#and the beauty of stories is that we all get to interpret characters different ways!!! but oh. it makes me want to run far and forever.

[muirmarie]

the real reason i don't do spirk to mcspirk that often is because the idea of being a second pick bothers me so deeply and terribly that i would prefer not to be with someone at all. you love me or you don't. what does it say if you're happy in a relationship without me and then eventually something happens and you're like, oh, our friend, yeah we should probably love her as well. i don't want to be wanted like that, and the idea of being wanted like that makes me want to never be wanted at all, makes me want to disappear forever and never let a hand touch me, never let a hand catch me - better to never be held with love at all then to be held like that. and what does that mean for kirk and spock? to learn to love a thing too late? to be too blind to what's in front of them? to hurt someone they're supposed to love? better to swallow their love for him like poison than let it seep out and kill the friendship they already have. it's too late! it's too late. you made your choice and you can't go back. why would you ever want to be a second choice? the person left behind, waiting, hoping they come back for you? i am taking the choice away from you, i am turning away from you, i am telling you that this isn't love, i am telling you that i don't love you back. i will choke to death on my own bloodied, swallowed words of love before i ever let myself want you like that.

anyway yeah that's why i don't usually write spirk to mcspirk unless spirk is already REAL FREAKS about mccoy. like they have to be insanely obsessed with that man before they're in a relationship or it just doesn't work for me.

also i'm aware i clearly have some deep-seated issues about this lmao, but i genuinely don't know what they're from!!! but they're DEEP AND THEY ARE EVER PRESENT lmaoooooooo

[and like: i cannot stress enough????? i am just laughing about MY issues, i am absolutely not saying other ppl shouldn't write that!!! this is more me just being like lmao why does that make my ears ring and my vision blurry when i see it???? haha isn't that weird????]

[rivereverie]

Astarion and Vanity

Spoilers for all of Astarion’s story through all acts of BG3. As always, this is just my interpretation and thoughts on the character from what I know, so feel free to disagree.

I feel that Astarion’s expression of vanity is a part of him that gets misread a lot. It’s something that is pointed to as one of his negative traits as though this vanity of his is sincere. Personally, I think his outward obsession with his own looks and charm is anything but shallow, and is yet another example of how his life experience and trauma has shaped him. 

Beauty is in the eye of the beholder (ha), and for the sake of this mild analysis, I’m going to be defining beauty as conventional physical attractiveness. The main point is that Astarion in-game is treated as being very attractive, so that’s how I will treat him in this conversation. Beauty can be a form of power; one Astarion was very clearly blessed with. While all the main companions in the game are designed to be rather attractive, for Astarion, this goes beyond simply wanting to appeal to the player and is not incidental. In my opinion, Astarion’s looks are crucial to his character. 

To briefly summarize what we all know about Astarion, he was thoroughly and systematically stripped of his autonomy and identity by Cazador. He was forced to adopt an incredibly narrow worldview of essentially: power = freedom = safety (simplified, of course). Throughout the game, he makes choices that slowly shape and are shaped by the man he’s becoming. By the end of the spawn route, he’s still only just beginning to really discover himself. This all is crucial to the heart of his character and influences all his actions. 

Given his hollow sense of identity, Astarion clings to certain traits which he parades around, making sure everyone knows these things about him. The most prominent of those traits being hedonism, sadism, selfishness, and vanity. In this post, I’m going to be focusing on the last item, though I do have a post on learned cruelty that delves into the trait of sadism in the context of his identity. The pattern here is that these traits are masks that serve to make him feel in-control of both himself and those around him. 

While Astarion may seem terribly vain, his appearance to others is actually a very deep-seated, sensitive issue that genuinely affects him. The infamous mirror scene may come across to some as him being shallow, at first, but really he’s right in what he said; his reflection is just one more thing that was taken from him, and it’s completely fair that he is angry and grieves. But this is also significant to him beyond the fact of its injustice, or the symbolism of reflection as identity. Let’s dive a little into his psyche, and guess at how he sees himself and the world: He’s spent the past 200 years being valued exclusively for his ability to bring back prey for Cazador and perform sexually. This equates to his charm and his body. After two centuries of being degraded and stripped of everything, and only ever getting any kind of positive reinforcement, praise, or acknowledgement for your looks and seductiveness, of course he’d begin unconsciously tying his sense of self-worth to his appearance. By Cazador, he was turned into a tool and a toy. By his targets, he was objectified. Dehumanized from both sides in different ways, and again, only valued for his body and whatever sweet words he could spin. This leaves him with his self-worth very profoundly tied to his appearance to others, as I said.

I imagine he had two main types of targets when under Cazador’s thrall: starry-eyed, naive folks who were swept off their feet, and more predatory characters who took advantage of an easy offer. The former were probably the only source of genuine positive attention he ever got for those 200 years, even if it was shallow. Since he cannot find self-affirmation by looking into a mirror, he finds new mirrors in the eyes of those who look upon him. His beauty is reflected in their hunger, their lust, their admiration, their bashfulness, their envy. Is it any wonder that now he flaunts himself, always making comments about how good he looks? If he doesn’t get an affirmative response, then at least it's his way of reassuring himself. Telling himself that he’s still valuable in the only way he knows how to assess his value. “I don’t need a reflection to know this looks fabulous”, he tells himself. This is why he makes so many seemingly vain comments. Why he’s so concerned with being done-up and looking good. Why he has spent so much time mending his clothes so he looks every bit the part of the dashing elven rogue. 

Speaking of his clothes, this is another way he’s clinging to his autonomy and identity even through all his years of torment. His clothes were probably one of the only things he was ever allowed to have. When you have so little, of course you’ll care for it, hence why the flavor text  for both his shirt and armor mention how his clothes are worn, but have been repaired many times by a careful hand. During those years under Cazador, it probably brought him a small sense of control to be able to mend and embroider his own clothes; the only things which he felt belonged to him, more so than his own body. Something familiar that gave him a sense of security and self. (This is why I adore the idea of him becoming a tailor after the story, because it's giving him a healthy outlet of personal expression and creating something that's entirely his own. Hobbies can be crucial to cultivating one's identity and self-esteem, and we all want that for him). Not to mention that Cazador probably would not have taken kindly to his spawn not looking their best, and that's probably a "rule" Astarion carried with him even into freedom.

I think the mirror scene is a lot more than him just seeking validation and showing us a glimpse into this part of his mind, though. It’s also about him genuinely trying to evaluate how the player character sees him, and shows how he’s trying to figure out his new identity in freedom, but that’s its own discussion for another time. I just think that it’s unfair for people to call him vain or shallow for caring about his reflection and appearance so much, when that’s all he was ever taught to value in himself.

 The only other significant way we see Astarion valuing himself is through his skills as a rogue, with his constant cocky comments about how easy it is for him. While this too is a form of external validation born of valuing himself for what he can do rather than what he is, it’s still a positive thing for him. The game doesn’t really address all this, but in my mind, him getting to make use of his skills and be valued as a part of a group that needs him is probably really good for his self-esteem at this point in his life. 

All of this to say, I don’t think it’s fair to cast judgement on him for being “vain”, given everything we know about him. There is a big difference between him and someone who genuinely sees the world through a shallow and judgmental lens. For him, his mask of vanity is a symptom of his pain and twisted worldview rather than something rotten born of privilege and a superiority complex. His self-aggrandizement is a necessary part of the narrative he’s building for himself: the vampire spawn who would ascend. Again, desperate to convince himself and those around him that he both wants and deserves this, even as his crooked worldview is being chipped away by genuine kindness and connection. This understanding of his mind shows why it’s so important to him that we see and love him for who he actually is, not just his charm and beauty. His heart is beautiful in an entirely different way that outshines his physical features, even if he himself doesn't see it. The hope is that, with his friends and perhaps partner at his side, he’ll learn to value himself for his own heart and soul; for the person he’s becoming as he gathers up the pieces of his identity. To see the light he holds within him that endured those centuries of darkness. Until the mirrors stop mattering.

[lurkingshan]

Shan's Favorite Dramas of 2024

The year is wrapping up and I have forced myself to narrow down to a list of 15 (I tried 10 but the choices were too hard!) of my favorite 2024 dramas across genres and countries of origin. This is not every drama I liked this year (that list would be incredibly long), but these are the ones that inspired the most brain rot and really stuck with me.

At 25:00 in Akasaka (Japan, Gaga)

The mood and tone of this drama was just perfect, and I loved the way it explored the blurred lines and confusion that can result when the real and fake aspects of a professional relationship get all mixed up. Hayama was a great character and I loved his arc, in particular.

Cherry Magic (Thailand, Viu)

I still can't believe how much I loved this adaptation. A fantastic example of taking a work from another culture and translating it to a new context while not only retaining the core narrative, but even enhancing it. This show gave us what the Japanese version didn't--the resolution to the physical intimacy arc at the core of the premise--and retained all the charm of the original while adding new humor. And delivered one of the best romances of the year while it was at it!

Don't Care for an Old Man's Underwear (Japan, fansub)

Oppan, my beloved. Easily the best family drama of the year, loaded with excellent messages while (mostly) avoiding feeling like an after-school special. Makoto's journey to update his thinking with Daichi's help, and the mutual friendship that developed between them, is one of my favorite relationships of the year. I loved every character's story; there is something for everyone to connect with in this show.

Fangs of Fortune (China, iQIYI)

This drama was just so much FUN. A gorgeous feast for the eyes, a wealth of fascinating characters and relationship dynamics, and a fast-moving plot that you don't need to try too hard to understand. It was a great binge and Li Lun was easily my favorite villain of the year.

Gyeongseong Creature (South Korea, Netflix)

A gorgeous period piece set during one of the darkest chapters of Korean history, this one took me by surprise (I am usually not a horror girlie). The writing for this show had surprising depth and I loved its themes around family and loyalty and survival under fascism.

Knock Knock Boys (Thailand, Gaga)

My boys! I loved this show about a group of four queer men living together in a shared house, getting into mischief and supporting each other through school and work and relationship struggles. The show is funny and breezy but also manages to tackle some serious issues with grace while delivering two strong romances and my favorite coming out narrative of the year.

Let Free the Curse of Taekwondo (South Korea, iQIYI)

Winner for best QL of the year, and a romance that will be sticking with me for a long time. Dohoe is one of the most honest and unflinching depictions of a an adult psyche shaped by childhood abuse that I have ever seen on my screen. It was healing to see him treated with such compassion and to see him and Juyoung find their way to a happy life together. An absolute must watch for all you angst with a happy ending fans.

