as being about Tech in the quote tweets. If it's not about Tech, why tease the fandom with it? And the specification for it being a mid s3 episode as well...

Also from the day of Celebrations, and from the panel itself, we have Michelle Ang saying in front of God and everybody, that Tech "doesn't come back... in this episode, at least." At the time there was a possibility she didn't know and was just leaving it open, but with that only being ten months ago and the extremely long timeframe of animation, it's almost certain that she would have been done with all primary recording by that point. If you know he's not coming back, how do you accidentally imply that he is with no one correcting it?

Dee Bradley Baker, when asked for a farewell message from Tech at a con, came out with "the life of a soldier is fulfilled by fulfilling his mission and supporting his brothers. And this was the end of mine. And that's a good thing." Which was a perfectly serviceable goodbye right up until he said that the end of Tech's (life? soldier's life? mission?) was a good thing.

During an instagram interview we have Deana Kiner, one of the composers, in response to the interviewer talking about the final episode containing a major loss, saying, "It's kind of a loss... It's complicated." The claim on twitter was that this was about Omega, because everyone knows that when someone mentions the major loss in Plan 99 they're definitely talking about Omega.

So is Tech alive? Is Tech dead? We still don't know. But while one or two of the above might be a coincidence, having all of them at once coalesce around this single character death is a lot to chew over. The Bad Batch team has shown willingness to address grief and loss prior, as well as a willingness to show us death onscreen and front and center. So why, with such an important character, sidestep it all in order to keep it vague? Why keep it from sounding final for so long, if the intent the entire time was for him to be dead for good?

We won't know until he either shows back up or the show ends. If Tech's alive, all of the above starts to make sense. If he's dead... well a lot of things will just never quite add up. I feel that this team has shown enough willingness to follow up on their trailing plotlines that they've earned my trust. Fingers crossed for a satisfying resolution for all of us, and for our boy Tech, whatever that resolution may be.

[bottombaron]

ranking the Thunderbolts characters by how likely they are Zemo in disguise

some context: a character being revealed as Zemo in disguise in a genuinely unexpected twist is somehow hilariously common for the character in the comics (if i had a nickle for each time i’d have at least four, and that's almost a whole quarter!). most notably however it’s in the very first introduction of the Thunderbolts team. the Thunderbolts are kind of synonymous with a Zemo related twist at this point. basically, with the DC not-alive-anymore-by-choice squad you can count on the team having their implanted neck-bombs and with the Thunderbolts you can count on Zemo being hidden somewhere like a murderous purple Where’s Waldo.

SO, while everyone is like “where is Zemo?” and “why isn’t Zemo in the Thunderbolts movie?”, i remain steadfast in certainty that he’s going to show up in the third act,,, despite there being literally no evidence to the contrary. also this is just for fun so don’t take it seriously unless i’m right then i told you so.

these rankings go from least to most likely

0 / 10

Ava Starr

-because Zemo knows better

——————————————————————

1 / 10

John Walker

-he would have to dress up in an American propaganda outfit

-Zemo might have to intimately deceive Walker's wife and child and that's creepy

-he has the Super Soldier Serum

-calls Bucky “Bucky”

-even Zemo wouldn't ignore Walker's crying child like that, comeon man

——————————————————————

2 / 10

Yelena Belova

+surprisingly not completely unthinkable???

+like maybe as a gag it could play?

+i think it’s because they both have that tiny stabby assassin energy

-obviously it would be super weird, confusing, and narratively unsatisfying for both characters

-Yelena and Florence deserve their spotlight and i wouldn't want anything to detract from that

——————————————————————

3 / 10

Alexei Shostakov

+only slightly above Yelena in believability simply for him being more expendable narratively (so the character not actually being himself in the movie wouldn’t be as much of a let down)

-he’s not particularly similar to Zemo in any way

-like Walker, he has the Super Soldier Serum, so it’s unlikely Zemo would disguise himself as Alexi by choice

-it seems exhausting just being Alexi for any length of time, even for Alexi

+bonus: in the trailer, Alexi b-lines for the bar the instant they exit the elevator in the former Avenger's tower. total Zemo behavior

——————————————————————

4 / 10

Taskmaster

+same height

+non-powered (if you don’t include mimicry but i think Zemo could fake it for a short amount of time)

+wears a mask and doesn’t talk much, making for easy impersonation

+scarred face is similar to Zemo’s scarred face in the comics

-their builds don't match up to a passing glance and unlike Yelena, with her more baggy clothes, Antonia is wearing a fitted outfit, making it more difficult to pass (i don't need it perfect mind you, just enough to suspend believability juuust a little)

-mostly it's just the vibes tbh

-idk man im not feeling this theory anymore and i used to be a Zemo in the Taskmaster suit truther

-maybe it's the suit redesign 🤷‍♂️

——————————————————————

5 / 10

Bob/Sentry/The Void

now we’re getting to the ones where i start to vibe with, but also would need a whole lot of exposition

basically, if you wanted to give a guy like Zemo brain scramblies, make him forget who he is, do some experiments (possibly à la Hydra on Wanda/Pietro? finally pulling on that dropped thread of Sokovians having a higher rate of manifesting powers -specifically Wanda’s reality warping powers- when exposed to the Mind Stone than the average human?) and try to corrupt him into an American branded superhero with a mild-mannered personality, you usually give him a three letter name. like Bob. or Jim.

turning to a comic that i can't believe more people dont talk about in relation to Zemo and the Thunderbolts: Welcome to Pleasant Hill

there's a lot in this comic that gives precedent to the twist of Zemo (and the audience) believing they're just a common, good-natured, all-American before finding out it's a lie in an elaborate supermax prison system. (this will definitely come up in almost all other thoughts and theories i have, including the character on this list that i'm most interested in. i'm kind of obsessed with this comic tbh) the story even involves Bucky, the Thunderbolts, the Cosmic Cube (which is the Space Stone in the MCU - related to the Mind Stone) and reality warping/memory altering similar to the Sentry’s own comic twist. and yes, it’s basically the plot of WandaVision before WandaVision except that the warden wasn't a grief stricken Wanda but a surprisingly Valentina Allegra de Fontaine-ish Maria Hill (put a pin in that similarity). there's also the fact that the MCU loves to merge characters into one, like the upcoming Doom-Stark combo.

so how does this work? hell if i know. Zemo could be forced to change his appearance with that Black Widow spy mask thing? maybe the only ones who see Bob as Bob are the ones who don't really know him + Walker who's easily deceived?? idk. it's a pretty big stretch (but not as big the next one on this list!) the most probable scenario of this one happening is Zemo somehow being tied to Bob’s alter, The Void. again, not probable at all unless the movie does some trippy stuff, but it’s fun to imagine the possibilities.

+the trailer seems to suggest said trippy identity/mind stuff, which you would need to pull this off

+Loki’s staff that once housed the Mind Stone in Sokovia could be a reference to Kobik/the Cosmic Cube that creates Pleasant Hill in the comics

+uhhh Bob and Joe are both three letter names??

+in the Pleasent Hill comics Zemo kind of looks Bob/Sentry like?

-a major thing that holds this theory waaaaaaay back is the fact that Steven Yeun was going to play the part of Sentry first and its highly unlikely they would Plot Twist him into a white man (or god i at least hope not)

-ultimately, there's just not a lot of places this reveal could go imo so /shrug

——————————————————————

8 / 10

Countess Valentina Allegra de Fontaine

look ok hold with me here bc we both know that when those heels started clacking outside the Senate hearing in TFATWS everyone was thinking that it was Zemo rocking them for a whole hot second. I KNOW. I REMEMBER. I WAS THERE.

does this make sense? no, not really. should comedy legend Julia Louis-Dreyfus unmask as Zemo in drag in the third act of a big, multi-million dollar franchise movie made by The Mouse?? absa-fucking-lutly.

i even think it would go over with audiences for the most part. they’d see Zemo, Zemoing about, and go, oh yeah ok that tracks.

+Bucky kind of looks like he’s playing the role of Val’s bodyguard/muscle and his demeanor reminds me so much of TFATWS when he was playing the same role for Zemo

+Bucky knowing this whole time that Val is Zemo and is reluctantly going along with his grift for whatever reason is so funny to me idk why

+Bucky saying “what's the plan” in the trailer just feels better if he is saying it to Zemo

+Bucky is wearing some of his old WS gear and who put him in that last? Zemo

+her line about there being bad guys and worse guys is very on par with Zemo’s pessimistic mentality, maybe justifying an Avengers team up as a necessary evil?

+there should only be one unpowered, tiny, bitchy, manipulative, mastermind serving cunt in a purple jacket in the MCU and Val is crowding Zemo’s throne. solution: Zemo uses Val as his public identity (you know, because of all the war crimes. Val has almost certainly done similar war crimes but they were for the U.S. government so she’s safe to masquerade as) and leads the Thunderbolts with nobody being the wiser

+this also means keeping Julia Louis-Dreyfus around and thats worth like, a hundred '+'s

+the purple. the royal titles. oh, it’s all coming together

+totally think that JLD and Daniel Brühl could pull this off i’m not even joking

+it would delight and entertain me

+Zemo would be leading the Thunderbolts team as he should be

-i fear a shadow of transphobia looming around this idea (with a female character being revealed to be a man in disguise) and that instantly sucks any fun out of it

-Zemo’s ideology would have to do a complete 180 hairpin turn or be a very elaborate plan to sabotage things from the inside, kind of making it difficult to buy into the whole thing in the first place

-its never going to happen

——————————————————————

8/10

Bucky Barnes

ohhhhhhh kkkk

here we go

here’s all that twitter stuff abt how there’s reason to believe that the person shooting at the limo isn’t Bucky at all or that he’s being brainwashed again:

personally, i don’t feel WS here but maybe that's because Seb is doing a little bit of his Judge Dredd scowl and there’s too much going on behind the eyes? it still feels like Bucky still imo, even if his actions are like, a bit extreme. it’s that whole “i had to go to work today” energy that Bucky perpetually puts out lol. basically i didn’t get the vibe that he’s Winter Soldiering, or even that he’s trying to kill the team, i just get the vibe he was tasked with rounding up and escorting the group back to Vale and he’s doing it his usual undelicate way. of course, this is only 3 seconds from a teaser so all those details could be right or wrong in the film, only time will tell.

BUT this reasonable talk is counterproductive to this crackpot theory, so…

The Zemo being brainwashed or otherwise manipulated/reality altered into believing (or pretending to be) he’s Bucky/WS theory:

+if i had a nickel for every time Zemo in the comics was brainwashed/tortured into believing he was Bucky/Bucky adjacent and/or the narrative obfuscating which one was which, i’d have at least two nickels

+and that is purposeful btw, in the comics Zemo and Bucky have a strange thematic connection. it’s not a coincidence that when Steve was still grieving Bucky, here came a guy with ties to his past (specifically the son of the man who ‘killed’ Bucky) that would have been roughly the same age as Bucky if he didn’t ‘die’. Steve then commits to saving Zemo time and again, dispite what a complete fuck-up he is. so, Zemo hating Bucky but also kind of having this deep inner desire to be him at least has thematic presence in the comics

this motherfucker literally keeps a shrine of Captain American memorabilia, including putting Bucky’s old costume in a lit glass display case

-on the other hand, MCU Zemo is almost nothing like his comic counterpart and certainly doesn’t hate Bucky or want to be him

+on the other-other hand, there’s far too many similarities to MCU Zemo and the MCU Winter Soldier to ignore and the text of the movies/show seem to continuously remind us of that in little ways

+so in this theory Zemo wouldn’t be impersonating Bucky Barnes per se, he’d be the Winter Soldier

+who, conveniently, has Sebastian Stan’s face so Daniel Brühl wouldn’t have to be on set as much nor have to do any stunt work. good for him

means, motive, and opportunity:

+Val most definitely has access to the raft (and by extension Zemo) as the head of the CIA

+we also know that Val must have access to some form of the Super Soldier Serum if the Sentry is involved, and the clutter of Sentry related branding in the trailer seems to indicate Val/OXE/the U.S. government has been trying to create their own superhero, Homelander style

+Val also has access to all sort of means of manipulating Zemo's sense of identity. chemical memory alteration, use of off-world artifacts, the old fashioned WS programming way, or even all that Stark tech that was confiscated by Damage Control…remember B.A.R.F.?

