#and then *the* moment happens at some point in the character's arc that opens the floodgates in my brain and I can deny it no longer...

[paper--moons]

Me engaging with any media: Remember, we don't have to assign agere dynamics to any of the characters this time! Regression doesn't apply to every character in existence, because that would be silly, wouldn't it? Yes, I can be so normal about this new thing and not act like the silly creature that I am.

Me 0.3 seconds after being introduced to the characters: And I will be taking care of you my precious little darling, forever and always,,,

[poughkeepsies]

The latest article mentions Eddie’s fateful run in with Marisol in the previous ep and that it’ll be covered in the finale. So looks like he is in fact going to end the season dating her 😪

wbk?????

[ambrosiagourmet]

I love Izutsumi. She's got a great design, she's a fun addition to the main party, she adds some new tension, and she's honestly one of the reasons I read dungeon meshi in the first place. I mean, "the most cat to ever girl" is an extremely appealing hook to anyone who loves cats and girls (me, I love cats and girls).

However, while I have always liked Izutsumi, I finished the story kind of feeling like I didn't really get her. I felt like I had a decent grasp on her character an character arc (she's a traumatized teen given space to feel safe and open up, and because of that she realizes that she can't grow without letting go of the coping mechanisms she once needed). But I didn't feel like I really understood her role in the story as a whole.

She follows the group of her own accord, after a coincidental meeting and a misunderstanding of what they can do for her. She's never super invested in saving Falin, at least not compared to the rest of the group. Though they do help her escape Maizuru's shackles, and are clearly good for her in general, she doesn't really have a healing Moment with the group the way that Senshi does with the hippogriff soup.

And yet, she gets an entire chapter, the third-to-last chapter, dedicated to exploring her growth and future. She's the one who frames much of the falling action, who lets us check in with everyone. She's the one who helps talk Laios into accepting his role as king. She may join the story part way through, but she is there for most of it. So Izutsumi! What's your deal!?

Well, I think I've come up with an answer, at least for myself, that I really like. Two of them, even! Though they both really work together to form the overall point - Izutsumi is the character that most helps the story face towards the future. Here's why I think that.

So the first of these "ah-ha" moments was when I realized that Izutsumi really is the best supporting evidence for Laios' point about the good things that wouldn't have happened if Falin hadn't died.

If Falin hadn't been eaten by the dragon, Izutsumi probably would still be a slave. It was because of Shuro and Laios' parties both being in the dungeon to rescue Falin, as well as Marcille's use of ancient magic in the resurrection, that she got the chance to escape. None of that would have been the case if Falin hadn't died. Shuro wouldn't have separated from the group and joined up with his retainers, Marcille wouldn't have revealed her knowledge of ancient magic, and Izutsumi never would have even met any of them. They are only part of her life because of Falin's death.

Though this isn't explicitly pointed out by Laios or Izutsumi in the scene, I do think you can very much feel the presence of it. For one, when Marcille reflects on the journey and how much it made her realize she didn't want to lose everyone, her relationship with Izutsumi is prominent:

It's the main original group at the top and center, but when you read it right to left, it’s Izutsumi and Marcille who might catch your eye first. And it's specifically Marcille and Izutsumi's relationship on display here, not just Izutsumi's presence in the group in general.

Also, after Laios' statement about how none of their adventure would have happened without Falin dying, it is Izutsumi who gets the final word:

Izutsumi is also the one here who is the most forward-facing. Chilchuck is trying to correct Laios, Senshi is focused on the immediate future, and Izutsumi is talking about her new goal.

And I want to talk about that goal in general as well, because it’s also interesting how it comes up. In that moment, everyone is trying to remind Marcille of her less destructive desires - to eat food, to share it with them, and to meet Chilchuck's family. All of which are previously established, existing desires. When prompted by Chilchuck to join in, however, Izutsumi offers something new:

That's interesting, isn't it? It's kind of funny, of course, to see her rambling on about a completely new thing, her own personal motive, in the middle of everyone working together to reach out to Marcille. Izutsumi doesn't even know who Yaad is! But at the same time, it’s kind of meaningful. Amidst the focus on desires that everyone already had, she adds a completely new one to the mix. It’s even the final bridge that lets Laios reach Marcille.