Love for Love’s Sake (South Korea, iQIYI)

It's so hard to get a high concept premise like this right, but this drama did an amazing job with it. It's one of those shows where you can go back over everything that happened in retrospect and it all adds up, and I loved that the ending lent itself to so many different interpretations. One of the best watch experiences of the year.

Love in the Big City (South Korea, Viki)

Go Young, my beloved. This drama adaptation of the internationally successful novel exceeded my wildest expectations, and I am still a little stunned that we got the privilege of seeing it. It is, bar none, the most authentically queer show on this list, and a beautiful depiction of all the significant relationships in one young man's life. I will be rewatching it many times and keeping it close to my heart.

Love is Like a Poison (Japan, fansub)

A masterful blend of comedy, action, and romance, this drama about a lawyer with delusions of grandeur and the scam artist who decides to become his partner was a constant delight and gave us my favorite battle couple of the year.

Marahuyo Project (Philippines, YouTube)

I can't tell you the joy and relief I felt to get another high quality queer drama from the Philippines this year. And this one had such a great cast of characters, anchored by one of my favorite protagonists of the year in King. It's funny, it's romantic, it's touching, and as always for a JP Haboc production, it has an amazing soundtrack.

She Loves to Cook and She Loves to Eat (Japan, fansub)

My girls! I'm still amazed by how much this drama gave us in its second season by expanding the world of the show beyond our two main characters to include so many other women whose stories were just as fascinating. This is the season where Nomoto and Kasuga really came into themselves and started building the life they want to have together, and it was a real joy to watch.

Tender Light (China, YouKu)

The way this show had me in a chokehold while it was airing! Visually stunning, incredibly well-constructed, and featuring one of the best performances of the year from Zhang Xin Cheng, it's an exhilarating mystery and a very touching story of the unusual bond between a student and the older woman who fascinates and terrifies him.

The Midnight Romance in Hagwon (South Korea, Viki)

You know a drama is good when it has you deeply invested in a random topic you never thought you were interested in. In this case, that's the intense debate on pedagogical methods between the public schools and hagwons in Korea. Alongside delivering a great romance, this drama was passionate about teaching and it sucked me right in to the Korean literature lessons at the heart of the story.

Unknown (Taiwan)

No other drama inspired more brain rot in me this year than this story of a family rocked by changing feelings as the chosen siblings grow up. The loyalty and love and complex desire between Wei Qian and Wei Yuan is the heart of this story, and the drama did an incredible job of taking us along for the journey as things shifted and changed between them. I still think about them all the time.

Bonus: Favorite Classic Dramas Watched for the First Time in 2024

I am always catching up on an endless backlog of dramas alongside my live watches. Here are the best gems I finally watched this year.

Lost (South Korea, Viki)

I loved this deeply melancholy drama about two lost souls who connect unexpectedly. I finally pulled it up from my to be watched list because it shares director Hur Jin Ho with Love in the Big City (he did part 2 with Go Young's mom) and it sure feels like it! The characters are deep and complicated, the relationships are complex and carefully built, and it is hands down the best encapsulation of a failed marriage between two good people who truly loved each other that I have ever seen. It's heavy and not for everyone--mining the depths of human despair is kind of its thing--but if you like this sort of story it's world class.

Mouse (South Korea, Viki)

I was recently in the market for a good mystery thriller, so I finally watched this apparently very divisive 2021 drama--and if there's a divide I am firmly on the HELL YEAH side of the line. This drama had an interesting concept (that I will not describe bc holy shit spoilers, you should go in knowing nothing) that it unwound with remarkable patience and precision over 20 episodes. Its themes were strong and consistent, the lead characters were super compelling, the plotting and pacing and editing were unbelievably tight, the performances were incredible, and it made a lot of provocative points and ended well, feeling coherent and complete. It sustained my full interest and attention without any stumbles for ~25 incredible hours.

Mr. Sunshine (South Korea, Netflix)

Another one that's been on my watch list forever and finally got its moment when I was in the mood for a historical where ladies got to wield weapons alongside the men. And unsurprisingly, I loved it. Writer Kim Eun Sook is known for her big, glossy, epic dramas, and her style made a good pairing with a story about a rebel faction during the Japanese occupation of Korea. I really loved all the main characters in this show, and was moved by the complicated exploration of their loyalty (or lack thereof) to their homeland. This drama also has a very strong class analysis baked into its themes, which I very much appreciated. It was a traumatic watch, but in a way that felt right given the setting and the choices characters made.

The Miracle of Teddy Bear (Thailand, YouTube)

I watched this one on a mission and it was worth every moment. Nut is one of my favorite protagonists in any queer drama, and I thought the show made great use of its fantasy concept to explore some very real human experiences with depth and compassion. This show feels like an especially important counterpoint to the Thal BL bubble, and I recommend it highly for anyone who enjoys those dramas.

When I Fly Towards You (China, Netflix)

And we end on a light and sweet note, with my favorite coming of age romance that I watched all year. This drama was just lovely, and it will be a go-to rewatch for me for years to come. There’s something so comforting about a story where you start with the happy ending before jumping to the beginning, and just get to sit back and see how they get there. I loved all the characters in this and marveled at how it was never boring despite being decidedly low angst.

[meo-eiru]

I kinda like the small yet big detail in the game, like I'm sure myself and some other people were expecting a wholesome dating sim that would also get quite spicy (FROM HOW WE KNOW MERU)

And we all just kinda got kicked in the butt, like Starling being too hot to be true yet so terrifying at the same time, but not the terrifying kind that we know, like Micah or Silas etc

More like the type that makes you forget that he still is more a siren than a merman, like he successfully managed to lure in the whole community with his hot ass😭😭and then we get backstabbed by him munching our fingers off as if they're some carrots, like as a simple lunch snack-💀💀

Or in the other ending where it's basically simply Mae dying and getting turned into a possession and probably just another body to fill up with tongues

From my interpretation, Starling doesn't really have that kind of romantic interest in Mae, but she kinda thought it could go into that direction, but then got stabbed in the back like that😭😭(probs everyone who played it, thought like Mae there too kinda💀so we all got the betrayal🙁)

And you guys did a really good job in simply catching us all off guard in most scenes, it's it's beautifully written and drawn, I love that game so much!!!

Spoilers for the game

Honestly maybe Sel would give a different answer but I do think Starling likes Maelyn. Due to his past and what he has now become his way of showing it is probably different, but for Starling I don't think Maelyn is just another body for storing tongues. If that was the case he wouldn't have went out of his way to clean her body up, find a wedding dress and "marry" her in his own makeshift way.

He probably didn't even view it as a betrayal. Because until the very end Starling was making sure the no longer breathing Maelyn could be comfortable in her pearl necklace.

For the writing style, probably Sel writing the story played a big part in this.

Sel and I have very similar tastes in a lot of things, on levels I myself can't believe sometimes. But we do have a different style at how we depict similar concepts.

I love presenting dark stories on a silver platter. Prettied up with the most delicious icings and shiniest sprinkles. I like my stories and characters to look beautiful. Enjoy them while thinking you're just having whimsy adventures only to realize you're done for once you truly look. Like Silas. It's easy to make fun of him, forget the things he is capable of doing as you're too busy enjoying his silliness. He feels safe, a gentle giant who loves and takes care of you.

But he's still a man who has forced himself on you not only physically but also mentally. Trapped and limited you beyond belief. No electricity, no internet, no contact with anyone other than him. Only talking to him, only feeling him, only knowing him, only consuming him. A beautiful and sweet man no human mind can handle for more than a few weeks.

But Sel, from what I've seen, is a bit different. She doesn't shy away from showing the darkness and scariness of the stories she makes. Before you even know it you'll be facing concepts you didn't think could be possible.

And not only that, she hides so much under every word she uses. Often times the things she places in front of you are not even the scariest parts. The more you read and the more you decipher they get deeper.

I'm frankly a big fan of the things she writes. They often leave me flabbergasted (and mortified, she knows what I mean) but they are also so so fun. So scary yet beautifully poetic.

I know she doesn't like being under the spotlight that much. But ever since I met her and saw her stories I wanted more people to get the chance to see and appreciate them the way they deserved. I think they are truly special, and they make me want to do my best to illustrate them in the perfect way possible.

Honestly I'm not sure if I'm good enough at it, but if it helps the stories reach more people I'm happy with it.

I don't know if she'll read this post so that's why I'm being sappy like this but I genuinely hope you guys like her stories like I do. And I hope both you and I can see more and more of it.

[ooooo-mcyt]

I like to stretch Scott's character quite a bit to be more angsty in some ways to fit with my "Everyone in the life series is traumatized and/or inflicting trauma on others because they're being tortured by patrons of violence" narrative, which is where my interpretations of Scott's constant silver linings and positive spins as a trauma response to repression. But while I am attached to my angstified interpretation of Scott for the narrative I'm spinning of the Life Series, I'd like to take a moment to appreciate the narrative themes Scott actually tends to lean into in his storytelling.

A pretty consistent quirk of Scott's storytelling habits that I'm actually quite fond of is his aversion to bad or hopeless endings (which isn't to say they never happen, but usually scott will put a silver lining and path forward on every story)

In Witchcraft Smp Scott gets his partner back despite everything. He isn't punished for his grief, he isn't told he's unworthy of love because of the mistakes he made, and his quest didn't turn out to be pointless. Scott, despite everything, defied the laws of death with is love and desperation and grief. And when his partner looked at him again, it didn't matter how different Scott was. His partner saw how he'd changed, how he was sicker, duller, cracked and torn and generally unwell, and still thought he was every bit as beautiful as he'd ever been. They walk off together, to start their life together again.

In Empires season one there isn't a 'happy ending', obviously. There's an apocalyptic event and Scott literally dies. But Scott still infuses it with plenty of hope. First in the fact that his death was a sacrifice, one that we have reason to believe brought tangible good in protecting his friends and the world going forward, opening a pathway for the world to recover, even without him. And secondly in Scott's happy afterlife, a place that's full of color and life, where everyone he loved is safe and close to him.

It was almost the exact same for Third Life. There was a tragic ending, sure. Scott lost his husband, spiraled into grief and mental instability, and then was hunted through the woods and killed. But Third Life, just like Empires season one, grants him a happy afterlife with the one he loves. In both stories, instead of letting the narrative end with Scott's death, there is written in a path home for him, a path into a warm place full of flowers and people who love him, and an implied way forward, because not even death is an ending, because (just like in witchcraft smp too, actually) not even death can steal things forever.