+the whole choice to use Zemo could even be out of convenience. he’s already had extensive military training, was a successful black ops commander, he literally has nothing left, not even citizenship to a country

+nobody would look for him or wonder where he is or if he’s even still alive

+even if they did, would they care? to most people, he's a super villian. even people who might object morally, like Sam or the Wakandans seem to be too busy with their own shit rn anyways

+Bucky is literally the only one left who might object and if they're using his identity to carry out clandestine missions then they have leverage. keep quiet and you have a job, prestige, perks, etc. without having to actually do any of the dirty work. don't, and we spin this like you went off WS style and there's nobody to keep you from being locked up anymore. plus Bucky hates Zemo right? why would he care if he's America’s Winter Soldier

+this also allows for a built-in deniability for Val/the government if Bucky!Zemo was ever caught on a mission. that can't be the Winter Soldier doing assassinations in Europe if you can see Bucky Barnes at a Congress meeting on public tv at the same exact moment

+as to motivation, other than all the reasons stated above, it's clear that Val doesn't want a Captain America. she said as much to Walker in TFATWS. while it might work to her advantage to have a controlled Avengers team for her public image, it helps her far more to have someone reliable to do her dirty work

+creating a black ops assassin à la the Winter Soldier, but for America, would be her goal

+and sure, she had Walker and Yelena under her payroll already (and we assume Ghost and Taskmaster as well) but they don’t have that living action figure, perfect soldier rizz. in various ways im going to assume they've disappointed her, questioned orders, or just generally was too human

+so why Bucky's identity? easy. he's already got a whole brand. i can hear the sardonic lines out of JLD mouth about how hard it is to create something new when you can just reboot it. Bucky has a legend as the Winter Soldier, one that still carries a lot of clout. she wouldn't even need to deploy him for assassin reasons, just use him for negotiations and fear tactics. the Winter Soldier is already a verified threat at an international level, you can't buy that kind of marketing. using Bucky's face and WS identity would be essential to her

+wouldn’t just brainwashing the real Bucky again be easier? well, other than the advantage of having Bucky and the WS be separated people as mentioned above…the last two times Bucky Barnes was brainwashed to be the Winter Soldier and otherwise held against his will, an empire fell (S.H.I.E.L.D./Hydra and The Avengers). so, while i’m sure Val has a fondness of the Rule of Three as much as i do, i also think she’s smarter than that

+i’m sure she’s even approached Bucky directly and has probably tried to manipulate him with a job that looks legit on the outside and gets him a nice private house. but Bucky isn’t going back to the WS role, it’s not going to happen. and he’s already side-eyeing Val pretty hard in that trailer so her perfect soldier he won't be

so Val has means, opportunity, and motivation to take Zemo and turn him into her very own super assassin. but lets take this a step further.

this post by magnitothemagnificent brings up a great theory that Bucky here could actually be Jack Monroe, more importantly brings up one of Jack's alter egos, Scourge.

this same guy from the comic page above

(for my theory, obviously, instead of Jack, it would be Zemo as a Scourge-like character)

+we know that there is a version of the serum going around to create the Sentry, and that the Sentry's #1 personality trait in the comics is his mental instability

+we know that, in the comics, Jack Monroe was driven mad specifically by the Super Serum he was given. it messed with his sense of reality and identity in big ways including making him believe he actually was Bucky, instead of just taking up his mantle

+possibly, this version of the serum is responsible for the mental instability of everyone who takes it, creating delusions and hallucinations and this is what affects the Sentry’s mental stability and warps this hypothetical Bucky!Zemo/Scourge's sense of reality

+this could even tie into Walker's story, as it seemed like he escalated in his instability after taking the serum (you know, there's actually a fairly large connection between Walker/US Agent and Monroe too hmm…)

in the comics, Monroe is being controlled (through nanites, so idk maybe Stark Tech?) by a very Zemo-type motivated guy who hates supers and even works for the Commission on Superhuman Activities (basically the same people who created the Sokovia Accords in the MCU, led by Ross and the UN). being controlled by this man, Monroe, as Scourge, is forced to attack and kill super powered people and targets the Thunderbolts. Comic Zemo is literally beheaded by him in a page that definitely tries to make the reader think that it is Bucky Barnes attacking Zemo (this was before the Winter Soldier Brubaker run that brought back Bucky Barnes, so at the time Bucky was still thought to be very dead for over 50 years)

and the Scourge suit would explain other parts of this theory, such as why is that literally Sebastian Stan’s face?

+the suit comes with a camouflage feature and image inducer so looking just like Bucky wouldn't be a problem (in the comics, previous versions of Scourge, one who i actually believe was Jake Monroe, just used latex masks, even disguising himself as a woman more than once -go Val=Zemo theory!- but the most important detail is that Scourge has always been a master of disguise, so that element is already built into the lore of the character)

how would Zemo be able to mimic the Super Soldier Serum?

+if he's not being dosed by Val with a version of the serum, the suit has various means of mimicking increased strength

but unless they really committed to amputating an arm and have a Wakandan prosthetic laying around, how would Zemo have the metal arm?

+from what i can tell, we don’t actually see Bucky’s metal arm in this scene? i believe it’s covered up with a jacket. and even if some of it shows, that could be a CGI misdirect. otherwise the Scourge suit would answer this too, specifically the metal-looking high-tech gauntlets that he wears could be made to at least look like Bucky’s arm and do the same things Bucky’s arm can do

but what about real Bucky?

+we have to first buy into the two Bucky’s theory, which i don’t actually hate. there’s Bucky trying his best in the trailer and then there’s an impersonator out there doing his best Winter Soldier. this way we don’t run into the same problems of a third act reveal like with the others (not actually following the real Bucky Barnes). we would be, hopefully with a confrontation between the two in the climax, getting almost an out of body visual of Bucky’s inner turmoil. him vs the winter soldier identity and everything that represents to him

even having Bucky wearing the Winter Soldier gear would have a cool call back to the Scourge suit:

+the suit in the comics has two gauntlets that can access various tools and weapons by simply voicing a code. they appear as if from thin air but in reality it is a clever use of pym particles

+these weapons aren't even just regular ‘ol things but rather he has a whole arsenal taken from other heroes and villains

+so a suit that carries the whole Winter Soldier arsenal, despite us having every reason to believe Bucky wouldn't have those things anymore, could be a fun way to reference that

speaking of the WS arsenal:

+I know its just a coincidence, but its worth noting that, as others have pointed out, Bucky is predominantly carrying the Škorpion vz. 61 (also known as the Sa vz. 61 Skorpion) in the trailer and in the poster. which was the gun that used to attach to the harness on the WS suit

+Zemo's paramilitary team from Sokovia, EKO Skorpion, was, at least partially, named after the Serbian Skorpion paramilitary force. the real life Serbian Skorpions named themselves after their favorite gun, you guessed it: the same Škorpion vz. 61 that is used by the WS

+additional fun(?) fact: the real life Serbian Skorpions had a secret relationship to the CIA and the CIA might have had a hand in the Yugoslav wars (shocker). if we follow this trajectory, it's possible that Val could have had connections to Sokovia and Zemo as early as the 90s/early 2000s, working as a CIA agent involved with the Sokovian Civil War

+if Hydra was involved with instigating the civil war in Sokovia (as they almost certainly were as it gained them a great advantage in establishing their base there) and Val truly is Madame Hydra, then that would establish pretty strong connective tissue between Val, Sokovia, Zemo, and the WS/Bucky

taking us to Pleasant Hill again:

i love this panel in relation to the Thunderbolts bc this is everything that Yelena is struggling with and seems to be the central theme of the movie, these broken people finding purpose in a world that they’ve been alienated by

+now the major twist in the comic wasn’t just that Zemo is really mild-mannered Jim, but rather the readers were manipulated through various means into believing that Jim was actually Bucky until the end reveal

+combining these things (the Pleasant Hill comic run and the Jack Monroe/ Scourge comic run) creates a story where the audience is led to believe Bucky is Winter Soldiering about, attacking and possibly trying to kill the Thunderbolts team

+but in reality it is actually Zemo, being manipulated and controlled by Val thru various sci-fi means to make Zemo just appear as Bucky

some other things:

+the last person to imitate the WS specifically? Zemo

+and he literally did it with just some prosthetics and theater kid energy

+their height difference is concealable with some heels and Zemo would know how to run in them

+this might even explain Bucky's bad hair:

+like ok hold with me here but Daniel Bruhl had this same exact hair cut for his role as Karl Lagerfeld

did he keep the hair during Thunderbolts filming? i have no idea. but its fun to imagine

and finally,

+the popular Bucky/WS left hand theory. while i’m not necessarily convinced just by this trailer (even tho i really like the theory and the visual importance of Bucky using his metal/left arm), this would gain added legitimacy if it’s actually Zemo impersonating the WS

+because, while Bucky may not be left handed,

+Zemo is

——————————————————————

10 / 10

this gerbil

+100% Zemo, he’s not even in disguise here that’s just Daniel Brühl on set

[greyborn2]

Elisif headcanons now! (friendly tone ofc <3) Why do you think she would be a good marriage candidate? I'm curious :)

Yesssss!!! Okay - so this boils down to two categories. Personal interest in it, and underrated narrative JUICE. Starting with the former because its easier to begin with. So Elisif is just... she's neat. She's simultaneously one of the most politically important people in skyrim while also being COMPLETELY overshadowed by the men around her (Nobody talks about her, really, they talk of Torygg. The civil war isnt her vs ulfric, its TULLIUS vs ulfric. Her own decisions in court the first time we even see her are seemingly overruled on a dime by her own court, by Falk.). Its like she's this big thing of incredible importance and is constantly hidden away both in narrative and in game. But despite that, if you actually sneak in a bit, ignore all the big figures standing in front of her and propping themselves up on top of her, she has a surprising amount of meat to her.

Most of the Jarls are like... a few word summary at best. Greedy idiot boy, honourable honorman, paranoid bigot, old seer, etc etc etc. You get an initial impression of them and thats kinda it. Ulfric has a lot more, obviously, because he's a major character but it would *SEEM* that Elisif should be on the lower end of content. It takes so much to seek her out in her overshadowed little corner after all, but she has so so so much surprising stuff around her. The necromancer potema plot revolves around her, a whole big dialogue tree that isnt super common to see for a jarl, some touching personal quests that go into detail about how she saw her late husband. Its just all super compelling to me to have a character that, despite being so important, is *soooo* hidden away actually have some meat to her. Plus she's just a nice person!!! ANYWAYS!! PART 2!! The JUICE!!

For starters, I think, there should just be more opportunities for the dragonborn to play the political game if they want. Beyond just choosing a side in a war or ticking off their 'thane of everywhere' list, actually getting in on climbing the ladder and enmeshing oneself with the politics of the land they're in. BUT BUT... same can be said for Ulfric. Absolutely true. I do think he should also be a marriage candidate. BUT...

I think Elisif PARTICULARLY makes sense as a marriage opportunity that isn't one you seek out, but one that is put forward to the player. Specifically with an Imperial victory in the civil war.

The war is won. Alduin MAY or MAY NOT be slain. But either way, no matter what, at this point the dragonborn is a war hero, a champion of the people, and decorated imperial legate. And this would be fucking FRIGHTNING, I think, to the politicians back in Cyrodiil. There's a *history* of war hero dragonborns, popular with the people, turning on their commanders and declaring themselves emperor afterall. Oh boy is there a precedent. Suddenly they're the big figure in a war that was supposed to be Tullius' duty and they might start sweating in their boots a little.

SO... after the war is won... the legion starts... pushing. Just a little. A few letters, a few comments, that the dragonborn should maybe marry Elisif. Become High King by marriage. Lock them in and satisfy the war hero with a political title off in the ass end of the empire before they turn their gaze toward a ruby throne. Don't give them time to think on it. Ooooh look tasty treat right here shhhh dont think yes you did very good dragonborn yes yes be high king.

I think from there it could go one of three ways;

1) Last Dragonborn marries Elisif but with her actually agreeing to the union (after completing her personal quests) and she FINALLY steps out of the shadows. Rather than the expected you using her for power, she uses YOU for power. You allow yourself to be the thing she props herself up on and finally really starts coming into public view. Maybe to the nervousness of the Empire as she's a less eager puppet then they might have thought, now.

2) Last Dragonborn falls right into the trap the empire placed. You didnt do the quests for Elisif, she remains in the shadows, there's a loveless marriage and you get to be satisfied with a big title that hopefully keeps you occupied.

3) Last Dragonborn refuses all of this. Things seem to proceed as they do in canon but... well... maybe you notice a few more non-DB assassins using imperial weapons attacking you on the road then you did before. Curious.

[incorrectsmashbrosquotes]

Arcane Season 2's One Big Problem

Arcane should have been three seasons.

That, I think, lies at the core of the show's problems in season 2. While Season 1 was fast-paced, it felt right for what was happening. Season 2 is much like most of its characters, trying too hard to do too much all at once. If they had had a third season they could have tied up their plotlines in a more satisfying way.

Don't get me wrong, I love Season 2, but I can't ignore how much this pacing affects things. I can't ignore how the political drama is shunted aside in favor of introducing and resolving these wider fantastical elements which are just too much for a single season of television.

I understand why they did it this way. At the end of the day, Arcane is a fantasy action series first, a familial tragedy second, and a fantastical geo-political war drama last. That's why those first two elements are given narrative precedence over the last one, but it's hard to ignore how the broader problems with the world of Arcane go unresolved, especially when they are such a huge part of the story beforehand.

Arcane should have had three seasons. Season 2 should have been focused on the escalating war between Piltover and Zaun while the wider fantastical elements brew in the background. Season 2 should have focused on Piltover's gradual descent into wartime fascism and Zaun's more and more desperate and inhumane measures to fight back. With another season to breathe and give this focus, it could also mirror in the escalating conflict between Vi and Jinx.

And then, when those massive fantastical elements do explode into focus with Victor's cult becoming wildly known, it's could be all the more impressive and frightening, with these elements properly built up over an entire season.

The third season would then, of course, see the forces of Piltover and Zaun be forced to unite against Viktor and his glorious evolution. Maybe he has been taking the dead killed in the war and making them into his soldiers, and know the cast must face slain friends turned into living nightmares. Forcing a total breakdown of societal barriers in the name of survival as Viktor makes a play for Divinity.