It is, in fact, even an idea that comes back later to help out another lord of the dungeon. The idea of finding new goals and feeling new desires... this is exactly how Kabru reaches out to Mithrun, after the Winged Lion is gone

So yeah, Izutsumi's presence here, both in what she's actively choosing to say as well as what she represents of the consequences of Falin's death, supports the story's ideas of moving forward. Of accepting the past, and finding new reasons to live.

Which is all really good, and that alone works pretty well as an answer to what Izutsumi's role in the story is.

But oh, oh. There's more. Something I realized after having thought of all this, because I still couldn't let go of the feeling that there was still something I was missing.

And as I reviewed the things I loved about Izutsumi - her sometimes unhealthy ways of coping with trauma, her struggles with isolation, her skill with fighting, her selfishness contrasted with the ways she grows to care for and protect the group, her perpetually guarded nature, born from the seeming impossibility of ever fitting in or finding a safe place to just be herself - I realized something.

Izutsumi...

is a foil to Falin.

Where Falin copes with isolation and trauma by being eternally caring and struggling to say no to people, Izutsumi copes by constantly saying no to everything she can. Falin is often considered selfless, but does have selfish desires that she can’t easily express until a moment of crisis. Izutsumi is delightfully selfish, but chooses to stick by her friends when they need her. They are both transformed, against their will, into partly monstrous hybrids, and they both will have to live with that - there is no undoing what has been done to them.

Falin anchors the group in the past. Izutsumi pulls them towards the future. Neither would find freedom without the other - it is Falin's death that leads to Izutsumi joining the party, and likewise, it is Izutsumi who inspires the realization of how they can save Falin.

And Falin is her future, as much as Izutsumi is Falin's. Both learn to be a little more like each other, even though they never meet. Falin gets a little more selfish. Izutsumi gets a little more willing to bend.

In this context, I feel like I have finally started to understand just how important Izutsumi is to the story. She is a proof that they cannot just go back, and she is a clawed, happy-to-scratch-anyone-who-pisses-her-off reminder, at that. In any conversation about what the group wishes would have happened with Falin, she cannot be ignored or brushed aside.

She is a reminder that, even in the midst of a tragedy so big it feels like a shadow you will never escape, you have yet to met all the people you will love. Hell, some of those people might even be catgirls. We should all be so lucky.

[omartinyosef]

ST5 POTENTIAL SPOILERS!!!

GUYS I FOUND THIS ON REDDIT AND ACTUALLY IT'S QUITE INTERESTING

ST5 Leaks/Fleaks

Gen Plot

Season picks up briefly where we left off in 1986 before jumping into either late 1987 or early 1988. The season is contained entirely in apocalyptic Hawkins. Things with the government are shaky. Owens doesn't appear in the beginning of the season and it's unclear if he's returning, but Ellen Stinson is the new Owens. Hawkins is like a combination of the UD and Kamchatka.

Labyrinths/Mazes being important to both the supernatural plot and the interpersonal relationships. They're inherently linked.

Two songs to be featured are 'Listen to Your Heart' and 'Alone,' both of which were apparently foreshadowed in a previous conversation between Hopper and Joyce, similar to how Hopper's "I'm the puppet, you're the master" to Joyce in S3 basically foreshadowed Eddie's 'Master of Puppets' in S4.

S1 and 2 scenes being referenced are "Nancy and Mike's conversation in the bathtub" and "Hopper + Lando Calrissian"

Lots of importance in COLOR CODING and blocking from the final shot of S4, and a good chunk is told in the costuming—like passing the torch from one character to another as their arcs overlap. For example, Hopper and Will share the "am I the curse and therefore putting my loved ones at risk by being near them?" sentiment for S5, therefore their wardrobe in the final shot of S4 is similar. Joyce/Jonathan and Nancy/Mike's costuming also similar for the same reason, whereas Eleven stands out because she's the first one coming into her own this season. The white for her represents shedding of false skins.

Character duos this season will be primarily dressed in colors of blue/green and yellow/red.

There's lots of symbolism and foreshadowing for every character in S5 from the moment Will touches his neck in the last sequence of S4.

S4 focused on themes of lies and miscommunication, and everyone is going to have to work through these lies before they can defeat Vecna.

Murray and Argyle are both back. Dimitri and Yuri don't seem to be in the beginning of the season.

One thing left unresolved with the Russian plot. Something important will happen involving the machine and the green liquid from the Starcourt bunker. Reference of Dustin vowing to die with Steve when they initially discovered it.