And even when Scott doesn't write overt happy (or at least semi-hopeful) endings into his stories, he still ties them up with a positive bow. Almost every life series season ends with a stinger, a line where Scott makes a point of highlighting that despite not (usually) 'winning', despite dying he's happy (or at least acceptingly okay) with how things turned out.

Of course, angst has a place, and I actively like to make my Life Series Scott characterization more angsty and unwell than the narrative Scott (cc) actually wrote. But I'm also genuinely quite attached to the much more positive themes Scott consistently writes into almost every single story he has any hand in. The idea that all people are worth loving, that your actions matter and that you can make a positive impact, that nothing's ever lost forever, that it's never ever too late, that there's always a path forward. There's just so much hope imbued in every single narrative from Scott Smajor and a lot of them have been genuinely meaningfully impactful to me during some really bleak moments in my life, so I really do feel the need to lift up and highlight these themes because Scott Smajor storylines really know how to beat back the nihilism.

[cf56]

It is incredible how much the creators of Wakko's Wish were able to tell us about the Warners' parents with just a tiny, tiny bit of direct screen time. Have you ever noticed how most of the fandom characterizes the Warner parents the same way, as if they're established characters, even though they've never actually appeared outside of a painting? It's no accident.

In Wakko's Wish, this is all the information we get on the Warner parents:

-William was a good and kind king who was violently overthrown by Salazar

-As told in Yakko's story, William was a strong knight and his wife was a beautiful princess. They wanted a daughter.

-The painting above.

That's all. And yet, their characterization is so incredibly strong. From the painting alone, what can we glean? The king more resembles Wakko while the queen more resembles Yakko and Dot. We can extrapolate that the king had more of Wakko's personality, loyal and strong and true, but also a little goofy. The queen likely had more of the natural inquisitiveness and confidence that characterize Yakko and Dot.

In addition, they don't look like the traditional, arrogant, stoic royal family. The king and queen have kindly eyes. The children are all smiling and relaxed. Wakko and Dot are comfortable in their parents' arms- their parents haven't neglected raising them just because of their royal duties. Yakko beams with pride, likely wanting to live up to his parents' regal image. Overall, we can see that they appear to be a close and genuinely loving family. This is a royal couple who cared about their children as more than just heirs.

Finally, their usually accepted names of William and Angelina. William's name is directly stated in the movie, while Angelina is extrapolated from Dot's full name of Princess Angelina etc. the Third. If she is the third, there were others who came before her. It makes sense that her mother was also a Princess Angelina. While not official, it's another thing that just seems to make sense.

Like in the main show, there in an unsaid story of tragedy unfolding in the background of the main characters. The Warners are orphans, their parents are gone. Salazar violently took the kingdom. In the painting, Yakko looks probably 4 or 5, old enough to remember. He remembers enough to craft an accurate bedtime story about his parents' backgrounds. Dot thought it was just a story, but it likely isn't to Yakko. The events he described did loosely happen. His parents really were the sort to dote on their daughter and nuzzle her and call her cute and tickle her to sleep. They were likely the sort to do so for all of their children. It's a tight knit, extremely loving family that the Warners lost. You can see their tightness reflected in the mutually supportive relationship of the Warners. They would do anything for each other, and their parents would have done the same for them. Yakko's parenting style came from them. You can easily imagine a Warner family that got the chance to grow up together with loving parents and a nice home life. The kids turned out great anyway, but imagine what else they could have gotten up to if they weren't occupied with scraping by in a bleak, orphaned existence.

It's really impressive to me. Just a few nuggets form a natural, compelling picture of a loving family and a tragic backstory. Just a few nuggets form two strong new characters who never actually appear. You can easily imagine them because they are essentially reflections of the very well established characters/dynamics of the Warner siblings.

The last thing I'm trying to say is that you shouldn't have differing interpretations of the Warner parents, or that other versions are any less valid! But I still love how one version of the parents has become the most common because of how naturally it fell into place. They are almost official characters without being so.

[saylor-twift]

“he loves you, but he would never say that to your face.”

“-but he would never admit that.”

“-but he would never tell you.”

???

Are you sure? I am an avid tumblr stalker, and I’ve read so many things on silly little hat man in my time. I’ve seen things that tore my heart to pieces, that patched it up, that made me want to rip my guts out and throw up, that made me feel on top of the world.

And yet this is the one thing that bothers me so very much. I know, everyone has their own interpretations and opinions on different characters. So let me share my own.

The Wanderer is such a deeply written and intricate character, strung together with deep fears and insecurities, tragic backstories, and a beautiful story of change, healing, and moving forward. (I hate hate hate it when he is forced down to the level of nothing but oversexualization and “uwu sexy anime boy”, but that’s a conversation for another time.)

I’m sure if you’re reading this, you’re probably acquainted with Wanderer’s backstory, so I’m not going to explain. A lot of shit happened that made him who he is, and ever since the events of Irminsul, he has taken on a new path that he cannot go back on. Not like he’d ever want to. He said it himself, he never had any intention of returning to the Fatui. (And also- why choose to go backwards when you’ve got such a nice path set ahead of you?)

Anyways, point is, he’s changing. Notice how I said changing. He’s not changed, he’s just starting to. He’s getting there. Which brings me back to my argument. In the case that Wanderer ends up with a partner, things are certainly not going to be like a normal relationship. (He’s got plenty of red flags, don’t even try to deny it. But he’s a fictional character, so I suppose we can let this one slide.) Is he going to make the first move? That depends on if you make him desperate enough. Otherwise, it’s all on you, babe.

He’s not going to take it well. He’s going to deny it as hard as he can. You don’t love him, how can you? He is the furthest thing from loveable as you can get on this godforsaken planet. (His thoughts, not mine) But he certainly loves you, and, albeit with some likely pressuring assistance from Nahida, he’s come to terms with that terrifying knowledge.

“But he wouldn’t admit that to you.”

STOP. STOP RIGHT THERE.

Here is where my controversial opinion comes in. Most people tend to portray Wanderer as this cold, cut-off, aloof and irritable man, even in a relationship. And before you say anything, no, I absolutely do not think he would be the lovey-dovey, sappy, overly caring and romantic type. He’s not on either end of the spectrum, but I do think he’s somewhere in the middle (but probably leaning towards the former side).

Love is so, so very scary to him. And downright unknown. He’s traversing into uncharted waters here, give him some space to figure things out. That being said, he’s testing these waters. He’s not going to say he loves you at the beginning of a relationship. He has to make sure this thing is going to work. Your relationship is a newly built bridge, and those three words are the heavy cargo passing through. Without a strong foundation, the bridge is going to collapse, no questions asked. The only problem is, it’s going to take a long, long time to build that bridge. It’s going to be more expensive, more time consuming, and cost more materials than you had originally bargained for.

But that cargo can’t sit on one side of the bridge forever, can it? No, it has to get to the other side at some point. So if you have the patience to give your time to this bridge, the cargo will find its way to the other side. The foundation may wobble, the planks may shake, but the bridge isn’t going down.

He loves you, and he would admit it out loud. He would say it to your face. Just maybe not as soon as you want it. It’s going to hurt, and you’re going to wonder if he actually cares for you or not. Fear not, because if you pay attention to those little things he does when you’re not looking, it will feed you those little crumbs you need till you can finally be satiated when the full meal is done cooking. He mends things for you, things you had given up on because you’d never have the time nor energy to do it yourself. He cooks, and surprisingly, it’s always your preferences. He collects things that remind him of you, some he keeps out of embarrassment, and some he leaves on your bedsheets whenever you’re not home.

He’s been hurt, abandoned, and betrayed far too many times to immediately let himself fall into something as complicated as a relationship. He’s going to be distant, you’re going to disagree, probably fight a bit. He’s just seeing how far he can bend the lines, how much you really want him. (red flag maybe!! but he’s working on it, it’s going to be okay. mayyyybe you can look past just this one…) If you won’t leave even if he does this, then he thinks, maybe you’re the one. Maybe fate decides to treat him benevolently for once.

And when you finally, finally get to that point, he’s going to drown you so deep you can never get out. He’ll say he loves you, does everything in his power to make sure you never forget it. (no, he’s not going to read you love poems in the moonlight and call you darling. sorry if that’s your thing, that’s not who he is.)

This relationship will never be perfect, but relationships never are. Just as long as the two of you are willing to be patient with the other and get through your differences and clashing personalities, you are going to mold together perfectly. And even if he doesn’t say it often, (which he probably won’t. he’s certain you know it. why repeat something already ingrained into your mind? he doesn’t use those words lightly), it’s not like he’ll never say it. He won’t leave you in the dark for too long. He loves you, don’t worry. He’ll say it, but he prefers to show it.

[dootznbootz]

Athena favors Penelope because of who she is, not because of who her husband and son are.

The text even states as such.

"[...] on the score of the accomplishments Minerva has taught her, and because she is so clever. We never heard of such a woman; we know all about Tyro, Alcmena, Mycene, and the famous women of old, but they were nothing to your mother any one of them."

(Book 2, Butler)

"[...] counting too much on matchless gifts that she owes to Athene, her skill in fine handicraft, her excellent brain, and that genius she has for getting her way. In that respect, I grant she has no equal, not even in story. For of all the Achaean beauties of former times, there is not one, not Tyro, nor Alcmene, nor Mycene of the lovely diadem, who had at her command such wits as she. Yet in the present case Penelope has used those wits amiss."

(Book 2, Rieu)

[...] because in her heart she knows that she’s been given by Athena, more than any other woman, a skill in making lovely things, a noble heart, and cunning of a sort we never hear of in any fair-haired woman of Achaea, even the ones who lived so long ago—          like Tyro, Alcmene, and Mycene,                    the woman who wore the lovely headband— not one of them had shrewdness which could match Penelope’s.

(Book 2, Johnston)

Antinous is the one who is saying this but regardless, everyone considers Penelope to be favored by Athena. I think people forget that Penelope's role is very sneaky and sly in the Odyssey; of course not everything about her is "spelled out" for you because just as she tricks the trickster, her husband Odysseus, she tricks the AUDIENCE to a degree.

Not only do other characters acknowledge this Athena also reassures Telemachus that since he is PENELOPE'S SON, he'll be fine. Even while Odysseus is not there.

Then grey-eyed Athena said: "The gods decreed no lack of honor in this generation: such is the son Penelope bore in you."