I dunno. I think it might have been better

[danganronpasurvivoraskblog]

Dangancember 2024 - Danganronpa Top 24 Class Trials - NUMBER 2🥈: Danganronpa 2 Case 5

//I'm willing to bet that almost EVERYBODY thought this one was going to get Number 1 on this list, and to be fair, when I did a ranking years back, it DID get the reward for my best case back on Reddit.

//But in case this list, compared to that one, isn't evidence enough, my opinions have changed a bit.

//I feel the need to remind everyone that this ranking is based primarily on my general feeling of each of these cases, taking into account the characterization, investigation, general mystery, plot twists, etc. If we were ranking this purely on investigation and mystery, without my personal feelings towards a case involved, this one would be Number 1.

//When it comes to Danganronpa cases, Game 2 Case 5 is not just the crown jewel; it’s the one everyone expects to see perched at the top of any "best trials" list.

//And yes, I hear you already, "Oh, how predictable. Case 5 at the top? How original!"

//But let’s face it, sometimes the popular opinion is popular for a reason. I don’t do contrarianism for sport, folks. If something’s obvious because it’s correct, then I’m not going to waste time pretending otherwise.

//Could I have slapped some other case here, like 1-2 or V3-1, to make things spicy? I think it's spicy enough that this one isn't Number 1, but that aside, we’re not here for hot takes; we’re here to appreciate brilliance, and Case 5 is absolutely, unequivocally, that case.

//Now, let’s address the elephant in the room, or perhaps the giant robotic animal mascot if we’re staying on brand. This case is legendary for reasons beyond just "it’s good."

//Put simply, there is no other video game or mystery-themed franchise that could pull this case off OTHER than DANGANRONPA.

//It’s part mystery, part madness, and 100% the kind of twist-riddled storytelling that no one can replicate. You’d need the full chaotic toolkit of Danganronpa’s narrative rule-breaking, character complexity, and absurd-but-brilliant logic leaps. Without those, you’re just a murder mystery fan with a dream.

//Why does this case stand out so much? Because it takes what we think we know about how these games work, how mysteries work, really, and throws it straight into Monokuma’s metaphorical incinerator. In most murder mysteries, the setup is fairly predictable: Person A offs Person B, usually for some selfish reason, like wanting freedom or holding a grudge.

//Danganronpa usually follows that formula, with the added twist of a deadly game show setting. But then along comes Case 5, flipping the script so hard it leaves you reeling. It doesn’t just upend expectations; it takes them out back, ties them to a rocket, and blasts them into space.

//And yet, it’s not just shock value. Beneath the twists and turns, this trial is meticulously crafted, intertwining its revelations with the overarching story in ways that make your brain do somersaults. It’s equal parts emotionally devastating and intellectually satisfying. If you’re a fan of intricate mysteries and gut-punching twists, this case isn’t just going to impress you, it’s going to live rent-free in your mind forever.

But don’t take my word for it (well, okay, do, since you’re reading my review). This case’s reputation precedes it. If you’ve played it, you know. And if you haven’t…well, let’s just say, the bar for storytelling in murder mystery games is about to be set unreachably high.

//Let's dive in!

//Let’s be real: by this point in time, you’re knee-deep into this game, so many are dead, and you know something’s about to go down with Nagito Komaeda. The ominous buildup and his increasingly unhinged behavior practically scream, “Buckle up, this is gonna get wild.”

//So when you eventually stumble upon his body, it’s not exactly shocking that he’s the victim. What is shocking, however, is everything else about this chapter. The setup, the stakes, the twists, and oh boy, the absolutely brutal state of his corpse. Seriously, if you thought previous trials in this game had upped the ante, Chapter 5 snaps the bar in two and sets it on fire for good measure.

//The setup alone is chaos incarnate: Nagito has hidden bombs around Jabberwock Island and cheerfully announces that if they go off, the entire island and everyone on it will sink straight into the ocean. Naturally, this sends the remaining students—Hajime, Chiaki, Fuyuhiko, Akane, Kazuichi, and Sonia—into panic mode as they scramble to defuse them.

//Just when they manage to avert what feels like certain doom, they discover a warehouse is suddenly engulfed in flames. Conveniently (or suspiciously?), fire grenades are nearby, and the group decides to toss them into the inferno in an attempt to extinguish it.

//Crisis averted, right?

//Wrong.

//When the smoke clears, they find Nagito’s lifeless body inside, and it’s unlike anything the series has thrown at you before.

//Let’s talk about that body discovery scene because…wow. Danganronpa doesn’t shy away from gruesome, but Nagito’s death takes the cake. His body is covered in cuts, there’s a knife stabbed straight through his right hand, and, as the pièce de résistance, a massive spear is impaled directly through his chest. It’s horrifying, grotesque, and easily one of the most graphic and unforgettable discoveries in the entire series. If you’re not audibly gasping by this point, you might need to check your pulse.

//But here’s where things get really interesting: despite being the victim, Nagito is also the villain of this chapter. His death isn’t just the result of some random grudge or desperation; it’s an intricately planned act designed to manipulate and torment everyone left alive.

//It’s peak Nagito. Brilliant, twisted, and utterly maddening.

//I don't know if I can talk about Nagito himself without repeating things that I've already said, because he’s come up multiple times in this countdown already (and spoiler alert, he’s not done yet), and for good reason.

//Calling him "memorable" feels like the understatement of the century. This guy is the embodiment of chaos, and his very existence has transcended the game to become a full-blown meme.

//But there’s a reason for that: Nagito isn’t just weird; he’s fascinating. He’s the kind of character who sticks in your brain long after the credits roll, equal parts horrifying and hypnotic.

//What makes Nagito so unique is his complexity. On the surface, he seems like an unassuming guy with a fairly mundane talent. But peel back the layers, and you’ll find one of the most manipulative, unsettling, and downright creepy characters in gaming history. His self-loathing is palpable, but it’s overshadowed by his ability to twist every situation to his advantage, or just to create absolute bedlam at ease.

//He’s so committed to his warped version of "hope" that he’s willing to employ the most extreme, morally dubious methods to achieve it. In many ways, he’s the second game’s true antagonist, even if he doesn’t fit the traditional mold. Fuck Junko and Izuru.

//And Case 5 is essentially Nagito’s magnum opus. It’s the culmination of everything that makes him such a standout character: his intelligence, his unpredictability, his disturbing charisma, and his willingness to do whatever it takes, even die, to prove his point. The result is a chapter that feels less like a murder mystery and more like an elaborate psychological chess match.

//So, while Chapter 5 might technically be about solving Nagito’s death, it’s really about unraveling Nagito himself. His influence permeates every aspect of the case, making it one of the most unforgettable and genre-defining moments in Danganronpa history.

//The investigation is okay, but again, as I said for 1-2, it's how they all culminate into the trial that it really works, so let's not waste any more time, and actually get into talking about that.

//For starters, I want to say that the pacing of this trial is BRILLIANT. Every twist and turn feels meticulously timed to keep you on the edge of your seat, while the ideas introduced all tie into the case’s central themes, on top of being innately shocking.

//When the students first discover Nagito’s body, the sheer brutality of the scene makes it look like he was tortured for information before being killed. There are cuts all over his body, a knife impaled through his hand, and that massive spear skewering his chest like the world’s most horrifying centerpiece. It screams “murder most foul,” and naturally, the students start theorizing about who could’ve done something so horrific.

//But quickly, they realize that it wouldn't make sense for someone torture Nagito for information if his mouth was duct-taped shut. Though Kazuichi especially argues for it, that one little detail flips the entire narrative on its head. If he couldn’t speak, then the torture couldn’t have been for interrogation.

//The students realize this, and their next leap in logic is to suspect that maybe Nagito wasn’t murdered at all. What if he orchestrated his own death?

//After all, this is Nagito we’re talking about, a guy who thrives on chaos and has a disturbingly cavalier attitude toward his own life. Using the rope attached to the spear, it seems plausible that he could’ve rigged a setup to drop the weapon onto himself, making it look like an elaborate suicide.

//This is...somewhat true. But in true Danganronpa fashion, the obvious answer is never the correct one. The suicide theory falls apart under closer scrutiny, leaving the students, and the player, scrambling for answers.

That’s when the horrifying truth comes to light, and boy, does it hit like that fire truck that killed Celeste.

//Nagito set up the scene so that the warehouse he died in would catch on fire once the students opened the door. To get through, the rest of the group grapped a bunch of fire grenades to put the fire out, and all of them grabbed at least one, and threw it into the flames.

//However, this single act causes them to plummet head first into the trap that had been set for them.

//Nagito, ever the agent of chaos, actually rigged one of the fire grenades with lethal poison gas. When the students threw the grenades to extinguish the warehouse fire, one of them tossed the poison grenade, dispersing the gas and killing him. Suddenly, what seemed like a murder mystery or a suicide case becomes something far more twisted.

//And here’s the kicker: nobody knows who threw the poison grenade. Not even the person who actually did it!

//By mixing the poison grenade with the others, Nagito ensured that the identity of his killer would be COMPLETELY RANDOM. This wasn’t just a murder; it was a gamble, a deadly game of Russian roulette where none of the participants even knew they were playing. As I said it’s the kind of mind-bending twist that only Danganronpa could pull off, and it perfectly encapsulates Nagito’s philosophy of chaotic hope.

//Monokuma obviously knows which student threw the poisoned grenade as well, and obviously, if the students get it wrong, they are ALL SCREWED.

//The brilliance of this setup is how utterly hopeless it makes the trial feel. Class trials are all about deduction, piecing together clues, and eventually uncovering the truth. But how do you solve a case where even the killer doesn’t know they’re the killer?

//For the first time in the series, it feels like there’s no way forward, no light at the end of the tunnel. The murder is, quite literally, impossible to solve using traditional methods. It’s a masterstroke in subverting the player’s expectations while also reinforcing the themes of despair and uncertainty that define the series.

//This moment also highlights why Nagito is such a standout character. Only he could come up with something so convoluted, so meticulously planned, and yet so chaotic at its core. He turns the class trial, a system designed to uncover truth and punish the guilty, into an instrument of despair.

//By making the killer’s identity random, Nagito forces the group to confront the idea that justice might not always be attainable. It’s a chilling reminder of how far he’s willing to go to prove his warped ideals about Hope and Despair.

//Thematically, this case is a perfect storm. It pushes the students to their absolute limits, not just intellectually but emotionally as well. How do you come to terms with a murder that has no clear perpetrator? How do you move forward when the very foundations of the game’s rules have been shaken?

//The trial becomes less about solving the mystery and more about grappling with the moral and philosophical questions it raises. It’s a level of depth and complexity that sets it apart from anything else in the series.

//Of course, this wouldn’t be a Danganronpa trial without a good dose of drama and tension. Watching the students wrestle with their guilt, fear, and confusion as they try to piece together the puzzle from start to finish, and then reach the absolutely horrifying situation they land in, is both heartbreaking and riveting. The stakes, genuinely, never reach higher than this, and the outcome feels completely uncertain and TERRIFYING.

//By the time the truth is revealed, you’re left in awe of the sheer audacity of the writing. It’s the kind of storytelling that leaves a lasting impression, long after the game is over.

//Ultimately, what makes this so effective is how it combines narrative brilliance with gameplay innovation. It’s not just about what happens, but how it makes you feel as a player. You’re questioning everything you thought you knew about how these trials work. It’s a case that breaks the rules, challenges your expectations, and delivers a story that’s as thought-provoking as it is shocking.

//But if you thought we were done, no, we aren't quite yet. What comes after this kicks the trial into a, somehow, HIGHER gear.

//Despite Nagito’s seemingly impossible-to-solve murder, the students DO manage to piece together the truth. And the resolution is haunting, depressing, and brilliantly layered, as it ties back to one of the game’s longest-running mysteries:

//The identity of the traitor.

//Monokuma drops the first breadcrumb early in the story, mentioning that the island was prepared for specifically 15 students but somehow, this group ended up with 16.

//This anomaly immediately plants the suspicion that one of the students is a traitor working for, what we eventually discover, is the supposedly evil "World Ender Organization." It’s a mystery that looms over the entire game, and Nagito, being Nagito, becomes obsessed with uncovering the truth.

//This obsession drives much of Nagito’s increasingly erratic behavior. His bizarre stunts, from his cryptic speeches to the explosive warehouse gambit, are all rooted in his desperation to expose the traitor. Though his motives aren't quite what they seem.

//The events of Chapter 5 are essentially his ultimate gambit for this mission: an elaborate plan to force the traitor to reveal themselves by staging an unsolvable murder.

//But this isn’t just about solving a mystery. Nagito, in his twisted logic, decides that sacrificing himself is a small price to pay if it means exposing the traitor and their connection to the World Ender. If everyone else has to die as collateral damage? Well, that’s just fine with him. It’s peak Nagito, both brilliant and horrifying.

//But...if this plan is at risk of killing everyone, and the poisoned grenade was thrown by a random person, how exactly was it supposed to work?

//What makes this trial so exceptional is how it builds on a recurring theme in Danganronpa 2: the way characters use their Ultimate Talents to achieve their goals. Each case in the game showcases this idea in unique ways.

Teruteru uses his cooking skills to conceal a murder weapon.

Peko exploits her swordsmanship to stage a clever escape.

Mikan manipulates her role as a nurse to fabricate an alibi.

Gundham weaponizes his hamsters to immobilize his victim.

//But this trial falls into this theme while also switching it up, by making the victim the one who uses their talent to manipulate the outcome. And Nagito’s Ultimate Lucky Student talent once again takes center stage, and its application here is as ingenious as it is unsettling.

//Nagito’s luck is unlike Makoto’s relatively tame version in the first game. It’s tangible, almost supernatural, and eerily consistent. Whether it’s winning a game of Russian Roulette with an almost fully loaded revolver in Chapter 4 or orchestrating the chaos of this trial, Nagito’s luck always seems to tilt events in his favor, even when it’s to his detriment.

//This trial showcases his mastery of his talent, as he uses it to create a scenario so convoluted that solving it requires an extraordinary leap of faith. It’s a testament to how his character embodies the unpredictable nature of luck, both as a tool and as a weapon.

//When the students are left with no other options, Hajime proposes a bold theory: the person Nagito was targeting with his poison grenade must be the traitor. With the clock ticking and no clear path forward, the group takes a gamble and calls for the traitor to reveal themselves. And here’s where the trial delivers one of its most gut-wrenching twists.

//Instead of the group uncovering the traitor through deduction, the traitor steps forward voluntarily. It’s Chiaki Nanami, the Ultimate Gamer and a beloved figure in the story.

//Chiaki’s betrayal is particularly heartbreaking because of how central she’s been to the trial system in Danganronpa 2. She is effectively Hajime's equivelant to what Kyoko was for Makoto, being his closest ally, and often providing critical insights and support during investigations and debates. Her calm demeanor and love for her friends make her an endearing presence, so her reveal as the traitor feels like a betrayal not just to the characters but to the player as well.

//Even if I've always felt Chiaki might be a bit overrated, it’s hard not for me to feel a pang of sadness as the truth comes to light. And yet, this reveal also solidifies the brilliance of Nagito’s plan. His twisted methods worked: he exposed the traitor, even at the cost of his own life.

//Genuinely, the reaction to Chiaki stepping forward as the traitor is one of the most soul-crushing scenes in the game thus far, and for good reason.

//Chiaki is the most perfect candidate to play the role of the final killer in this game, because she’s the one student on the island that everyone universally adores. She’s the epitome of the "can do no wrong" character. Which for me personally, is something I've never liked about her, but it does work in the buildup to this revelation.

//She’s sweet, dependable, and always there to lend a hand during trials with her sharp insights and calm demeanor, just as her supposed "father" Chihiro was. The same applies to Kaito in V3, as he's the universally loved wildcard who shoulders a heavy emotional weight heading into the endgame.

//So, when Chiaki confesses to being the traitor and asks the group to vote for her so they can save themselves, her classmates react in the most predictable way possible: absolute, unrelenting denial.

//Instead of nodding grimly and doing what needs to be done like every other time, they outright refuse, dragging their heels like stubborn toddlers who don’t want to eat their vegetables. Watching this unfold is both heartbreaking and oddly hilarious, as it highlights just how much the group collectively loves her.

//Hajime, bless his poor, conflicted soul, finds himself in the unenviable position of having to convince the group to face reality. This includes arguing against everyone, particularly against Sonia, who is especially resistant to the idea.

//Imagine trying to sell an unflattering truth about someone universally beloved while standing in a room full of people who would rather rewrite history than accept it. That’s exactly what Hajime has to do. Everyone goes to great lengths to deny Chiaki’s guilt, even twisting their earlier testimony to absolve Chiaki, and it’s like watching a courtroom drama where the defense lawyer loves their client so much they’re trying to argue the laws of physics out of existence.

//What makes this sequence so powerful is how the game adjusts its tone and pacing to reflect the emotional gravity of the situation. The trial’s usual high-energy minigames, complete with intense, upbeat tones and kickass music, suddenly shift into something quieter, heavier.

//Take Sonia’s Rebuttal Showdown, for instance. The usual sword-clashing music is replaced with a somber track, setting a melancholic mood. This silence isn’t just an absence of sound, it’s a deafening reminder of the emotional stakes at play.

//Even Hajime’s iconic "No, that’s wrong!" line is replaced by more desperate, sorrowful dialogue, hammering home the fact that despite arguing against, her, he, above EVERYBODY ELSE HERE, wants to accuse Chiaki THE LEAST.

//But he knows he must. She’s essentially asking him to kill her so that the others can live, and he’s left with no choice but to comply. It's tragic, raw, and incredibly effective storytelling.

//As if the emotional gut punches weren’t enough, the trial then drops a bombshell about the overarching narrative: the Future Foundation, which had been framed as the antagonist group, are actually the good guys. Chiaki and Monomi, as their representative, was working against Despair all along.

//This twist retroactively reframes the story, making Chiaki’s betrayal feel even more bittersweet. Monomi’s steadfast support of the group also takes on a new light, as her actions were driven by a desire to protect them, not manipulate them like they all believed. It’s the kind of twist that makes you sit back and rethink everything you’ve assumed about the game up to this point.

//And then there’s Nagito, whose insane brilliance looms large over this trial. At first, his actions seem designed to expose Chiaki as the traitor and ensure her execution. But after the trial, it becomes clear that his motives were far more complex, and arguably even more unhinged.

//After discovering that the other students were former Remnants of Despair, key players in Junko Enoshima’s plans, Nagito developed an intense self-loathing and a burning hatred for his classmates that completely paralleled his initial admiration of them. In a bizarre twist of logic, he decided the traitor was the only good person among them and concocted this elaborate trap to ensure their survival.

//Nagito’s plan, of course, hinges on his Ultimate Luck, which he uses to make the trial seemingly impossible to solve, and his hope was that Chiaki, as the traitor, would survive by default while the rest of the group received a wrong verdict and were executed. It’s a plan so convoluted and morally dubious that you almost have to admire the audacity of it.

//However, it’s also hilariously short-sighted upon reflection. Killing everyone except Chiaki would have effectively handed victory to AI Junko, whose goal was to plunge the world into even greater Despair. Of course, Nagito had no way of knowing that, but it's still funny to think about that had Hajime and Chiaki not been able to stop his plan, Junko would have won.

//In hindsight, Nagito’s plan might seem downright idiotic, but it’s this blend of genius and madness that makes his character so compelling. The sheer absurdity of his actions adds a layer of dark humor to the trial, even as the emotional stakes reach their peak. It’s a masterclass in how to balance tension, tragedy, and character-driven storytelling.

//The effectiveness of this lies in how it forces you to confront uncomfortable truths. Chiaki’s true identity, Nagito’s madness, and the group’s denial all intertwine to create a narrative that’s as heartbreaking as it is unforgettable.

//It’s a rollercoaster of emotions, packed with twists and turns that redefine what a Danganronpa trial can be. If the goal was to leave a lasting impression, this chapter more than delivers. And let’s be real: who doesn’t love a trial that combines emotional devastation with a side of absurdity?

//The revelation that Chiaki unknowingly threw the poison grenade ties everything together in a tragic bow. The class trial’s conclusion sees Chiaki and Monomi executed in a sequence that’s as heart-wrenching as it is inevitable. Nagito’s gamble paid off, but at what cost?

//The fallout from this trial leaves the remaining students reeling, their hearts shattered and their resolve tested like never before. It’s a moment that defines the series, not just for its shocking twists but for its emotional depth and philosophical complexity.

//What makes this trial so effective is how it uses every element of the Danganronpa formula to maximum effect. The mystery is intricate and satisfying, the stakes are sky-high, and the emotional weight of the characters’ decisions is palpable.

//It also serves as a perfect showcase of how the class trial system can be manipulated. This concept is revisited in Danganronpa V3, where Kokichi and Kaito pull off a similar stunt to challenge Monokuma’s control.

//I want to end this review by going over basically all the key points of why this trial is amazing, even though I have already done some analysis here already, and I admit, a lot of this will be repeating myself.

//But to make this review as official as it can be, I need to make sure the information is presented well. I can break down why this trial is fantastic into 5 main catagory's.

#1: This trial massively subverts the formula.

//The Danganronpa series has a well-established formula: a murder occurs, the class investigates, a culprit is identified, and they’re executed. Rinse and repeat, right? It’s a satisfying loop for those who love unraveling mysteries and piecing together evidence, but just as you start to feel like you’ve cracked the game’s rhythm, this trial throws an absolute curveball.

//The Danganronpa series thrives on its formula of uncovering killers, but Case 5 in Goodbye Despair flips the script in spectacular fashion. Instead of a straightforward murder, it begins with what looks like a suicide, leaving players and characters scrambling to make sense of Nagito’s maddeningly intricate setup. With no clear culprit, the trial forces you to rethink how cases are solved entirely.

//Nagito’s genius lies in using his Ultimate Luck to orchestrate an elaborate plan where every clue feels like a trap. By staging his own death and planting conflicting evidence, he creates an unsolvable mystery to expose the traitor among his classmates. This subversion of expectations turns the investigation into a mental labyrinth, testing the player’s logic like never before.

//The trial doesn’t just break the usual flow; it’s a deep dive into Nagito’s twisted obsession with hope and despair. His plan, theatrical and chaotic, challenges everyone to grapple with impossible choices. It’s peak Nagito—equal parts brilliance and insanity.

//Speaking of...

#2: Nagito’s Genius and Madness

Nagito's role in Case 5 is nothing short of mind-bending, as he masterfully pulls double duty as both the victim and the mastermind. Only Nagito could turn his own death into a trap, complete with poison, a fire grenade, and a spear, because why use one method when you can use three and confuse everyone in the process?

//It’s a move that’s equal parts genius and absolutely unhinged, perfectly reflecting his complex character.

//What makes this setup so effective is how it’s not just a murder but a moral battlefield. Nagito’s goal isn’t just to die but to force his classmates to uncover the identity of the traitor hiding among them. This escalates the already high stakes into a psychological tug-of-war, where trust erodes and tensions boil over.

//Nagito’s twisted ideals of hope and despair come to life in this trial, making his actions as brilliant as they are baffling. His chaotic orchestration is both a testament to his intellect and a reminder that, in the world of Danganronpa, no situation is ever as simple as it seems, especially when he is involved.

#3: Chiaki's Death

//Chiaki's reveal as both the killer and the traitor is an emotional wrecking ball disguised as a plot twist. Up until this moment, Chiaki has been the group’s rock, dependable, sweet, and seemingly incapable of harm.

//Learning she’s the traitor completely flips the script, forcing one to rethink every smile, every piece of advice, and every moment of quiet solidarity they’ve shared with her.

//It’s like finding out your favorite cozy sweater has been secretly plotting against you this whole time. The twist doesn’t just pull the rug out from under you; it sets the whole floor on fire.

#4: The Complexity, the Detail, and the general Presentation

This trial is a masterclass in making players second-guess everything they thought they knew. From unraveling how poison ended up in a fire grenade to deciphering Nagito’s absurdly elaborate setup, the mechanics of this case are both brain-bending and deeply satisfying.

//Every tiny clue matters, and the game’s pacing doles out twists like it’s hosting a plot twist buffet, except every dish leaves you more anxious than the last.

//The atmosphere is dialed up to eleven, with every element working in perfect harmony to mess with your emotions. The ominous tension builds like a slow-motion train wreck you can’t look away from, and when the trial reaches its devastating crescendo during Chiaki’s execution. It’s the musical equivalent of someone punching you in the soul, ensuring the emotional impact of this case lingers long after the trial gavel falls.

And #5: The Themes and Emotional Impact

//Nagito's actions are the embodiment of his twisted mantra: hope born through despair. His scheme is a masterstroke of chaos, forcing the group to grapple with betrayal, sacrifice, and their commitment to surviving together.

//Chiaki’s tragic death serves as a painful but pivotal moment, galvanizing the group to push forward despite their grief. It’s a gut-wrenching reminder of the game’s central theme: even in the bleakest moments, hope can still shine through, though it might leave you sobbing into your controller.

//Unraveling Nagito’s convoluted plot is satisfying on an intellectual level, but the real punch comes when you realize the cost of discovering the truth.

//Chiaki’s confession, laced with bittersweet acceptance, and the group’s collective sorrow turn the courtroom into a theater of heartbreak. By the end, you’re not just grappling with the logical fallout of Nagito’s manipulation, you’re left questioning your emotional capacity to survive the gauntlet of despair Danganronpa throws at you.

//And...that's about it. There really isn't that much to say that hasn't been said already. Ultimately, this trial is the most series-defining chapter in Danganronpa history, and every other trial should stand by its example.

//It encapsulates everything that makes the series special: the blend of hope and despair, the unpredictable twists, and the deeply human conflicts at its core. It’s not just a murder mystery; it’s a philosophical puzzle, a character study, and a testament to the creative heights of the genre.

//No wonder it stands tall as one of the best moments in the series, if not its crowning achievement. And personally, I do believe that it's hands down the best case in the entire franchise.

//...

//Except for one...