(Book 1, Fitzgerald)

'And yet,' said the goddess of the flashing eyes, 'with you as you are, and with Penelope for your mother, I cannot think that your house is doomed to an inglorious future.[...]

(Book 1, Rieu)

Goddess Athena with the gleaming eyes answered him: “Well then, at least the gods have given you a family which, in days to come, will have a glorious name, since Penelope has given birth to such a noble son.

(Book 1, Johnston)

Athena wouldn't be reassuring Telemachus with "You are your mother's son; you will be fine" if Athena did not truly believe it. Even if you interpret it as more of a "Penelope has given birth to a great son, therefore you'll be fine," that's STILL acknowledging that she is his mother and the one who had, partially, made him who he is.

I've got more examples but I think I've made my point. Just because Athena isn't giving Penelope power ups to fight doesn't mean that Athena just ignores her or that she's "lesser" than Odysseus and Telemachus. Athena loves Penelope just as much, it's just in a different, though not less meaningful, way. Penelope herself embodies a lot of what Athena IS: intelligence, weaving, trickery, etc. I guess you could say that Penelope is more in the "feminine" domain of Athena's but still in her domain regardless.

I also think it's amusing that Athena had to instruct Odysseus with his plan to take out the suitors while Penelope came up with the challenge of Bow AND the way to test him about their bed all by herself. I'd like to imagine Athena is kind of like "You got everything handled. Let me make sure your husband doesn't die."

[chrkrose]

Just wanted to say that I completely agreed with your Sunrise take. It's almost as though you plucked it out of my brain and put it in words.

Its a shame that the Maysilee/Haymitch ship has been struck down so explicitly. I can't see the ship being popular now without fans claiming that we've 'missed the whole point'.

I also agreed with your take about Lenore: to me, she's far too similar to Lucy Gray for me to care about her in her own right and that's a shame.

I'm interested to see if you have any other thoughts since I enjoyed your first post a lot.

More thoughts on SOTR, Maysilee and Maysilee/ Haymitch.

I mean… I have issues with several aspects of Sunrise on the Reaping (SOTR), honestly. Like, the way the book handles its themes is just so on the nose. It lacks the subtlety Suzanne used to have. One of the biggest appeals of the original trilogy was that Katniss wasn’t a chosen one—she wasn’t special, she wasn’t trying to be a rebel, she was just surviving. And now suddenly we’re rewriting that entire foundation to make her destiny feel preordained? Add in all the fan service, which felt so Marvel-level with its cameos and callbacks, and yeah… I struggled with a lot of it.

The Maysilee stuff—and the Maysilee/Haymitch potential—is just one example in a list of things that didn’t work for me, but it’s a great one to highlight what went wrong.

First off, my gripe with Maysilee and Haymitch isn’t even just that they weren’t romantic. Sure, I do think a romantic storyline would’ve added more depth and been more compelling, but what really bugs me is the way people jump to that “not every relationship needs to be romantic!!” discourse like it’s some mic drop moment. And like—yeah, of course not every bond has to be romantic. The series already gives us beautiful platonic relationships, so what are you truly saying here? I always feel like that argument has a bit of a misogynistic edge, like romance automatically weakens a story or a character. That it’s less serious or important just because it’s “girly” or emotional. It’s the reverse of the people who think romance is the only thing that matters—it’s still minimizing, just from another angle.

Personally, I think a romantic connection between Maysilee and Haymitch could have added a lot to the story. Not because romance is inherently better, but because it would’ve allowed us to actually see the relationship develop. Imagine Haymitch having to confront and dismantle his class prejudices toward her. Imagine the layers that would add to his trauma, to his choices, to the person he becomes. That arc would’ve felt way more grounded than suddenly introducing Lenore Dove—a character who feels like a Lucy Gray copy-paste—and expecting us to accept her as the Great Love of Haymitch’s life.

And look, I’m a sucker for a good love story. I would have eaten it up so fast if this was a good one. But it simply wasn’t. There was no tension, no buildup, no spark. Just symbolism on top of symbolism, and a girl who was written to be “quirky” and “different” and important, but never felt real. She was too mythical, too much, too “main girl who haunts the narrative” without earning that weight. At least Lucy Gray had quirks and nuance. Lenore just felt like Suzanne ticking boxes: rebel, covey, singer, poet attached to her name, dead too soon. And I’m sorry, but having Haymitch still pining for his 16-year-old girlfriend decades later, when we barely get to see him reflect on his family or his fellow tributes? At least give space to his mother and brother, to the tributes he bonded with, to all the people he lost along the way.

And that’s what really bothers me. Suzanne always trusted her readers to come to their own conclusions. She showed us dynamics—Katniss and Peeta, Finnick and Katniss, Johanna and Peeta, even Katniss and Gale—and let us interpret. She never had to spell out who these people were to each other. But it seems like she didn’t trust that when it comes to Maysilee and Haymitch, and to Lenore and Haymitch as well. Suddenly we were told what to feel, how to perceive every relationship. And that just doesn’t land for me. It actually undermines the emotional weight because it feels like she didn’t trust the story to stand on its own.

And if the whole idea was to subvert expectations and say “Surprise! Everything you thought you knew about Haymitch’s Games is actually propaganda,” then… I don’t know. That twist didn’t work for me either. It didn’t enhance the themes, it just made me feel, again, like I wasn’t capable enough to reach conclusions on my own. For a book who speaks of propaganda, she sure tried to determine how we would interact with it without room for anything else.

Now, about Maysilee herself—she would’ve worked so much better as the ghost in Haymitch’s narrative. Platonic or romantic, an ambiguous bond between her and Haymitch had more potential than what we got. The Capitol downplaying her role would’ve tied beautifully with Haymitch’s later manipulation of the Katniss/Peeta narrative. She mirrors both of them in ways Lenore doesn’t: she’s a merchant girl like Peeta, she’s got Katniss’ fire, and her pin—her pin—becomes the ultimate symbol of rebellion. She painted the final poster. Not to mention the quiet tragedy of him having to see her twin sister around town for the rest of his life. That’s the kind of subtle, haunting storytelling that would’ve worked.

But instead, they stripped all that from her to give it to Lenore, and in the process, even Katniss’ story gets hurt. Because now, Katniss isn’t just a girl who stumbled into something bigger than herself—now she’s been chosen since the beginning. Which removes one of the most powerful things about her arc: the idea that regular people, caught in the right place at the right time, can change the world.

Lucy Gray worked as a ghost in Snow’s story. Maysilee should’ve been that for Haymitch. But unfortunately, all that depth, all that symbolism, was handed to a character who didn’t earn it and who honestly just didn’t deliver the emotional payoff Suzanne thought she would.

[andhumanslovedstories]

I've been thinking the kind of writing I do and the kind of reactions it gets. Some authors get goofy comics of their works. Me? I just got a comment on my Captain America: Winter Soldier fic that I helped the reader understand 9/11. I am, by the way, delighted by that.

I struggle to describe my own writing style. It's wordy, I know that, and favors a LOT of detail, to its benefit and detriment. I'm indulging this tendency for my current fic because it's fanfic and I am having a lot of fun seeing what details I write that I end up elaborating on, but my number one style goal this year is to work on brevity and a snappier pace. My style is so introspective; characters spend a lot of time reflecting on themselves. I put a lot of work into making my characters complex, even at times contradictory because I think that's true to human nature. And by god, do I think about a story's themes. Do other writers think about themes this much? Sometimes I'm like, hey brain, I'm actually good on themes. Would love to get some plot.

Not to entice all the sapiosexuals out there, but I take a very cerebral approach writing. (This does not btw mean that the fic itself will be particularly intelligent.) I'm not saying this is a good or bad way--it's one way to write. My writing can feel very cold to me. Very same-y as well. That's why writing SQQ pov is so fun, it's such a radically different voice than my usual.

The fic I'm writing now was supposed to be a lighthearted fic that was an excuse for me to practice writing a sex scene. Almost 80k words in, it's so super not that. I just can't resist the thrall of complication. Although you know, as I'm writing this, I'm not exactly sure what an "intellectual approach" to writing even means to me. I use big words? I overuse semi-colons?

Maybe it's the way that I'm so language-forward in my writing. Like, what I love doing is crafting a sentence. Someone described literature to me as writing where the main draw is the author's technical accomplishment in executing their style. I definitely favor authorial voice, to the point where the stories I write that I like least feel like balsa wood gilded over. It looks nice, but you quickly realize it's weak as hell.

There's works that clearly value style over plotting, and vice versa. You need both when you write--all plot with no style reads like a synopsis of itself and all style with no plot is imagery in pursuit of nothing. Both very boring in their own way. It's interesting how totally which one weighs more affects every part of the story. Mrs. Dalloway is not a fast-paced page turner, and a thriller doesn't halt itself so we can read really beautiful, pointless paragraphs about how the color of the sky evokes memories of a long ago time when you were so different.

Maybe what I mean is that my stories tend to evolve out of the ideas that I'm exploring. In the fic I'm writing now, I had this core conceit of misunderstanding: people failing to interpret something without knowing they're doing so. In a way, the entire story is about the hard work of moving from misunderstanding to understanding. Getting information, interpreting it, having that interpretation challenged, exploring what that challenge provokes, moving either closer or further from "the truth". Shen Qingqiu misunderstands basically everything, and basically everyone misunderstands Shen Qingqiu. What situations can I make that center on misunderstandings? I also think a lot about the concept of fault--how have people failed in the past, how are they failing in the present, and how do you make up from what you have done wrong? Do you get to just move forward? Are you always at mercy of whatever you did in the past?

So a lot of the plot of the story stems out of ways that I can bring those ideas to the forefront. When I get stuck, I think of different ways these concepts can manifest. Ming Fan's getting a whole plotline because of this. I like my writing, I do, but I’ve really been thinking about the way I write affects what I write. And then in turn the reactions I get to my writing. And then I wrote this whole post because ao3 was down and I couldn’t post my chapter. And now here we are.

Also general DVD commentary on OOC fic--I hit such a roadblock because we're very close to the point of the story where Big Things are going to happen, and I could not decide on exactly how those things should occur. I had about three ideas that I was excited about. None of them were compatible with the others and each would have very different emotional implications. It's hard to write when you're essentially juggling three different drafts. The only way I got myself to commit to one was promising myself that I could always write AUs of my own fic. I honestly doubt I'll get around to doing that, but who knows. Maybe someday there will be a fic of (spoiler warnings ig for things that aren't going to happen) this fic's version of sqq and lbh in the endless abyss together.