[bestworstcase]

tin hats on. let’s talk about the great war.

first, a general point about the relevant world of remnant spots: qrow narrates all of them. i think this is important to keep in mind when assessing the information provided, because he editorializes constantly, and i do not believe that we are meant to take qrow’s obvious biases at face value. rather, this is a narrative choice to introduce us to this history through a very distorted lens; qrow is ozpin’s man, loyal to the bone before to the revelation of ozpin’s lies, and it is also very likely that he had no formal education prior to his enrollment at beacon academy.

#1: the pre-war kingdoms.

vale sits on the northwestern coast of sanus, sandwiched between “steep mountains” and “waters too shallow for any real monsters to pop out of.” throughout the kingdom’s history, every attempt to expand the kingdom’s borders past the mountain range has ended in “colossal failures”—the most recent of which is mountain glenn, in the post-war period.

however, vale was also engaged in a different expansionist effort in the century preceding the great war: the kingdom was building settlements on “the small islands and peninsulas” of the northeastern coast.

to the north of vale lay the kingdom of mantle. qrow does not give a lot of detail regarding the settlement of solitas, just that “at some point, a group of settlers were crazy enough to venture out into the northernmost continent,” but i submit that the founders of mantle came from northern sanus. why?

mantle’s location at the southwestern tip of solitas is geographically closest to the island of vytal, just off the north coast of sanus; had the settlers come from northern anima, they would have more likely landed on the eastern side of the continent.

qrow says this: “the harsh weather conditions proved to be just as useful as the mountain ranges when it came to keeping the creatures of grimm at bay,” and while anima does have mountain ranges, they’re not remarked upon in WOR: mistral. it is vale that depends upon “steep mountains” to bulwark its eastern flank against the grimm, and vale that has made repeated, unsuccessful attempts throughout its history to expand its borders beyond those mountains.

it is unclear how long mantle existed as an independent state prior to the great war, but we know that it’s not very old; qrow also states that the century preceding the great was “filled with so much tension” that it might as well be “lumped together” with the great war. meaning almost certainly that there were smaller-scale conflicts throughout the whole period. sometime during that century, vale began to build settlements in northeastern sanus. mantle was settled “at some point” by “a crazy group of settlers”—and “i guess when you’re that desperate,” qrow opines, “a frozen hunk of rock doesn’t seem like such a bad place to call home.” mantle is geographically closest to northeastern sanus. there are—there have always been—people living outside the kingdoms, who do not want to be part of the kingdoms.

you do the math. or i will: mantle was founded by people displaced from northeastern sanus by valean expansion, probably in the neighborhood of a hundred years prior to the great war.

meanwhile, mistral was conquering anima. notably—because qrow doesn’t like mistral, particularly—there is less ambiguity on this point than on vale’s settlement of northeast sanus: this expansion was an imperial project. a conquest. mistral was (and based on the language used in the present, still is) an empire, meaning its “territories” are all conquered people or polities from whom the imperial core extracts resources, which—both historically and in the text of this story—includes slaves.

so, argus. during the century preceding the great war, mistral’s attention turned to northern anima. according to jaune and ren in 6.7, mistral’s expansion into the region was stymied by the cold until forming an alliance with mantle; qrow describes mantle as an “unlikely friend” to the empire. the goliath in the room that none of these characters acknowledge (and may not know, given their upbringings—bandit, orphaned young, & very sheltered) is that the region was probably not uninhabited at the time.

empire. conquest. controlled territories. you cannot have these things without also having conquered people. what stymied mistral’s expansion into the region was likely not the cold per se but the logistical burden the cold imposed upon military action here; invading a cold region with an army in the wintertime is famously not a good idea. and, if mantle was founded by people displaced by valean imperialism… well, that explains both qrow’s view of it as an “unlikely friend” and why mantle would make such an overture of alliance to mistral in the first place; vale and mistral were the great world powers, and for mantle—a small, vulnerable, dust-rich but otherwise resource-poor state with every reason to fear its closer southern neighbor—cozying up to mistral would have been just rational politics; hug one great power to insure against invasion by the other.

and then there’s vacuo.

WOR: vacuo is easily the least factually trustworthy episode in the series to the point that i think it is probably all but worthless in terms of the historical narrative given; it’s worldbuilding the modern day cultural narratives about the conquest of vacuo, not the actual history.

(the CFVY novels, i believe, support this reading: in the present, many city vacuans believe the narrative qrow offers here that the old kingdom of vacuo was a “paradise,” but “comfort breeds weakness” and its people were complacent, soft, helpless to defend themselves from invaders from more hardened kingdoms… but the first king of vacuo was a man called malik the sunderer, shade’s history teacher states that it’s been centuries since vacuo was conquered and the real history has been so obscured and distorted by myth that it’s impossible to know what it was truly like, and desert vacuans—the nomadic peoples who don’t live in the kingdom—have a starkly different cultural outlook on hardship that is much more in line with the story’s themes and also reality, valuing community, hospitality, and resilience over “strength.”)

but there is one kernel of very interesting information in this episode: “after the great war, a formal government was finally established.” meaning there wasn’t a formal vacuan government before the great war.

vacuo was not a state before the great war.

of vacuo’s entry into the great war, qrow says this:

Up to this point, Vacuo had done its best to stay out of the fight. Mantle and Mistral, having both already established a small presence in Vacuo territory years before promised to leave them alone, provided they didn't interfere. Soon, those talks evolved. It went from "Don't side with them" to "Side with us and you'll be safe". Vacuo did not much care for that, and they came to the conclusion that if Vale were to fall, there'd be no one left to stop Mistral and Mantle from conquering them next. So they did what they considered to be the logical thing. They drove Mantle and Mistral out of Vacuo and told Vale they had their backs.

at this point in history, vacuo did not have a government. at this point in history, vacuo was not a state. the kingdom of vacuo had been conquered centuries ago (by “more developed kingdoms,” qrow says—by whom?), and according to rumpole (<- an actual authoritative source, given she teaches history at shade!), “few documented accounts or records remain from that far back.”

the conquest of vacuo predated the conflicts of the prewar century (and probably predate the existence of mantle). this illustration in WOR: vacuo implicates all three of the other kingdoms—blue for mistral, white for mantle, green for vale:

so there is no question that vale participated in the butchering of vacuo; it did. but this illustration is also impressionistic, ahistorical, not a literal representation of how vacuo was conquered.

by the time of the great war, vacuo was a territory occupied by mantle and mistral, but vale does not seem to have had a significant presence there. in the present, vacuans harbor a lot of resentment for mistral and atlas, less for vale. vale is also, by virtue of being located on the same continent, the kingdom best positioned to invade vacuo if it so chose.

(qrow asserts that vacuo was conquered by “more developed” kingdoms, but it was also dust-rich—the CFVY novels confirm this—and there is a clear correlation between technological innovation and access to an abundant source of dust. it’s possible that a scarcity of, say, iron inhibited ancient vacuo’s technological development and put it at a military disadvantage, but generally i think it’s more likely that qrow is regurgitating historical propaganda there.)

the point being: vale conquered the kingdom of vacuo and then either withdrew or lost a war with mistral for control over the territory at some point prior to the great war.

regardless of the finer details, the historicity of qrow’s account regarding vacuo’s entrance into the war seems… pretty suspect given that vacuo did not have a government. what sort of “talks” do you suppose the mantle-mistrali bloc was having with the non-state actors of vacuo? what kind of “presence” did mistral, the empire that conquered all of anima, actually have in the vacuan territory?

hmm. i wonder.

vacuo “drove mistral and mantle out” and threw in their lot with vale; meaning, the vacuan side of this war was really a war of independence. vacuo wasn’t “doing its best to stay out of the fight” so much as it was under mistrali control until the vacuan people rebelled, then sided with mistral’s enemy.

#2: salem?? ?

ozpin—and qrow by extension—believes that salem ignited the war with a false-flag op in northeastern sanus (“to this day, no one knows who shot first” + “salem’s smart. she works in the shadows, using others to get what she wants, so that when it comes time to place the blame, we can only point at each other”). much of the fandom not only takes this at face value but also assumes without… really any basis at all that salem was responsible for the “incident” in mantle that the mantelian government used to justify a raft of draconian censorship laws.

but… authoritarian regimes can and will use any pretext to justify repressive new laws whose real purpose is to punish dissenters and strengthen control over the populace; banning art and all forms of self-expression is not a move that anyone would think with any seriousness would protect people from the grimm. qrow is either being disingenuous in purpose or (more likely) just doesn’t know what the fuck he’s talking about because four years at the monster-hunting college is the sum total of his education: “the people of mantle had come to believe that they would be much safer from the grimm if they could only keep the emotions of the masses in check” is the kind of bullshit nonsense you would expect if the guy doesn’t know how government works, either the modern-day democratic councils or whatever system prewar mantle had; what is the distinction between “the people” and “the masses?”

in. the. unreliable. narrators. show.

mantle’s autocratic government found a pretext to crack down on subversive speech and pumped out a massive body of propaganda to the tune of “we’re just doing what we must for the good of the people :)”—that’s what happened. that’s why mistral imposed the same laws on its territories but not in the imperial core, and why mantle didn’t have a problem with that “selective” enforcement.

maybe salem sent some grimm to attack mantle, maybe she didn’t. maybe there was a public protest that got angry enough to attract grimm. maybe there was a protest that got too rowdy, and who’s going to openly question the government officials claiming that officers on the scene opened fire into the crowd because a grimm jumped out of the sewers? grimm evaporate when they die. kind of a hard thing to fact check.

and in a similar vein… vale’s king rolled out a welcome mat for mistrali colonists who came to colonize valean settlements. it is beyond nonsensical to think that there was no violence involved. colonization is an inescapably and inherently violent process. and remember, the rioting began shortly after mistral imposed draconian censorship laws on its occupied territories, which absolutely would have included parts of eastern vale.

it was inevitable and completely predictable that this situation would explode. might salem have sent someone to fire the first shot? sure? but why would she bother, when the fuse was burning down all on its own?

(and that’s assuming she even had an interest in provoking a massive war at all, which seems rather unlikely given her apparent disinclination to engage in wanton destruction; see also her consistent choices to limit civilian casualties by pulling out of vale quickly / planning a surgical strike on haven academy / not attacking mantle / not sending grimm into the subways of atlas.)

but. but–

they did put her in the thumbnail. the point of this is presumably to imply that she did, in fact, do something to influence these events.

specifically.

they put her in the thumbnail superimposed over the leader of the vacuan rebellion, who:

led what must have been a pretty desperate fight against steep odds to drive an industrialized global power out of vacuo,

kept that coalition together after they won and formed an alliance with vale, and

was a faunus.

ozpin is superimposed over the king of vale because he was the king of vale. so: is the choice to position salem in this way similarly non-arbitrary?

looks into the camera like i’m on the office.

salem is a faunus. she identifies herself as such (“your grace” is the mode of address for menagerie’s chieftain) and she has been socially understood as a faunus for thousands of years (in a time when faunus were hunted and caged like animals, the stories about the witch who lived in the woods among “beasts and monsters” were, uh, probably not referring to wild animals; “beasts” was a euphemism for the people the ones telling those stories hunted and caged.)

to this day, ozpin associates the faunus with salem. he suspects blake of being her spy; he similarly singles out velvet after the massacre of lower cairn (and we don’t get to see what he actually says, only that velvet is in tears by the end). at haven, leo more or less says “the council overruled me and my hands are tied,” and ozpin immediately decides to freeze him out and insinuates to the kids that he suspects leo might be a traitor; meanwhile james “two votes” ironwood is closing atlas’ borders, cutting off the global supply of dust, recalling his troops from an allied state, and behaving so erratically that mistral is evidently anticipating a fucking invasion, and ozpin instructs qrow to take the lamp to atlas anyway. lionheart is a faunus; ironwood is human. the tea set ozpin gifted to lionheart is a replica of salem’s tea set. math.

so the fact that salem is superimposed over the faunus leader here does not seem coincidental; the narrative is very consistent in linking salem to the faunus because she is herself a faunus.

in WOR: faunus, qrow describes the appalling treatment of faunus by humans throughout history (first ostracized and hunted down, later enslaved and exploited) before to the great war and states that, after the great war, “the world was desperate to find compromises that would ensure they'd never see the likes of it again; the faunus were awarded equal rights as citizens of remnant, and as an apology, they were given an entire continent of their own to do with as they pleased. there were some that saw this as fair and just, but many saw it for what it really was: a slap in the face from a nation of sore losers. and so menagerie was born.”

and from the great war:

But whatever the reasoning, everyone bowed to the King of Vale by the time it was over. The Great War had ended. The world was ready to live under the rule of Vale. But the King refused. The leaders of the four Kingdoms met on the island of Vytal, and it was there that they worked together to form a treaty and establish the future of Remnant. Territories were redistributed, slavery was abolished, governments were restructured, and the Warrior King, the last king Vale would ever have, founded the Huntsman Academies and placed his most trusted followers in command of each Kingdom's school.

a few things to unpack here.

first: ozma as the king of vale would have had quite a lot of power to drive the vytal negotiations in the direction he wanted them to go; the other three leaders were given at least a notional say, but these were people who had just seen ozma unleash the horrifying powers of the sword of destruction upon their armies and bowed to him in abject terror—and that’s before getting into the possibility that ozma may have used the crown of choice to compel agreement.

second: “territories were redistributed” mostly appears to mean that mistral was forced to relinquish control over conquered territories that did not want to be part of mistral; vacuan sovereignty was formally restored (…on paper) (shade academy is the de facto government and has been since the war ended, which is worth raising an eyebrow at), parts of western anima were liberated, and… menagerie was given to the faunus.