Also you would not imagine the amount of thought I've given which conversation should happen before the abyss and where each character relationship needs to be. I have dithered like crazy. And there's so many relationships I'm working with. I'm keeping track of Shen Qingqiu's relationship with: Luo Binghe, Liu Qingge, Yue Qingyuan, Mu Qingfang, Ming Fan, Shen Jiu, Qing Jing Peak as a whole, a couple of OCs, the System, and his concept of self. Mu Qingfang has not been on screen for a minute but it's not because he doesn't haunt my plot outline. Sorry, bud, everyone else just keeps getting more pressing stuff.

[iz-star]

Some thoughts about Zayne in "Adventure above clouds" event:

Like I've explained here, I've been having a bad feeling about Zayne's fate in the next main story updates, and after finishing Zayne's route in "Adventure above clouds" my feelings of uncertainty are just increasing.

So, I'm going to write down some thoughts I had while playing his route, especially about him wearing Dawnbreaker's variant outfit "Shadowfall dawn", which might be a bit interesting for some.

Disclaimer: I would like to pride myself as a Zayne connossieur but that's actually quite far away from reality. I'm a Zayne main and I devour every piece of info that there is about him, however my interpretations and opinions are my own and can be wrong. I'm someone that sometimes tends to overanalyze so, it's up to you if you agree or no with my takes! I'm also always open to be corrected ❤️

Let's get strated with by saying that in this event, Zayne was undoubtedly and utterly perfect. He's honestly all what he's always been: Sweet, patient, cute, smart, funny, gentle, caring and a lot of other things, the only difference here is that he's more prone to show his affections openly and straightforward which only showcases his development as character. It's like he finally feels at ease by expressing himself, especially around MC. When I say he was perfect, I'm not talking at how lovely he was (he's always been lovely anyway) but more like, he's natural, he feels less stiff, totally happy with MC and himself, smiling most part of the time and showing his love even through words, to the point MC says this:

Since Snowy Serenity he's been more direct at expressing his intimate thoughts towards MC. For example, in previous cards he would always refer to her as "someone" and even refer to him in third person: "Someone thinks it's special treatment" [Drunken Intimacy] "He can't ignore you even if he wants to" [Tranquil Heart] "Recently, a certain someone ocupies my mind. Whether I'm walking, eating or sleeping, I keep picturing myself with her" [Heartstring healer] to mention a few.

It's in Snowy Serenity that we have a clear change in his way of expressing his feelings. He starts with "I don't want the person I like to get hurt", in here he's still using the third person but the message is really straightforward "the person I like" and as the conversation goes by and it becomes more meaningful, deep and intimate, he leaves all his chains behind and says "I need you, I have never denied that". This card is all about communication, even he admits that he's always been bad at saying what others want to hear and still, he's trying.

In Hidden Motive, this behaviour keeps going. When MC says that the lights behind him are beautiful, he looks at her and replies "Indeed, very beautiful". Because his eyes are fixating in her, she clarifies that she's talking about the lights but without hesitation Zayne replies: "I know. I was talking about you"

And I'd like you to recall Drunken Intimacy because this is like a paralel with Hidden Motive, since both cards were made for lovers' day festivities; Drunken intimacy for Valentine's Day and Hidden Motive for Qixi festival which is lovers' day in China. Not only they are like cards that go hand in hand but also showcase Zayne's and MC's character develompment and how their relationship has changed:

See the difference?

In Snowy Serenity and Hidden Motive, there's a focus on improving communication, being honest about their needs and feelings (Zayne saying "I'll survive" at MC's concern and her telling him that he'd better stop talking in Snowy Serenity and MC talking about her "last wishes" before dying and entrusting them to Zayne and he replying that he didn't come all the way here to listen to her talk about that nonsense) and finally, getting both physically and emotionally closer.

In this last event, "Adventure above clouds" it feels like the result of this devlopment is finally paying off all their effort: they're both happy working together to solve the escape room, showing open affection, talking about the future and the past ("Us in 50 years" "Our childhood memories" or how was Zayne's university years without MC and the big difference now that he has someone to watch the falling snow with). They talk about how they're each other's sun, how they keep each other warm. When Zayne says that the snow will show them the way and they both "pray" it kind of reminded me of Master of Fate. They getting at the top of the Ice Palace reminded me of Foreseer.

(It's like we've reached peak, literally lol. Ok, bad joke, that's why I love Zayne).

And once all of this has happened, once they've gone through all this develpment, they've come this far together, even bits of the story reminded me of Zayne's myths, and they've talked about the past and the future, what's next?

Zayne mentions eternity.

Zayne has mentioned eternity a couple of times, like in one of the PV's where he's wearing End of Depths outfit ("As the cosmos dances to the tune of eternity, life will reach the fathomless depths of deepspace") and in some of the texts that show up when you level up your affinity with him ("I want to turn every moment into eternity).

In here, he doesn't mention eternity directly, but it's implied when he says "Every snowflake will rememember your name. As well as our story". Eternity is just another way to refer to death for immortal people. It's like Zayne is saying "Your name and our story will endure in the snow even when we're no longer here". We often talk about the memories we leave behind in this world once we part from it, who will remember us? What are the proofs that we existed and lived in this world once we're gone? Will our story fade away? In here is like Zayne is just promising her that their love won't be forgotten.

Let's remind that one focal point in the story is immortality. We know that MC it's immortal and even in the main story, when Zayne it's explaining things about the protocore in MC's heart, he mentions that he doesn't know too much about it, however he knows that her protocore creates a shield around her when she's attacked and that she will live long enough to discover its misteries (kind of reminds of the Creatio Protocore that Foreseer gave MC but that's another talk for another day).

Whether if Dr Zayne knows about MC's immortality or he doesn't, that's something we don't know yet (altho something tells me that he knows, but I won't be explaning this here, if you're curious about it just ask), however we know two things:

1._ Zayne it's against using protocores in human hearts to reach "immortality". To him, death is still essential to life.

2._ Even knowing this, he also knew in his heart that he would do everything in his power to prevent MC's death and he seems to know that something bad is about to happen.

Master of Fate and Foreseer already proved these points. Master of Fate had to kill MC for the greater good but decided to say "fuck it" and instead chose to seal her powers. Foreseer also broke the rules for her sake and gave her the Creatio Protocore, going against Astra's will in order to cure her illness and extend her life (probably one of the things that caused her immortality?). She's always been the exception to every rule in Zayne's book. Something tells me that things with Dr Zayne won't be the exception.

And now... we have to recall something about Zayne's first PV.

Ever since the beginning, Zayne's route was presented as something with angst. It's interesting to hear these unknown voices saying "Won't you regret it" "She will not come back" "You've paid the price"

This whole PV makes it look like Zayne puts MC to sleep in order to protect her (like with MoF) so she wouldn't "come back" ( revive with the help of her aether core) and then... he loses control of his evol and freezes the whole hospital? Dies in the process? These are just speculations and can be wrong, however we simply know that something bad is happening there and, if we recall them talking in "Adventure above the clouds" and "Us in fifty years"... this PV kinda shatters the hopes for them to have a life as long as that. However, 5* memories and events are not exactly connected to the main story but I think they kind of... interconnect somehow? I'm still wondering how the devs are going to relate each ML route with the Main Story. The announced that they are going to release more "Main Story Branches" from September to December, and I don't know if by saying "Branches" they meant routes? Or simply referencing to the way they've released the main story until now, with each chapter dedicated to each LI? Either way, those are questions for another day.

Now, let's remember this:

"When you and the world wake up, I hope we do not meet again"

A quote that kind of leads us to Zayne's next lifetime: Dawnbreaker.

I've mentioned above that there are bits of Zayne's route in Adventure above clouds that reminded me of MoF and Foreseer, but now it's also time to mention the most obvious thing, the Dawnbreaker reference in this event, of course: "Shadowfall dawn":

There are two things about Zayne's look here:

1._ He's wearing the variant version of Dawnbreaker's outfit.

2._ He also has a halo above his head.

And these two things together create an interesting concept considering that Dawnbreaker Zayne, the serial killer is considered the Grim Reaper, his whole aesthetic is dark, it's even clarified in his anecdotes that his wardrobe was full of black clothes. To see him with a brown variant of his outfit wouldn't make sense at some point... So, of course, Doctor Zayne being his opposite, the one who instead of ending lifes, saves them to the point of exahustion, wears the clear variant outfit, looking like an angel.

Were have we read this before?

Of course, Doctor Zayne is in the opposite role of Dawnbreaker Zayne and even tho Doctor Zayne is always wearing black clothes outside of his lab coat, it's actually wearing his profession's clothes what completes the aesthetic with Dawnbreaker: The Guardian Angel (white) and The Grim Reaper (black).

However in Adventure above clouds, Zayne is not wearing his lab coat cause he is not in his Doctor role. He's just being Zayne, he's being himself, what he is. He's being free, like I commented at the beginning of this post. Still, the fact he's wearing Dawnbreaker's variant with a halo seems a bit supicious considering what I've already pointed out, right? It could also be that I'm simply looking too much into it, but I also believe in the power of foreshadowing, especially considering that we all know that Zayne's birthday is coming next and it kind of connects with Dawnbreaker.

In the story of Adventure above clouds, of course there is a reason as to why everyone is wearing an accessory, in Zayne's case, it's because his role is being "Winter's emissary" just as MC, so she is also wearing one, however we all know that "Winter's emissary" it's more likely to be a fitting title for Zayne than for her. Recalling what it's been previously mentioned here, he says "With Winter's Emissary by your side, every snowflake will remember your name, as well as our story".

Zayne is saying that he'll be by her side in the snow, he is promising her eternity in the snow and with the halo above his head, it is clear that he kinda looks like MC's Guardian Angel, the one who is always going against his duty to ensure her safety, the one who pursued a medical career in order to take care of her heart disease, the one who is always on the lookout for her health and tho stric, still indulges her a lot. Aren't angels emissaries as well?

But you know, in order to become an angel, you first have to die? Doctor Zayne didn't have to die in order to fullfil his role as a doctor, however this one is simply Zayne. Emissaries never stay, they always have to return to the ppl who sent them. Will Zayne return to snow?

What was Zayne's reply to MC's post again?

At the end, all of this are nothing more than supositions that of course, it'd be very happy to get wrong. I wouldn't mind ending up looking like a clown if these theories are wrong and we get to spend a lot of time and precious memories with Zayne. I genuinely just want to see him being happy after all these years of respressed emotions.