(menagerie had to have been a mistrali colony before the great war ended, otherwise the framing of “a slap in the face from a nation of sore losers” is nonsensical.)

third: note the implication that awarding the faunus equal rights and giving them an island was a desperate compromise to insure against the perceived threat of a second war. it’s of a piece with ozma’s attempt to appease mistral and avoid war by “sharing” eastern vale with mistrali colonists.

the vacuan leader—his ally in the war—was a faunus, but it sounds very much as though ozma saw her kind as adversaries, at least in potentia, whom he made it a point to appease in the hope of avoiding a war. which is irrational on its face but does make sense in conjunction with ozpin’s clear inclination to imagine connections between salem and faunus, however baseless that suspicion might be.

and on that note, qrow also says this: “a lot of settlements were lost during those years, and most were never reclaimed. rations on food and dust were put into effect, development of technology accelerated, humans and faunus who fought alongside one another became closer and every day, mankind grew more and more efficient at destroying itself.”

pay attention to that rhetorical structure.

many settlements were wiped out

food and dust were strictly rationed

technological (military) development boomed

humans and faunus grew closer

mankind grew ever more efficient at destroying itself

one of these is not like the others.

qrow’s framing of these events likely comes from ozpin, whether directly (things ozpin told him) or indirectly (ozpin’s influence as headmaster over beacon’s curriculum). so the inclusion of “humans and faunus who fought side by side grew closer” into what is otherwise a list of ways mankind “destroyed itself” is perhaps telling of ozma’s mindset at the time; which in turn supports the implication that ozma perceived the faunus as a potential threat to appease after the war.

now!

the question is, how was salem involved—and why?

well. we know that salem is inclined to revolution; she rallied people to rebellion against the brothers millions of years ago, and in her war against the academies in the present, she aligns herself with groups like the white fang. she refers to the global order ozma established through the vytal accords derisively as “your so-called ‘free’ world.”

and we know that salem herself is a faunus, and thousands of years ago she was present enough in faunus culture that their creation myth is just a refraction of her story—transformation into something new by a choice to leap into magical waters.

we know that the faunus did not have rights in any of the four kingdoms before the great war, and mistral in particular is noted for its reliance on (presumably, mainly faunus) slave labor. reading between the lines of qrow’s slanted narration, vacuo was a mistrali territory back then, and in the CFVY novels it’s mentioned that vacuan faunus were regularly enslaved in mistrali-operated mines within that territory.

and we can guess, based on their leader being a faunus, that the vacuan rebels who drove mistral and mantle out of vacuo were predominantly faunus, plus humans willing to follow and fight for the faunus.

in the present, salem preferred sienna khan over adam and dropped adam like a hot potato after he assassinated sienna; she also clearly has no intention to attack menagerie, where the grimm notably do not seem to be a serious problem. salem also implicitly identifies herself as a faunus (“your grace”). so there are grounds for thinking that she does consider the faunus to be her people.

vacuo’s part in the great war was a war for independence. salem is both pragmatic and ruthless; she understands that nothing forces people to cooperate quite like the threat of a common enemy; she has the means to turn the tide of any war by the simple expedient of directing her grimm against the side she wants to lose. if she was in communication with the vacuan rebels—or just had spies—she could have coordinated grimm raids to sever supply lines or winnow defending forces in advance of attacks planned by the rebels, tipping the odds in their favor.

she knows ozma. if she was paying attention to the war, she would have known it began with his futile effort to appease mistral by giving away parts of vale; she has to know he sees her in the shadow of every faunus. the vacuan rebels—most of them faunus, led by a faunus—saved his bacon by joining the war he very much seems to have been losing (the frontlines were in vacuo by the end of the war; all of eastern vale was destroyed, and the king of vale and his army made their final stand in vacuo; vale itself was… probably under mistrali occupation at the time).

i am sure salem did not want, particularly, to throw ozma a lifeline. but she does care about freedom in the abstract—“your so-called ‘free’ world”—and she may think of the faunus as her people. once the war began, once it became clear that vale was losing… well, either vale would fall and mistral would rule the world, which would be undeniably worse for the faunus, or she could grit her teeth and accept helping ozma as a fair price for a shot at liberating the faunus.

and the only thing she would have to do to influence the war’s outcome is use her grimm to disrupt mantelian/mistrali supply lines and specifically target their forces on the battlefield. such attacks wouldn’t stand out against the backdrop of regular grimm activity—there are a lot of grimm in the world beyond her control—but a sustained, deliberate campaign of grimm attacks focused on one side would absolutely add up over time to a significant advantage for the other. especially given that the logistical burden of waging war on a foreign continent is already so much higher than defending your home.

if salem could also keep wild grimm off the backs of vacuo’s and vale’s armies to some extent, a la the apparent absence of a grimm problem in menagerie, that advantage would be even sharper.

…although she probably did not anticipate that ozma would use the sword of destruction to crush everyone who opposed him, or the crown of choice to do… whatever it is he did with it. you win some, you lose some.

[rd0265667]

Wonyoung x Reader: Tonight

A/N: Thanks to @opertabry for test reading this for me(ly bestie), I couldn't change much😵‍💫 but hope it turned out good

Permanent Taglist: @cwpiqwon@justme-idle

Part 2~Part 3a~Part 3b

After a quick glance behind your back, you ran through the bushes, a thermal bag in hand as you climbed the tree that had granted you access way back when.

"Who's there?" Wonyoung's shaky voice travelled from the room, little quavers in her voice conveying just how long she had been crying.

"It's me Wony." You whispered, as Wonyoung's eyes opened in shock, quickly running to open the window, allowing you access to the IVE dorm.

"Why are you here?" Wonyoung asked, not bearing to look you in the eye. 

"I heard about what happened." You slid the mint chocolate ice cream tumbler to her, and a smile that was long vacant from Wonyoung's face appeared again, her troubles disappearing, albeit momentarily, as she scarfed down the frozen delight

Despite the situation the two of you were in, you couldn't help but smile at the sight, Wonyoung ravaging the pint of ice cream as if it was going to disappear, the unparalleled smile that formed on her face as she did. It was not an unfamiliar sight by any means, but it was still one that you hadn't seen in a long time, and missed. Watching as she gulped down the last scoops of the ice cream, the frown that had plagued Wonyoung returned.

"Are you okay Wony?" You whispered, lightly resting your hand on her shoulder as you attempted to smile reassuringly at the girl.

"I'd be better if you were here with me." A bittersweet smile rested on Wonyoung's face as she looked into your eyes, reminiscing about the warmth she would feel in your gaze.

"You know we can't do that." You clenched your fist, turning away from Wonyoung, her eyes were magnetic, and you feared what you would do if you got caught in her gaze. The same way you were caught all those years ago.

"It's not fair. Why can't I be in love, just like any other person." Wonyoung muttered out, tears threatening to spill from her eyes, though she tried her best to keep them in. Looking away, she recoiled in shock, then leaned into your gentle touch, your thumb wiping the rogue tears on her face

"I'm sorry Wony, but your career takes precedence over anything. Over us." You cursed yourself as you said those words. This was what was the best for her, isn't it?

"Isn't that for me to decide?" Wonyoung choked back tears, her mind flickering to the day you left her, the result of the agency finding out about your relationship with Wonyoung.

Wonyoung had grown bitter. Though she appreciated the life of luxury and fame afforded to her by her career as a Kpop idol, grateful for her experiences in Iz*One and now IVE, she found it hard not to look back and wonder if it was all worth it. Childhood years, where most would spend messing around with friends, socialising and having fun, Wonyoung was working herself to the bone, dancing, singing, her life subject to the whims of her trainers. Even after she debuted, the problems didn't stop, the media caring more about narratives than the people the narratives concerned. For all they cared, they would build up a celebrity, just to tear them down, if that guaranteed them a more enticing article. That was the cause of this incident too, the media trying to tear Wonyoung down for exaggerated acting in a commercial, as if that wasn't how most commercials are. She scoffed at the hypocrisy, but she couldn't help but feel small, feel affected by all the backlash, all the hate from people she just wished would go on about their day, instead of dedicating parts of their days to slandering an 18 year old.

Through it all though, Wonyoung endured it, gritted her teeth, bunkered down, and soldiered on. This was life, and she had to work hard for what she wanted. Trolls and Hard Work were not too much to ask for a life of luxury and fame. Wonyoung could accept that. But losing you was too much. Because through it all, you were there. You were there to massage her shoulders after a tough practice. You were there as the last part of a normal life she could hold on to. You were there to wipe her tears and block out the hate when the pundits decided to go on a rampage. You were there to remind her that no matter what anyone said, she meant something to someone, that she meant everything to you. You were there to remind her that she was loved, that she was worthy of all that she had worked for. So Wonyoung's light left together with you. A little part of Wonyoung hated you, hated how you could just leave her, even if it was for her sake.

You didn't want to see Wonyoung. Not because you didn't love Wonyoung anymore, but because you still did, loved her too much even. The only reason you left her was to protect her from the company, but you still cared for her, greatly. That's why it hurt to watch IVE on variety or talkshows, Wonyoung smiled, but the shimmer and sparkle in her eyes were gone. Her smile looked natural, but you could see right through it. Wonyoung was operating in a fog, heading forward for the sake of it. What hurt worse were your conversations with Yujin. As a long time friend of Wonyoung, Yujin had also gotten somewhat close to you, close enough to help keep you in the loop on Wonyoung's condition. Hearing about Wonyoung hiding in her room, barely eating, having to be fed by Gaeul, it all hurt you. Because you knew that you were the cause of it. You wondered if it would have all gone better if she never met you, if you had never chosen to sign up for that Dance Competition. Wonyoung's heart would still be intact. 

"I'm sorry Wony, but I can't let you throw away all your hard work just for me." You whispered, gently holding her hand

"Remember to take care of yourself alright? If you need anything, ask Yujin or Gaeul. Please take care of yourself, stay healthy, alright?" You tried to put up a strong facade, but seeing her again hurt more than you thought it would. Having to go was like losing her all again. But you endured it. You couldn't be the anchor around her neck. Leaving a kiss on her forehead, you turned to the window

"Please. Don't go." Wonyoung's voice stopped you in your tracks. Her eyes were swollen, her stutter getting worse as her throat felt swollen, the heartbreak in her voice, it broke you.

"Don't do this to me Wony, please. You know we can't do this. I can't let you do this." You whispered back, trying to hide the tears that hampered your speech, not daring to turn around, because you knew you weren't going to be able to leave if you saw her looking at you, if you saw her in the state you left her in.

"Please, Y/N. Just for Tonight. Please." Wonyoung whispered, afraid of being too loud and scaring you away, a whisper that carried the weight of her world.

You clenched your fist, fighting against your very instinct.

You turned to her, whispering something that you knew very well to be a lie.

"Just for tonight."

[aliusfrater]

almost all s8 opinions regarding sam make me want to tear my hair out but what do you make of the takes that we can't really blame sam for s8, mainly not looking for dean/quitting hunting because it was "out of character"?

not just the you know who shippers who say this either btw I've seen so-called sam stans say the same

the evidence to this claim always seems to be that jared supposedly didn't like it either (which may very well be true idk the source) but I have to wonder if jared only said that or something similar because fan reactions to s8 sam began affecting him too

quite simply, i just don't agree with or enjoy interpretations that genuinely and earnestly refer to it as sam 'not looking for dean' in any context that's intended to be from sam's point of view because that's very much what dean considers it to be because he knows that he wasn't dead in the soul-had-left-his-body sense and he considers sam's adherence to his own perceived death as abandonment which is the major culprit of his own, sam's as well as the narrative's perpetuation of the idea that sam 'didn't look for him'. like this exact idea from sam's own pov is touched on in the first episode of season eight when sam is at his most confident in his independence away from his and dean's relationship:

then based on bobby's reaction to sam's own recount of dean's death to bobby in 8.19, it does seem evident to me that sam neglects to retell his own pov and he tells bobby that dean was in the same purgatory they were currently in, which is why bobby reacts with disbelief (because if you knew where he was, why didn't you attempt to save him?) and why sam's response is to bring up the previous 'agreement' he and dean had about death.

i have my own qualms about bobby's disillusionment re: the agreement as a 'non-agreement' and that he 'taught [sam] that' based on the actual events of 6.01 and the fact that bobby does indeed leave dean out of hunting at sam's will and the only plausible point at which it could have become a non-agreement is during the 6.11 and 6.12 conflict that is regaining sam's soul (without sam's consent, twice fold, but i consider soulless!sam to be more of a direct victim of being resouled than i do sam because of his active agency against it. sam's agency was preceded in his dying wishes and are therefore passive). bobby's reaction does, however, add to the already narratively skewed perspective of sam's decision where there is already that prioritisation of dean's 'didn't look for me' on account of the fact that bobby's own role as patriarch does narratively match dean's, along with bobby's position as a character who is narratively third to sam and dean's relationship (which then then bleeds into both sam's and the fandom's own interpretation of it, i think; sam also begins to doubt his decisions more which is also related to how the trials turn into his own suicidal ideation).

the conflict regarding which brother takes on the trials is very much foundational within sam's own view of a light at the end of the tunnel and his desire to leave the life and dean, at multiple points, within conversation about why he should be the one to do the trials, reiterates sam's own desire for normalcy away from hunting, within what dean himself desires for sam's life, which bring us back to the root of the issue that is dean's fear of abandonment (8.03, 8.14).

sam's own desire or attempt to leave the life seems to be fundamentally Wrong or is at least disproved of until dean approves of it/whenever it's part of dean's ideal for sam. 8.01, "so… free will, that's only for you?" the greatest sin is to disobey your patriarch; i think the culprit here re: sam's own person, just like it was with season four and the beginnings of soulless!sam, seems to be sam's rejection of the dynamics of his and dean's codependency in favour of his own attempt at independence. there's also the idea that dean would rather complete the trials that have a possibility of death than have sam go through the trials, die, then 'leave' dean to face the idea of living a life without sam—and he attempts to make this decision by on his own, without sam's input.

generally, i don't believe sam needs any excuse(s) to live a life outside of dean but the narrative's own facilitation of sam back into the non-role (the struggle to fit into the role) of his and dean's relationship, the dichotomy of monstrosity, the cycle of abuse, the patriarchal structure etc. etc. after his attempts at independence are endlessly interesting to me and although this isn't yelled at you through explicit exploration, i do consider aspects of sam's history with mental health to be relevant within several aspects of season eight, but mostly being related to sam's decision to leave hunting specifically within the context of the year between seasons seven and eight (especially after all that is seasons three to seven) as it's explored in 8.08. ultimately though, i think the major aspects of sam's decision to leave revolve around 1) grief and sam's avoidance of his grief, which is pretty well represented by his initial reluctance to name riot and explored through sam and amelia as mirroring characters (how blatant it is pisses me off a little),

and 2) the very basic building block regarding sam as a character that is his desire to leave the life. quite generally, i think the fact that through dean's own conflation of family and hunting (on account of john's own pov that through choosing college over hunting, sam had also chosen college over family) as well as dean's own pov prioritised through his and sam's relationship along with the previously mentioned structures, the idea that sam, too, is therefore unable to leave the life or subvert any of these structures without it being perceived as leaving dean or forsaking family is pretty neglected within a lot of interpretations of sam as a character. i think dean very much keeps sam tethered to the life either through sam's own ability to choose dean and their conflated lifestyle over something/someone else (later season one, season two, three, later nine to fifteen) (there's also the guilt tripping) or as a result of being preoccupied in a way that inhibits his idea of normalcy (his monstrosity in seasons four and five), but on account of the dynamics and his and dean's relationship, sam is unable to reject their codependency which perpetuates hunting and SamAndDean as existing synonymously. i mean, even when sam was hunting without dean as soulless!sam, on account of the agency and autonomy sam was able to achieve due to the differences between s!sam and sam's priorities due to the difference between then (the soul lol), s!sam's rejection of his and dean's relationship did become evidence for his monstrosity. which is, of course, punishable by (possible) death should dean decide that the dichotomy will not stretch to accommodate said monstrosity.

season eight, to me, is when these characters first start feeling a bit like cardboard, especially due to how wittled down to its core sam and dean's dynamic is represented. this is the most boring and basic version of How They Work at this point in the show and even then people explain their simple and cardboard-ish behaviours away with explanations like saying they're 'ooc'. sam's state of mind is pretty straight forward if you know where to look; sam taking his entire family's death as his sign that he's able to leave the life is not out of character to me at all. kill the supernatural appointed patriarch in your head.

[gilgamushroom]

"I do not promise you that when you have spoken I may not myself think it my duty to refer the case to the police."

"I think not, Mr. Holmes. I know your character and methods too well, for I have followed your work for some years."

This is making me feel so much. That Sherlock ends up being so compassionate to this woman and so genuinly kind and understanding is already moving, but the fact that she knew he would be.

Even when Sherlock himself warned he might take it to the police she goes "no you won't". People KNOW him. People who have been marginalized, who are not likely to be believed or supported know they can find an ally in him. His reputation precedes him, and per Watson's narrative it's not only that of someone brilliant, it's not of an "uncaring perfect machine", but of someone who's kind, and understanding, and will do the right thing regardless of what the law or social expectations say.

The police would not have had this compassion. The clergy would not have had this unjudging support. Eugenia Ronder knew who to turn to. I'm so glad there was someone to turn to.

[leletha-jann]

Le'letha's Grand Unified* Theory of Timestop Creatures

*sorry, neither

Before canon catches up to us, let's fill in the blank:

This creature 

is ​​​​​​​​​​_____________...

1) ​an aspect of Lucrezia

Narratively this makes sense. Lucrezia's the main villain and we really only know the edges of her story yet. But what we do know does not even slightly rule out her being an angry interdimensional timestop creature at some point. We know that the entity originally known as Lucrezia is time-lost and stranded - and I'll take as another data point that she's somewhere without cake! (Does that creature look like it hails from a dimension with cake?) 

We know that a lot of time has elapsed for her and, while I can't find the quote at this exact moment, possibly at different angles - something the Castle describes this creature as traversing. We know that she has been changed by this, and appears throughout the known timeline in different aspects, appearances, and identities. 

And today's page has the Dreen telling us that "a monster must grow! Develop! Mature! ...to achieve its full fearsome potential...worthy of attention."

That sounds an awful lot like whatever Lucrezia has become. 

In fact, one of the very first things Lucrezia told us was "it's been so long since I was really human" (and even at the time, Tarvek went "um wait what", and then sensibly decided not to push.)

It's also distinctly ambiguous if the creature is reaching for the device as the source of the time distortion, or for Klaus. And while it doesn't mean much that I think it's going for Klaus, Gil thought it was. Gil's talent for intuitive leaps is the subject of a different post (I really must write it...), but he's very good at them. When Gil first saw the timestop creature, he didn't say "it's going for the device" or even for "it's going for the device my father used" (which would have moved the dialogue along as needed), he specifically said "it's heading for my father​." I trust Gil's intuition. Here, and in general.

I think the timestop creature is an aspect of Lucrezia. And she is, as far as we know (see option 5), the Big Bad of the series, so "This is probably Lucrezia's fault somehow" is a solid guess.

2) an aspect of Vapnoople

This has been clearly foreshadowed and it's definitely something that's going to come back to bite at some point. This could be that point, absolutely! Not that I didn't enjoy the storylines in the Society dome (I enjoy that phase of the story a lot!), but every storyline is here to do something and it could 100% be the origin story of the timestop creature we'd already seen, because time is not, and has never been, linear in this story! Right from the very beginning! (Yes, this is the infamous Page Four, of course.)

Vapnoople said he'd be back, and once we could talk to Kjarl, we learned that Vapnoople would probably appear very differently and be quite insane. 

Continuing with the idea that the creature is going for Klaus specifically, and not the device, it's possible Klaus cooperatively pinned himself to a board like a specimen and Vapnoople's taking the opportunity to get payback for, y'know, being lobotomized and turned into an object of scorn and pity. That being said, does a warped-by-the-monster-dimension Vapnoople care about that? And is Vapnoople a big enough presence to be the endpoint of the Second Journey? Is this his time to reappear in the story? Besides, he seemed quite happy to be heading off into the monster dimension. I don't think he'd be in a hurry to come back. 

But time is not linear between here and there (or any number of "there"s). So this is a workable second option, and I know it's one in favor with many readers.

3) a totally unconnected genuine interdimensional creature

A pleasingly random option, but one with precedent - we saw the Queen's Society do this earlier and Agatha clearly thought it was relevant to Mechanicsburg. 

One of the fantastic things about Girl Genius is that the world keeps happening. Not everything around us is about us. When you leave food on the floor, the ants that show up are probably not plotting against you. They're just doing ant things. 

(...probably. Although in a world of mad science, who knows?)

4) an aspect of Euphrosnia Heterodyne

An out-there option and the one most likely to elicit screaming from the fandom. (An argument in its favor, I'm sure.)

The mystery surrounding Euphrosnia has been building up in the background for years, a little bit at a time. She was the last female Heterodyne before Agatha. Her story parallels Agatha's, has shaped Agatha's, and keeps being mentioned. She vanished in strange circumstances. How did that happen? Where did she go? Is she coming back? She has too much of a narrative presence not to - there's something going on there. Agatha is returning to Mechanicsburg. Is Euphrosnia? Carson von Mekkhan did say that the Heterodynes always come home in the end...

(See, I'm looking for the ramp-up, the twist I can't see coming, like the two-and-a-half-year time skip was in the first place. I keep thinking recently, we've all been thinking recently, everything's going so well...and I had that feeling before, at the end of the siege...right before everything changed... What's coming for us this time? What evil, evil twist do the Foglios have planned?)

And it would be a heck of a ramp-up to have one of the old Heterodynes, and the legendary princess no less, take the field and change everything.

5) something else

Look. It's not my job to outguess the Foglios. (And if you think it's yours, you're wrong.) I look forward to being surprised!

And probably screaming. A lot.

[pretty-little-howtown]

What the casting of Dr Doom has made me realise about 'Deadpool and Wolverine'

Since I first watched 'Deadpool and Wolverine' I have not stopped thinking about the movie. It's hard not to with opinion pieces everywhere; the creators I watch on YouTube making videos about it; and my friends slowly one by one taking to the cinemas to see it. I really enjoyed it. However, over the past couple weeks, I have been doubting its narrative quality. This has in turn led to some pretty disorganised thoughts about the nature of the Marvel movies as well as any comic book or media adaptations. First I will begin by outlining my thoughts on the casting of Dr Doom. Then I will explain how the casting of Dr Doom affected my view of 'Deadpool and Wolverine.' Finally, I'll outline my very disorganised thoughts about the precedent it sets for Marvel movies.

I am one of the people very unhappy about RDJ (Robert Downey Jr.) playing Dr Doom. Originally this is because I believed Marvel would need some way of explaining why Tony Stark and Dr Doom look the same. I thought to do this Marvel would do the same character fuckery they did with Task Master. Then I forgot about the whole ordeal for a while. I mean I don't work at Marvel, it's not like I'm gonna be able to change it.

Having forgotten all about the announcement I was sent a Tumblr post, surprise surprise, by a friend on the topic. The post outlined how RDJ isn't the type of actor to be able to pull off the highs and lows of Dr Doom. Meaning that, in the comics, the character flips between calling himself a God with the utmost gravity and then being a complete and utter fool. Which I do agree with. So much so, that I created a list of actors I think would be better suited to play Dr Doom. But again, I don't work at Marvel. I can't change the casting. So, I forgot about it for a while once again.

Yet the cycle continues. I watched a YouTube video outlining all the easter eggs and references littered throughout the 'Deadpool and Wolverine' movie. One 'easter egg' in particular caught my attention. Chris Evans reprising his old role of Johnny Storm. In the video, the creator speculated this was a deliberate decision on the part of Marvel beyond it being a fun cameo celebrating the Foxverse (20th Century Fox Universe). They speculate Evan's Johnny Storm was deliberately cast to show that different characters can be played by the same actors. In the context of the MCU (Marvel Cinematic Universe), different people can look the same. In short, Tony Stark can look like Dr Doom, and Dr Doom can look like Tony Stark.

This should have calmed my original dislike of the casting. It's a simple and easy way to explain why in the Marvel film universe Tony Stark and Dr Doom look the same. Unfortunately, it didn't. This seemed inconceivable to me from an in-universe standpoint. Captain America died in the prime timeline. Johnny Storm was purged and left in the void. To me, this means Johnny Storm was not meant to be in the prime timeline and his existence there was a threat. Meta textually this, to me, would mean the same actor cannot play multiple characters within the MCU. However, I must note, there is no evidence the Johnny Storm we see is from the prime timeline. Despite this, I believe my point still stands, as the cast of the new Fantastic Four movies announced Johnny Storm will be played by Joseph Quinn. At this point in time we have no reason to say this movie won't take place in the prime timeline. As such, a more specific precedent is set by Marvel. One in which, characters can be played by the same actors in the MCU but they cannot be played by the same actors in the same timeline. In short Captain America and Johnny Storm can't look alike in the prime timeline so neither can Tony Stark and Dr Doom. The cycle repeats. I forget about the casting of RDJ as Dr Doom. I forget the possible intentionality with which Chris Evans was asked to reprise his role as Jonny Storm. I go about my daily life.

Until I watch another YouTube video. This one about the concept of Anchor Beings. The creator outlines their worries that anchor beings serve to shrink the multiverse Marvel has created instead of widening it. It goes on to mention disagreement about whether the idea of anchor beings is truly another multiversal concept introduced into the Marvel playbook or a metatextual reflection of the importance of Hugh Jackman and Wolverine to the Fox-men (20th Century Fox's X-Men) franchise. The creator settles on the two ideas being the same as a result of the reveal of RDJ as Dr Doom and the rumours of 'Avengers 5' having an anti-Kang anchor being squad. Those point to the concept of anchor beings sticking around as well as showing how integral RDJ is to the MCU.