[jesncin]

Chimera Constantine breakdown, refs & nods mega-post

Welcome to the master post of behind the scenes for the Chimera Constantine comics. In the style of the Sons of Mars ones I made, this post archives our research and process. So here we go! This will be a mix of showing references and personal anecdotes for how we cobbled this project together.

I'll be repeating some things I've mentioned across blog posts because I like having all this info in one place.

So! There's a lot of ways to go about re-interpretation and re-imagining a story, and one of my techniques is to not get overly attached to research. While it's good to be informed about a character, sometimes knowing every little thing about them can make one hesitant to innovate and try something different with them. So I'm purposely mindful about how much material I research.

But how does something like that work when the character in question has only 2-3 total appearances, one arc, and a quick revisit several years later? We play twin telephone.

For this project, Cin read the Hellblazer Golden Boy arc and vaguely retold it to Jes, who would then write a story based on assumptions and half-remembered memories of the story. Letting personal experience, influences and bias fill the blanks. We're inspired by how Naoki Urusawa wrote Pluto based on his mis-remembered memories of reading Astro Boy. Also when I was a kid I used to look at book covers and summaries and make up a story based on the limited information I was given. It's fun for me. Part of why I love obscure characters so much is that the lack of content about them lets the reader fill in the blanks about their lives and try telling new stories about them that aren't constrained by a saturated canon.

The original Golden Boy arc written by Jamie Delano (#39-40) is about John Constantine coming to the realization that he strangled his twin in the womb. After taking some 'shrooms, John...manifests into another reality, it's very surreal. There, John meets his twin from a universe where John had died, and his brother gets to live. The twin (taking on the name John Constantine, we'll call him Golden Mage to keep it simple) is John's opposite in every better way. They decide to merge their souls to restore...the universe. You kind of had to be there.

John's twin returns many issues later (#249) to wrap up a different arc, there he and the story are written by Andy Diggle.

The first panel of our full comic references the tarot cards John gets from his reading with Zed.

This panel is a direct reference to this scene where John sees his own shadow on a curtain after his reading with Zed. I like the imagery of this arc, even when the dialogue describing twins is really cringe. We changed it to a mirror to reinforce the mirror imagery throughout the comic. Speaking of which...!

Through Jes' reworking of the story, mirrors were streamlined to be the main way alternate universes were portrayed in the story. They'd be the main motif that paralleled the twins too. In issue #249 of Hellblazer, John uses the mirror to confront his twin who resides within himself after their soul-merge years ago.

The line "He's so beautiful, he frightens me." is spoken by a doctor witnessing the Golden Boy's birth in his universe. We repurposed it to be John's dialogue for when he's describing the man he sees in the mirror.

John's twin uses a sacrifice involving these candles to summon his sickly twin. Jes repurposed the use of candles to a magic salt circle that contains spirits like the Golden Boy (he's nicknamed "Goldie" in our take).

The Golden Boy! Even though he died in the womb, he's portrayed as a boy. Probably because a floating fetus wasn't what they were going for. We wanted to give him a distinct look that foreshadows how much he would grow his hair out. I like that his mouth isn't visible! We use the shape of his eyes and posing to get across how he's feeling. It gives him a vacant-toddler-stare I find really endearing.

We made some minor adjustments to the Golden Mage's design. Initially, we followed his canonical pulled back long hair. But since he was a challenging character to emote when we had one less arm to work with, we decided to part his hair so that it could carry how he's feeling. I like when I can get it to cover a part of his face for intense moments! If it was animated, it would 100% be expressive Ghibli hair.

Our main goal for Golden Mage's characterization is to make him feel like his own person. In the original arc, he's less of a sibling and more of an au of John Constantine himself. He doesn't get his own name. Despite gloating about having a better and more fulfilling love life than John, he also shared the exact same love interests John does. Being a twin is less about a family story and more a vehicle to talk about self hatred and potential here. Which isn't fair to the individuality of the characters!

(note, this is not how the panels look in the og comic, I've rearranged them so that they display on this post better)

So we characterized the Golden Mage to still have his canon charisma (albeit with the dialogue toned way down from his original appearance), but to have a thinly veiled temper under all that bravado to foil his con-man trickster brother. The Golden Mage was vaguely described as not being particularly attached to the love he receives. Golden Mage is also dismissive of his womb twin's death, saying it's something he shouldn't grieve since he never really knew him. We reinterpreted these lines as him being in denial over his brother's death, thinking himself as above his own feelings of grief.

Also as a tiny note, we kept the Golden Mage's name ambiguous to keep with the vibe of the original comic, but in my mind I headcanon his full name to be Marigold "Goldie" Constantine. The yellow flower is culturally associated with prosperity, but also grief and jealousy. It's perfect for him! So we made references to the flower in the cover and first panels of the comic. I also headcanon that as a kid he called John Constantine's ghost "Johnny".

My influences for how this whole beginning meeting scene is staged and played out is E.M Carroll's When I Arrived At The Castle. The "animated" panels of Golden Mage looking back at John and breaking through the mirror is a direct call back to the keyhole sequence in that comic! The premise of daydreaming about how your life could have been and not realizing that you're staring at an alternate universe is loosely inspired by Junji Ito's Hellstar Remina. I really like the concept of staring into the unknown and then something sentient staring back from that. "What if our day dreams are just other realities we're dreaming of" kind of deal. I don't see that sort of thing in the saturation of multiverse stories these days.

Next reference is the Dead Boy's Heart! While I like that this story's its own thing, I was surprised it wasn't linked to John's dead brother in any way. It felt thematically relevant, so we brought it over as a device to trap Goldie while the brothers merge souls.

Twins can be positioned in a bunch of ways in the womb. I think canonically, John and Golden Mage were positioned like they are in the cover for Hellblazer #39, ideal for strangling I guess! We changed it to echo the motion of yin and yang. I do think the inclusion of yin and yang is a little cringey in the original comic even though I get what it's going for (balance and all that, it's just kind of simplistic to the philosophy). But I do like it as a way to echo card imagery we established in this comic. We combined the imagery of the tarot cards featured in the Golden Boy arc and King/Queen/Joker playing cards. So it felt right to bring back that whole upside down twins in the womb thing. Special fact, this is how my twin and I were vibing in the womb.

The scene where the twins hit Ctrl + E to merge layers! It's a pretty iconic pose! I like how their heads peaked out of the panels so I brought it back for our comic too. In our version, the twins fail to merge their souls entirely. In the revisit to the Golden Boy character in the comics in issue #249, it's revealed that the merging "failed" in some way, trapping the Golden Mage within John's soul.

For John's ghost counterpart from Golden Mage's universe we took Dave McKean's portrayal of him very literally haha. I know he doesn't literally have one eye, but we thought it gave him a really distinct look for us to stylize. We decided to keep the ghost kids consistent with no mouth and vacant pupil-less stares. We gave ghost kid!John a sort of bedsheet ghost form to contrast against Goldie.

Speaking of one eye! That's another motif we decided to emphasize throughout the comic. It's not in the source material at all, but we liked it as a way to both hint at chimerism and visualize how the two brothers serve as incomplete halves of each other. Special fact! Heterochromia can show up in chimera twins. Of course in the case of identical twins like the Constantines, their chimerism isn't as detectable since they have identical sets of DNA. But! It's still fun to stylize in a supernatural way. For our take we show the glowing golden eye as the soul of the Golden Boy manifesting in his brother. I like to think that John takes advantage of how undetectable his chimerism is to have an upper hand in any soul-related deals he makes.

This stylized heterochromia is inspired by @ratblazer 's Constantine design! I made a subtle nod to it with young punk John's make up echoing the scar in her design too.

For John's dynamic with Goldie the Golden Boy, we built the conflict of the story around making him doubt his attachment to his dead brother. There's a line of dialogue in the revisited Golden Boy arc about John needing to "let go", so we repurposed it into the Golden Mage assuring him that his attachments make him weak.

Even though the Golden Boy doesn't show up nearly as much as I think he should in canon, John has been shown to be really sentimental about him. John wants to be the Golden Boy's friend because he's so beautiful John mistook him for Jesus as a kid. Canonically, the Golden Boy ghost rejects John's friendship, likely still not over the whole strangulation in the womb thing. It still breaks John's heart though, he's a sobbing mess about being owned by a dead kid.

We changed this whole dynamic! The twin murder in the womb felt very X-men Xavier vs Cassandra Nova, and it's hard to get behind babies having that much motivation before they're even born. In our version, Goldie is a vanishing twin absorbed by John, the sickly twin. Infants being accidentally strangled by umbilical cords does occur in reality. However, we changed their origin to being that of Vanishing Twin syndrome because it was more specific for the ideas we were going for.

I feel this crucial change is more in tune with the overall themes of Hellblazer. John always cheats death at a cost. People are constantly sacrificed for John's continued survival. But the Golden Boy's case would be special, because he sacrificed himself out of love before he even knew what it means to love. Unlike the other ghosts that haunt John Constantine, Goldie isn't resentful of John. I think it makes more sense for the Golden Boy to be attached to John because he's all the Golden Boy's ever known. As a chimera twin, John is like a horcrux holding his brother's soul in his body. This reaffirms survivor's guilt to be something John experiences since his birth.

Canonically, although the Golden Mage initially feels sorry for the ghost of John that haunts him, he rejects John as well. John's ghost in canon is like a nuisance that keeps bothering Golden Mage. There's an instance mentioned of Golden Mage trying to recreate his murder in the womb? It's cryptically written. But Golden Mage does keep using the phrase "banished" to describe his brother.

We took this and made it so that he performed an exorcism on himself to remove his supernatural chimera-bond to John's ghost. The Golden Boy arc is pretty unique when compared with how saturated multiverse stories are nowadays since it doesn't share the science fiction sensibilities. Grief comes up a lot in multiverse stuff, in these stories characters use parallel universes to save a loved one as they're bargaining with their loss. For our take, we wanted a character to use the alternate universes to hurt and lash out at the loved one they're grieving. I pulled influence from Everything Everywhere All At Once's concept of a self destructive character on a search for the one familial connection who could understand what they're feeling.

References! The first panel is a nod to issue #36 where John is sleeping with Marj. We changed her to Kit. The second panel is a direct callback to issue #67, an iconic visual for his break up angst era.