Finally, the cycle ends. This time I wasn't able to let my thoughts go. Instead, I came to a conclusion I didn't want to come to. Narratively, 'Deadpool and Wolverine' probably isn't that good of a movie. Don't get me wrong I loved it. I watched the X-Men movies as a kid and loved them. I still love them, and this movie was the perfect Foxverse send-off. But that's the issue. The movie's value comes from the metatextual narrative woven into it. Every character in the Void is from the Foxverse. As far as I can tell, the characters are mostly from movies that have either been forgotten from the 20th Century Fox catalogue. A lot more have been from movies that were considered flops, or characters that were horrifically conceived. Juggernaut comes to mind. Wolverine is burnt out and useless, a mata[hor for the current state of the Fox. Deadpool is alive because since Logan he's been Fox's most bankable property, but he's not content because the Wolverine from the previous movies was the lynchpin of the franchise.

That's where Wolverine being an anchor being comes in. Hugh Jackman's bankablility as Wolverine cannot be denied and the X-Men movies made it clear that their protagonist is Wolverine. Metatextually, this can be seen from the generally bad reception of X-Men movies that did not have him as the protagonist. Of course, with the exception of First Class Last Stand and Origins Wolverine. X-Men follows Logan being introduced to the X-Men as well as taking care of Rouge. X2 focuses much more on Loagn's backstory. I would argue he's still the protagonist in Days of Future Past, not just because he is the one sent back in time but because he is the one who ultimately brings Charles and Erik together. This movie cemented Logan as the emotional anchor of the X-Men movies.

Now where does this leave us in terms of future movies? Well, I have to agree the idea of anchor beings does seem to have been created to allow for more stories with a select few favourites. However, it also sets a dangerous precedent that nostalgia can make for a 'good' movie, you just have to do it right. Many people complained about 'Rise of Skywalker' for leaning too much into nostalgia and dropping it into the movie at random. Scenes seemed to be written around easter eggs and not the other way around. Disney hadn't figured out the formula then, but by 'No Way Home' they had. The easter eggs had become part of the plot. If 'Deadpool and Wolverine' was a send-off to the Foxverse, then 'No Way Home' was the first send-off, this one to the Spider-Man IP. Both came after long and arduous legal battles over the IP. 'No Way Home' began with another uneasy marriage between Sony and Disney where 'No Way Home' could have conceivably been the last MCU Spider-Man movie. 'Deadpool and Wolverine' was the result of Disney taking custody of 20th Century Fox.

'Deadpool and Wolverine' is full of ester eggs and references that are woven into the story. A story that centres the character of Wolverine and makes him a metaphor for the Foxverse. As such the metatextual narrative of the movie cannot be removed from the film. It's hard at times to separate this movie from its context. It was conceived as a celebration of an era that will never come again. Now that Disney has cracked the code, I worry that these sorts of metatextual narratives will be used more liberally, stifling creativity and expansion. I worry this will also set a precedent that you need to do your homework before you go into a Marvel movie. Something that isn't an issue for fans more so casual viewers. A while back a friend said they really enjoyed the movie but didn't understand part because they hadn't watched 'Loki.' I'm sure this isn't an uncommon sentiment and it demonstrates something an admittedly vocal minority have been complaining about. Noel Carroll, in his paper 'Power of Movies,' argues that the reason films are quickly overtaking traditional art and literature as our society's dominant art form is because of their low barrier to entry. by that, he means, it's a lot easier to learn to understand pictures than it is words. It's also a lot quicker. I think an overreliance on nostalgia and overuse of established media (TV shows like 'Loki,' or Agents of S.H.E.I.L.D') will make that barrier of entry higher but instead of encouraging people to dive in and explore they might just steer them away.

Thank you for making it through this whole post. I have linked all the posts and videos in the appropriate places above but I will link them all in an easier-to-view list here as well.

RDJ as Dr Doom Tumblr Post

'I Watched Deadpool & Wolverine in 0.25x Speed and Here's What I Found' -The Cadaidian Lad

'Anchor Being's Suck' - Pillar of Garbage

'Power of Movies' - Noel Caroll

This was a sort of half-essay. I mostly wanted to get some of my thoughts down in some form or another. I would like to stress these are just my opinions, you do not have to agree with them. Furthermore, I enjoyed every movie I mentioned above (except 'Rise of Skywalker'). This post isn't meant to make you hate any of the movies mentioned, nor am I making a concrete judgment as to the quality of any of these movies. You're free to have your own opinions and free to watch and like whatever you want. As I said these are just my opinions and who knows they might change in a couple of years.

[two-white-butterflies]

post mortem | part five

Description: Six thieves gather hostages and lock themselves in the Royal Mint of Spain - a criminal mastermind by the alias of the Dragon manipulates the police to buy them enough time to print money. (money heist au)

Pairing: Daemon Targaryen x Reader, Aegon Targaryen x Reader, and Aemond Targaryen x Reader.

Rating: Mature 18+

series masterlist | part four

(BEL-AIR, LOS ANGELES, CALIFORNIA. COLE ESTATE.)

Alicent Hightower knew the price of fortune - all of the material things she had in this life was because of her hard work. She was born in a small village; Bohoniki. It was engraved in her mind that the only way that she'd escape poverty was to study hard. - and study, she did.

Studied so hard that her eyes were strained after a few years - and when the exam results came out - she was thrown away, casted aside for some hot-shot heiress that would probably waste the opportunity of going to college. That was the day that she vowed to work - to step on whoever's corpse it took to have what she wanted.

But she was a woman.

She always had to be a victim against other people's actions. She worked hard to get accepted into a new university, but she ends up falling in love with her Economics Professor. He was beautiful - with silver hair that went past his shoulders. She was enthralled with the way that the words spewed out of his mouth. She had three beautiful children with him - same in temperament, same in looks.

You could take a girl out of the cold, but not the cold out of the girl.

Sooner or later, she'd become the abuser too. She left her family for a businessman - a man that could provide the life that she desired - was it her fault? Partly, but now it's come to bite her.

"Aegon has always been a mischievous child. I don't know why - we always provided him everything that he wanted. Maybe, that was the reason - he had everything and nothing in this world made him happy. But stealing made him happy - he says that it excites him." Alicent cleared her throat, stirring her tea clockwise.

"- it's not the first time that the cops have knocked on my door." she chuckled bitterly, assuming that what had happened was a minor thing - a small shoplifting incident that would be fixed with a few hundred dollars.

"What Mr. Aegon Targaryen has done - is of a different level, Congresswoman. We'll need your help to get him back." Corlys smiled. The government airlifted him to USA the moment they found out about Aegon's identity. What they were doing needed to be stop - before it could become a precedence for other terrorists.

"Get him back? Is he lost?" Alicent joked again. Corlys' demeanor shifted, and he leaned back on the sofa. "He is a terrorist," he said bluntly, and the atmosphere slowly turned dull. "Is this about the PETA Organization again? He's a soft hearted boy," she reasoned and the man shook his head, placing a yellow file on the coffee table.

She quickly placed the teacup beside her - hands shaking as she reached for the file. "The Royal Mint of Spain: Currently Occupied by Terrorists." the headline read out, a picture of her son in the bubble beside the drawing. Her lips shudder, fingers touching the picture.

How long has it been since she's last seen a photograph of her son? Those chubby cheeks still remained, but his eyes were down-set and his eye-bags were more prominent. "This is not real, whatever game you're playing Inspector Corlys - it's not funny. Especially now that election season is moving closer." her voice turned stoic.

"I am afraid that it is not a game - The Government of Spain is losing money in their attempts to quell this act of terrorism. One of the accused is your son, and you will help us if you want to win the reelection." he threatened, placing the deal more bluntly - aware of how politicians could turn and twist narratives. "I can just deny his existence, there are no records that the boy is mine." Alicent's face suddenly turned cold.

Corlys resisted the urge to roll his eyes - the Congresswoman's poker face was as stupid as her platforms. "You and I both know that you're not going to do that. Parents love their children more than anything, even when they are the shackles that bind us." he stated, taking a nonchalant sip of his chamomile tea. Alicent breathes a sigh of relief, partly afraid of what they'd ask her to do next.

"How am I going to help you? In Aegon's eyes, I'm good as dead." she scoffed, unable to entertain the notion that her children still loved her. She didn't deserve their love, neither their time. "What year did you leave Spain, congresswoman?" Corlys inquired and her teeth burrowed into her lower lip. "Twenty-one years ago," she answered.

"Your son was 2-3?"

"4 or 6. I'm not sure," she replied - in a tone that told her that she still loved her children. "A little too young, but still old enough to realize that you abandoned him." he further explains, taking something out of a separate folder. He places it on the coffee table. In all bold letters, she could barely make out the outline of her son's name.

MY MOTHER, MY HERO By Aegon Matthew Targaryen

Her eyes trailed up - until she was staring deep inside of the Old Snake's eyes. She'll do everything it takes to save her son, even risk her political career.

(EIGHT HOURS INTO THE HEIST.)

"Is he going to be alright?" Rhaenyra couldn't help but inquire. She's only been around her brother as much as there were fingers in her hands, but she's grown to love him. She loves him the same way that a woman loves her son. The thought of him possibly dying - it didn't sit well with her. "There's a bit of bleeding, but Mysaria had it fixed." Daemon responded, and his niece raised an eyebrow.

"I thought we weren't allowed to use real names?" she placed a hand on his collar, straightening his zipper with rehearsed ease. "Force of habit," he shrugged while freeing himself from her grasps. It was impossible to stay sated around his niece - around a beautiful girl. When she came into his life - he rebuked her. He couldn't understand why his older brother would adopt his ex-wife's daughter.

Aemma cheated on him with a barber - now after she's died of Cancer. Viserys still loves her. Loves her more than he loves Daemon. He couldn't stand the girl, that's why he left for college - he'd rather live in another country than watch his brother play house.

"Does the Professor know that his son is bleeding?" Rhaenyra asked, staring into the camera - knowing that her father was watching from behind it. "He doesn't need to know, worst comes to worst, we'll need better medical care." Daemon took a sip of his cappuccino. "Does that mean that he's stopped bleeding?" she frowned and he shook his head. "Stop babying him, it's a fucking scratch." he placed the mug loudly on the ceramic table - carefully retreating into the halls before anything else happened between them.

Daemon prepared another cup of instant coffee, surprised to see Aemond cleaning his bandaged wound. "What are you doing?" his nephew sanitized the skin around the gash, Daemon takes a mammoth stride towards the window - watching the police prepare their camp around the Royal Mint. "Just because we're on the clock, doesn't mean that there isn't time for slacking off." he responded.

Turning to look at his nephew - whose attention was plastered back into that bleeding piece of skin. "I hope you don't mind, but I haven't told Volantis about this little injury yet." he pointed at the young boy and Aemond frowned. "Why would she need to know?" he acted oblivious, adding more fuel to Daemon's anger.

"You're clearly together," he gritted his teeth - voice full of envy. It was unfair! He fucked the girl first, but his nephew was reaping late game rewards. "We're not." Aemond responded bluntly, as if it was the most obvious thing in the entire world. "Explain to me why there's always a moaning contest in her room, then?" Daemon scoffed. "Is she always stretching? Watching a horror movie perhaps?" Daemon antagonized, watching his nephew throw a piece of cloth angrily.

"I don't care if she's learning pilates or watching fucking Annabelle. I just want to get my money and get out of here." Aemond could feel his patience running thin. "You wouldn't mind then, if I made her my wife?" Daemon smiled mischievously. Aemond was just about to reply, but Aegon suddenly barges inside the room.

"You have to look at what's happening outside. It's urgent!" the boy's panicked voice caught their attention. "What is it?" Aemond groaned - aware that he was unable to walk due to his injury. "Mother." Aegon whispered, and the room's atmosphere dulled.

(TWENTY-TWO YEARS BEFORE D-DAY.)

Alicent couldn't stand staring at her children. They'd cry all the time - and she couldn't stand their constant need for her attention. "Aemond please stop crying, I don't know what to do." she cried, holding her son close to her chest.

It was going to be four hours before her husband returned, and by then, he was going to be too tired to take care of children. It was unfortunate because he was the only one who knew what to do. Viserys was the only one responsible enough to maintain a home.

"He's probably hungry," Aegon peeked through the dark living-room. Alicent could feel more tears flow out of her irises. Her son needed milk, and she was too stupid to even think about that. "Yeah, yeah. Uhh Aegon can you please call Peepaw for me. I-I need help." she stuttered - ashamed of her stupidity.

---

"You shouldn't have called me at this time, I had a sermon today." Otto scolded his daughter, removing his coat and placing it on the rack beside the door. "I didn't know what to do - the kids haven't stopped crying since their father left." she sobbed.

"I always told you that having children this young was a mistake. Imagine, you're only eighteen and you already have two-children? It is an abomination, Alicent." her father scolded, and she could only bow her head in the face of his criticism. She severely needed his help.

He reached for Aemond who was fussing in Alicent's arms. "I didn't have a choice, you told me that I'd go to hell if I didn't marry Viserys." she grimaced, and his dark glare returns. "Premarital Sex, Alicent. I couldn't allow you to sin." he gritted his teeth. His face softened, seeing the familiar figure of his favorite grandchild. "Aegon," he smiled before turning to his daughter.

"Go and rest, I will handle everything."

@fan-goddess @marvelescvpe @theshatteredideal @acollectionofcells1 @mxacegrey @bellstwd @nyctophilic0vitnir @icarusgloom @pearlstiare @themotherofblood @immyowndefender @ammo23 @ladywin17