Trivia; this page was added at the last minute! I needed something to bridge the birthday cupcake page and the final panel of Golden Mage's breakdown, so I linked them through candles! In this weird case, I reference my own work! This is a callback to Birthdays, a short comic we made for John Constantine's canonical birthday. It sets the premise for his relationship with Goldie based on the habits and experiences of survivor twins. The pages referencing this comic are meant to re-establish that John shares meals with his twin.

I wanted this page to feel like John's lighting an incense for his dead brother, and to contrast it with the snuffed out candles from Golden Mage's flashback. The candle has a yellow and blue intertwined spiral pattern that calls back to the color of John and Golden mage's dialogue boxes and speech bubbles, along with how twisted they look when they merged. Implying that in this universe, they're together in some way. I really wish I did this intentionally but it was by complete coincidence of making the cupcake pink and balancing it out with pastel primaries. But I sure can acknowledge how cool it looks symbolically okay???

The dialogue here is a nod to John's monologue in issue #19 where John is comforting Simon Hughes. It's re-contextualized a bit to be about sharing grief together in our comic.

This is a really goofy one but- since Golden Mage is supposed to be the fully realized potential of John, we thought that he would have a successful career as a musician and singer where John didn't. I don't think Golden Mage would be a punk singer though, he probably does something he'd consider more elevated.

BUT-! In the 30th Anniversary edition of Hellblazer, Sting (the guy John's appearance is based on) wrote an introduction for the edition while roleplaying as the Golden Boy. Which is nuts. The Anniversary edition basically canonized Sting as being a Constantine variant in our universe with the soul of Golden Boy. Sting, as Golden Boy, describes himself as a musician and singer too. Absolutely bonkers for Sting to throw me a bone this late in the game since no one's touched this character in ages.

Another E.M Carroll influenced panel sequence. This is from the digital comic Out of Skin.

So that brings us to the end of the comic! We've had the ideas for this comic cooking for some time, and it's people's continued interest in our takes on these characters that gave us the chance to finally bring the story together.

I'm very fascinated by the Golden Boy story, not because it's particularly strong compared to other stories in Hellblazer's run, but because its intriguing premise is bogged down by its surreal take on typical Evil Twin tropes. og Hellblazer's strength was always in its raw humanity. John Constantine's character countered the sensational spectacle of his superhero contemporaries. He may be able to outwit a vampire but he's can't fight back against being brutalized by the police. In one of his most iconic arcs, he finds out he has cancer- not because of any supernatural shenanigans, but because he literally smokes too much. In another arc, John's long time girlfriend breaks up with him, and he lashes out by saying the cruelest things to her. When he hears that his abusive dad is murdered, John still cries about it.

I think the Golden Boy arc and the retcon that followed his brief return actively undermines what makes Hellblazer special. Suddenly John's having X-Men-level evil twin escapades in the womb. Suddenly, merging with his twin will help save the universe. Suddenly, it's not smoking that caused John to have cancer! It was actually because he merged with his twin and his twin became the cancer from inside him! Suddenly it wasn't a moment of lashing out that caused John to say all those cruel things to his ex upon their break up, that was actually the Golden Boy controlling him from within, so you see it's not really his fault! Also what followed the break up was extra devastating because of the Golden Boy, somehow.

Often I hear in fandom that when you change a character too much from their canon counterpart it's basically "just an oc" at that point, but in the case of characters who get to be re-imagined and passed through many creative teams, I think that kind of mindset is deeply limiting for transformative work. The line I draw between "just an oc" and an interpretation is if the changes involved engage with their source material in any way or if they're just superficial. Big changes and 180 flips can work because they still respond to the history of said character. It's why we see that kind of thing in canon a lot. These characters are inherently built to be passed through many hands in meaningful ways to varying degrees of success. So I hope that by showing all this process that goes behind big changes to a canon character, people better understand what can go into transformative creativity.

Our thesis for this re-imagining is to take what makes Hellblazer special and re-examine the arc that we felt undermined that. Despite the grief John has for many characters in his cast, mourning isn't brought up at all in the Golden Boy arc. It's dismissed by the characters in narration, and the Golden Mage himself isn't even recognized as a sibling by the narrative, no matter how many times John calls him "bro".

Survivor twin grief over dead womb twins especially is a real thing that's often dismissed because in the words of canon Golden Mage himself "I couldn't mourn for those I'd never known". This is not true to the experience of twins. They play with and remember each other from spending 9 months growing in a tight space together. So when one of them doesn't make it out with the other, that survivor feels a grief they can't comprehend. It can manifest in unresolved trauma, commitment issues, and survivor's guilt. All things that feel so relevant to the themes of John Constantine's character. I think that by integrating the real lived experiences of survivor twins, the Golden Boy arc could've been one the most human and personal parts of the original Hellblazer run. It's could've been a story that helped a community of people so rarely validated in their grief feel seen.

[angelsdean]

Honestly I hate that every meta post / analysis / discussion is viewed as "discourse" more often than not. And the idea that one interpretation MUST reign supreme among fandom. That we must all agree in order to get along. Or that one post is the end all be all of someone's takes. As someone who often enjoys entertaining multiple / contradictory takes and angles of interpretation it's...annoying. My opinions also evolve and fluctuate on rewatches / depending on mood / depending on fandom climate at the time / etc.

I like having discussions with friends (sometimes those discussions are public, sometimes they're not). I like trying to see their POV. Sometimes I come away seeing things differently. Sometimes I don't. Sometimes I AM more critical of other characters in the moment. Sometimes I give them more grace. Sometimes I'll make a post in a rewatch, feeling big feelings, and then come back later to amend it, with a more balanced perspective. But there have been times when I have been blocked / unfollowed for one angle or take and that ends up not even being my MAIN mode of interpretation but just something I was rotating around. idk sometimes a post is not the end all be all of what someone thinks abt a character / plot point / story arc. Sometimes we can be critical without being a capital H hater. There is room for nuance. multitudes. contradiction. We can have preferences or think something was not portrayed as well as it could have been. We can be annoyed by those things and talk abt them. I also do not need to agree with every single take my mutuals and pals have. Sometimes I heavily diverge, and that's ok! I think having different viewpoints and candid discussions is often beneficial to fandom. But these discussions are not all "discourse" or "fandom fighting." Sometimes people just have different opinions or interpretations. Sometimes what looks like "discourse" is actually just fandom friends discussing differing viewpoints.

As someone who also likes arguing a thesis and citing sources to support an argument and doing analysis and literary interpretation, I can say that even for takes I don't necessarily agree with, effective arguments can be made for that interpretation and supported by canon evidence. I think that's why "open to interpretation" often chafes at some fans. Because it means multiple interpretations CAN exist and be effectively argued. Mine and yours. There is no one singular ultimate truth in literary interpretation. Not even authorial intent. That's the beauty and fun of media analysis IMO. We can each find different meaning from the same source material and diverge. I may continue to argue for my interpretation (in the academic sense of "arguing a thesis") because that's the position I've chosen to align with, but that doesn't mean I think it's the only one you CAN have. And no, not all interpretations are created equal or are argued in good faith. Some ARE more valid than others and better argued / supported. And sometimes an interpretation is only one of many a person can have.

Overall, I don't like the idea that fandom needs to be a hive mind, and that we all MUST have the same opinions or interpretations or come away from the show feelings the same way or else it's "ruining the fandom fun." Sometimes I staunchly disagree with people, especially when takes are rooted in bad faith fanon more than anything that actually transpired on screen. I won't play nice with people that are just Making Up Some Guy to be mad and insisting I must also hate that guy, who doesn't exist. But I can and do have discussions with friends and mutuals where we interpret canon events differently! And I value those other perspectives. They challenge me to question my own viewpoint, to interrogate my takes, to check myself when I get too rooted in Only One Way of thinking. I don't want there to only be one way of interpreting. And sometimes even I will contradict myself and explore other avenues, for the fun of it.

and before THIS post gets interpreted as discourse I would like to issue the disclaimer: that this isn't directed at any individual blogger or any specific post. do not go after anyone. this is just some general thoughts and feelings I've been having about fandom for a LONG time.

[valenteal]

The reason why the story of the Todoroki family in mha is simultaneously surprising, original, and completely unsatisfying has become obvious to me after reading one essay by Joseph Campbell. Honestly every writer should read his works or at least an overview of them. That way they can avoid making mistakes like this.

One of the things Campbell is best known for is his breakdown of all the recurring patterns that are inherent to mythology and story telling across all human cultures. The character archetypes, the story structure, the themes that are always present. This doesn’t mean the stories are unoriginal, it means that the ideas and themes behind them are so intrinsic to human culture that they can never be destroyed or created as long as humanity continues. There’s immense beauty and value in understanding these archetypes and what they say about humanity as a whole.

The story of the Todoroki family was set up perfectly to fit one of these archetypes. The tale of the tyrant-monster who is toppled by the hero, a product of his own selfish desires poisoning his domain, who has defeated the demons of their culture and their psyche to become a pure representation of human nature at its best. (This is heavily paraphrased and Campbell talks fancy so others may have differing interpretations but I don’t want to go get the book rn to quote it). Edit: got the book in front of me, here’s the quote,

The figure of the tyrant-monster is known to mythologies, folk traditions, legends, and even nightmares of the world; and his characteristics are everywhere essentially the same. He is the hoarder of the general benefit. He is the monster avid for the greedy rights of “my and mine.” The havoc wrought by him is described in mythology and fairy tale as being universal throughout his domain. This may be no more than his household, his own tortured psyche, or the lives that he blights with the touch of his friendship and assistance; or it may amount to the extent of his civilization. The inflated ego of the tyrant is a curse to himself and his world—no matter how his affairs may seem to prosper. Self-terrorized, fear-haunted, alert at every hand to meet and battle back the anticipated aggression of his environment, which are primarily the reflections of the uncontrollable impulses to acquisition within himself, the giant of self-achieved independence is the world’s messenger of disaster, even though, in his mind, he may entertain himself with humane intentions. Where ever he sets his hand there is a cry (if not from the housetops, then—more miserably—within every heart): a cry for the redeeming hero, the carrier of the shining blade, whose blow, whose touch, whose whole existence, will liberate the land.

…

The hero is a man of self-achieved submission. But submission to what? That precisely is the riddle that today we have to ask ourselves and that it is everywhere the primary virtue and historic deed of the hero to have to have solved. As Professor Arnold J. Toynbee indicates in his six-volume study of the laws of the rise and disintegration of civilizations, schism in the soul, schism in the body social, will not be resolved by any scheme of return to the good old days (archaism), or by programs guaranteed to render an ideal projected future (futurism), or even by realistic, hardheaded work to weld together again the deteriorating elements. Only birth can conquer death—the birth not of an old thing again, but of something new. Within the soul, within the body social, there must be—if we are to experience long survival— a continuous “recurrence of birth” (palingenesia) to nullify the unremitting recurrences of death. For it is by means of our own victories, if we are not regenerated, that the work of Nemesis is wrought: doom breaks from the shell of our very virtue. Peace then is a snare; war is a snare; change is a snare; permanence a snare. When our day is come for the victory of death, death closes in; there is nothing we can do, except be crucified—and resurrected; dismembered totally, and then reborn.

Theseus, the hero-slayer of the Minotaur, entered Crete from without, as the symbol and arm of the rising civilization of the Greeks. That was the new and living thing. But it is possible also for the principle of regeneration to be sought and found within the very walls of the tyrant’s empire itself. Professor Toynbee uses the terms “detachment” and “transfiguration” to describe the crisis by which the higher spiritual dimension is attained that makes possible the resumption of the work of creation. The first step, detachment or withdrawal, consists of a radical transfer of emphasis from the external to the internal world, macro- to microcosm, a retreat from the desperations of the wasteland to the peace of the everlasting realm that is within. But this realm, as we know from psychoanalysis, is precisely the infantile unconscious. It the realm we enter in sleep. We carry it within ourselves forever. All the ogres and secret helpers of our nursery are there, all the magic of our childhood. And more important, all the life-potentialities that we never imagined to bring to adult realization, those other portions of ourself, are there; for such golden seeds do not die. If only a portion of that lost totality could be dredged up into the light of day, we should experience a marvelous expansion of our powers, a vivid renewal of life. We should tower in stature. Moreover, if we could dredge up something forgotten not only only by ourselves but by our whole generation or our entire civilization, we should become indeed the boon-bringer, the culture hero of the day—a personage of not only local but world historical moment. In a word: the first work of the hero is to retreat from the world scene of secondary effects to those causal zones of the psyche where the difficulties really reside, and there to clarify the difficulties, eradicate them in his own case (i.e. give battle to the nursery demons of his local culture) and break through to the undistorted, direct experience and assimilation of what C. J. Jung has called “the archetypal images.”

…

The hero, therefore, is the man or woman who has been able to battle past his personal and local historical limitations to the generally valid, normal human forms. Such a one’s visions, ideas, and inspirations come pristine from the primary springs of human life and thought. Hence they are eloquent, not of the present, disintegrating society and psyche, but of the unquenched source through which society is reborn. The hero has died a modern man; but as eternal man—perfected, unspecific, universal man— he has been reborn. His second solemn task and deed therefore (as Toynbee declares and as all the mythologies of mankind indicate) is to return then to us, transfigured, and teach the lesson he has learned of life renewed.

Both Shouto and Dabi were being set up as potential heroes to defeat Endeavors tyranny. It wasn’t until season 5 or 6 that we see the dramatic change in direction that the story takes, with Endeavor getting a redemption arc and Dabi being legitimately unhinged and evil. Now, this could be considered a plot twist or whatever, if it is it’s a really bad one, or it could be that Horikoshi literally changed his plan part way through the series. I personally think it’s the second. Whether that was because of pressure from editors, a desire to surprise fans who’d guessed where it was heading, or because he just decided he liked it better I don’t know. What I do know is that is was a mistake, one that went hand in hand with about a million other mistakes that are basically the same situation of the story completely changing direction halfway through. It ruined the series and it wasted an opportunity to tell an important story that could really resonate with people.

Instead of the ever satisfying tale of evil dictators getting what’s coming to them because of their own mistakes, we got a halfhearted redemption, a lot of victim blaming, reinforced widespread societal prejudice, undone character development, and a shit ton of heartbreak.

And I don’t understand why! It was set up so perfectly! It had so much potential! It looked like it was going to be incredibly cathartic, a story about how people are flawed and imperfect and expecting more ruins society. It looked like it was going to be about a toxic culture actually being changed! And then it wasn’t!

If it was an attempt to be original it failed spectacularly. If it was an attempt to be depressingly realistic it was a complete success, which I suppose is saying something given the nature of the series and its completely insane premise but I digress.

My point is, recurring themes and stories exist for a reason, they are important, and going against them so completely will never leave the audience satisfied. We crave these familiar stories, we need them. Mha made us expect to get one, left people on the edge of their seats for years waiting for the catharsis of it. And then we didn’t get it. Think queer baiting but with the psychological effects of stories.

[girl4music]

Happy Valentine’s Day to Xena and Gabrielle. My all-time favourite WLW ship in all of TV art/entertainment.

One of the most beautiful things about watching the TV show is watching this reformed Warrior Princess fall in love. Xena would be the last person to admit that she’s a romantic but I think it’s pretty clear to see that she is from the way she looks at Gabrielle. She always looks so genuinely happy and grateful to have her in her life. Especially after Gabrielle reveals that she loves her too. That seems to make a big difference to her demeanour.

Like most fans, I believe they evolved from friends into lovers after ‘The Quest’. It feels like the right time for it. However, I don’t think they were able to fully express their feelings for each other until ‘A Day In The Life’… when all the high-intensity drama had died down and they had nothing to do but admit that there was more between them and basically just bask in the revelation.

Like Lucy said at the 30th anniversary Xena convention panel: It was a beautiful thing the way the relationship evolved. The way that they went from being strangers to eternal life partners. From subtext to explicitly gay.

The fact that YOU get to decide when that moment was because they kept it ambiguous enough to interpret for the audience watching might be frustrating for some… but for me, I think it’s one of the greatest things about them being a WLW ship because their love story is one of the most natural, authentic and deep I’ve ever seen.

I never get tired of watching it and I know I never will.

I’m happy to see that more people are discovering this WLW ship and appreciating the sincerity and value of the representation they provided then because they truly are the blueprint and greenlight to everything we have now - and despite that - still hold up remarkably well to today’s offerings with WLW representation. I’ve watched a lot of TV shows with WLW ships in - both canon and non-canon - and not one matches up to them due to the fact both are the only lead characters. The closest I’ve come is Waverly and Nicole from ‘Wynonna Earp’ but even they don’t hold a candle when it comes to how in-depth their relationship is and how intertwined they are as a lead character WLW dynamic.

To truly understand the significance of this WLW ship, you have to see it with your own eyes. So if you have heard of this WLW ship before but have never seen a single episode of ‘Xena: Warrior Princess’, then do yourselves a favour and go watch at least this episode because this is the episode that best showcases how well these two lead female characters work together as a dynamic. It’s not plot-heavy. It doesn’t really spoil anything if you’re worried about that. Just watch it.

You can tell me whether they’re worth the six seasons. You already know my answer. Long-form TV show WLW ships don’t really exist anymore if they ever really did. You don’t get a journey with them. You rarely even get more than a season. One or the other in the WLW ship either dies, breaks up and leaves, or the show just gets cancelled without a conclusion for them and their arcs.

Xena and Gabrielle are a WLW journey. They’re worth it.

There is of course far more to ‘Xena: Warrior Princess’ than just WLW representation but it is very significant. Many a suitor may fall for the Warrior Princess but she really only ever opens her heart to her best friend all throughout her arc - and as I said - that’s one of the most beautiful things about watching this TV show.

[stealingyourbones]

I’m fine with posts about my Blorbo getting ignored. It happens. We all know that. It’s disappointing, but you get inspired, start plotting, maybe even start writing yourself, lose motivation, and stop. It’s normal. It happens to all of us. Not a big deal.

But. BUT. BUUUUT. What drives me fucking insane is when some beautiful creative once-in-a-lifetime hand crafted prompt gets derailed into the generic stereotypical tropes that this crossover fandom constantly falls back on. I know that happens to you a lot, how do you deal with it?

In truth, when you sign up for creating content that you allow anyone to interact with, it’s just a part of the gig. It happens a lot, I may not enjoy it but others do and a community of people writing and having fun is what I strive to create.

My main ways to divert posts are either:

1.) Leave it be and let folks do their thing. The point of prompts is to let anyone add their thoughts, it doesn’t matter your personal feelings on a trope or headcanon.

2.) Simply stop interacting with that reply chain. I used to reblog absolutely every reply I got but now I only reblog the ones I enjoy. It has helped my mental health greatly. Additionally, if you don’t reblog responses to your posts, go and do that. It makes people more likely to see the responses you like if they already follow your blog for your writing and you’ll have a higher likelihood of that prompt gaining more replies.

3.) Put in the tags (#not ____ AU/trope/headcanon). I’ve done it a few times before with Ghost King AU’s I believe, mainly because I think that avoiding that trope for that particular post would make people flex their creativity more and write something they wouldn’t even have thought of if not given that limitation. This will sometimes work. Some folks reblog the post without the tag and the trope is posted anyways. People also might see the tag and think you’re being picky and rude and avoid the post entirely.

4.) Complain. I don’t really recommend doing this because people will Not Be Pleased but I am 100% guilty of doing this more than once. I have been pretty vocal on making my opinions clear on: Danny and Bruce’s relationship could also be something other than paternal, the automatic adoptions tropes, Ghost King AU’s, OP Danny, and not consuming some form of DC media is nigh impossible and actively avoiding it prevents you from learning about new characters and giving you new interests and ideas to spread and influence the fandom. This is the second least effective action to do. The first being saying nothing. Venting might be a good way to express frustration but let’s be honest, no one wants to listen to or read someone complaining for a few hundred words when they could be consuming a positive take on something they enjoy. For example: this post might get like 50 notes maybe max. It’s not a topic people like to read of and it’s critical on the things they like so they probably won’t interact with it.

5.) Add back onto your own post or another persons post with the idea of how you thought the post should have gone! If you don’t like the angle other folks are going at it, write your own thoughts on the prompt. A few solid paragraphs of ~500 words are what I have seen work the best in influencing and changing the direction of replies to a post. This is the best course of action to have people write another direction in tropes you enjoy and ideas you view are fresh and new. It might not be people’s favorite response to hear, but if you want a story to go a particular way, you have to write it yourself and hope the audience receives it well and picks up what you’re putting down.

6.) Write something similar again and hope a different audience receives the post and interprets it differently. Add a different spin on the concept and maybe add the (no ____) tag if you really really want something different.

I hope these tips help! Main takeaways if you don’t want to read everything: Complaining solves nothing and action solves everything. If you don’t like the way a post is going, write it to the way you want it to be.