Hopper, Joyce, Mike, Will, and El had to be away from Hawkins, otherwise Vecna wouldn't have won.

An important death that they're nervous about given the reception to Eddie (not Joyce or Jonathan—see details below).

Eleven

We'll see her unlike we've seen her before. A badass who doesn't take shit from anyone. Not a Monster, not a Hero, Jane. Think: adult El could be headed for a Charles Xavier type role.

Erica, Lucas, and El will share scenes together.

El has significant blocking and development with many characters this season.

Max, Eleven & Max

The "kaleidoscope of colors" from a script the writers posted makes a feature in both the scene where young El remembers her mother's love in order to defeat Henry in the lab, as well as the scene where El revives Max. This is significant because it's the first time we see El using her powers on someone in a non-violent way.

El was able to revive Max because of she, herself, being revived in the bunker by Brenner and Co. It's a show, don't tell moment from the writers.

Max getting Vecna'd was foreshadowed in the beginning of 2x01.

Will, Henry/Vecna, The UD

Filming was supposed to commence mid-June, but Noah and Jamie were set to begin in May due to more complicated costuming. Will is going to require heavy prosthetics at some point.

Will's character design is blocked in three stages. The more the UD bleeds into Hawkins, the more connected to it he feels. The gates being open will physically influence him, especially when he's not as mentally strong.

He's kind of like "the card up Vecna's sleeve."

It appears they want to confuse the audience about Will.

Will wrestling with his own morality

Henry/Will mirrors. Will will sympathize with Henry because, unlike El, he knows how and what Henry thinks, and he can feel him.

Vecna and Will are very similar, but the difference is Will is made stronger by love not hate. They will play into that duality.

Vecna was nerfed in S4 compared to how we see him in S5. He'll be much stronger.

At the beginning, he'll be taking a hiatus while he plans how to divide and conquer now that everyone's back together in Hawkins.

Soteria will be the key to saving Will. If they want Will to be untraceable to Henry, they'll have to insert it into his neck and it'll be painful. Vecna not having access to Will fucks up his ability to leave the UD.

Byler/Mileven Triangle

Apparently, it's complicated and up in the air as of now.

Mike dealing with guilt this season. He feels guilty/responsibility for El. He feels stuck in a loop that keeps him from a truth he's scared to face.

Will and Mike to spend a good chunk of the season together based on character designs and blocking.

Will telling El that Mike won't like being lied to comes back with the painting. During a pre-time jump scene in 5x01, while everyone's together plotting how to defeat Vecna and brainstorming how to save Max, Mike brings up the painting El commissioned for a D&D analogy. Will has to pull Mike aside and confess he lied about El commissioning the painting. Mike gets angry, because he doesn't know about Will's feelings and feels embarrassed that Will thought he was that pathetic he needed to be given a pep talk. Their own version of a "fight you can't come back from." Immediately after their fight, we get the time skip.

Mike's character motivations are unclear and seem to be kept under wraps. After the time jump, he and El won't be talking as much because he's keeping the details about Will's painting from her. She's gonna ask what's wrong between him and Will, and he lies/is very vague.

Joyce, Hopper, Jopper

Joyce feels immense guilt/responsible over Bob's death since she's the one that asked him to help in S2, which is why she pushed Hopper away at first.

Hopper has a secret from S1 that was never addressed, and it comes back to haunt him.

Joyce sustains an injury in S5 that is reminiscent of the way someone was injured in S3, but it isn't critical and she'll be okay.

Jopper are the most established couple after the time jump. Lots of bickering still, but Hopper trusts Joyce more than he ever has.

Jonathan, Nancy, Jancy

So far, does not seem like a breakup is happening.

Jonathan's still lying about the college letter and distant because of it, and Nancy thinks he's not as into the relationship and that there might be someone else. She confronts him, which leads to a talk. She's touched by the lengths he would go to try and protect her and any of their future children even from himself.

A moment where we're led to believe Jonathan dies but doesn't, like Hopper in S3.

Hopper-Byers Family

These five characters slowly unraveling their arcs together and have always been closely linked. Their perfect endings are together.

We see the family combining, especially in relation to El.

Joyce gets to witness Hopper being paternal and tender towards the boys.

Scenes with Joyce, Jonathan, and Will

Hopper being back lifts a weight off Jonathan's shoulders.

------------------------------------------------------------------------------

So, now time to shine.

''(...) sentiment for S5, therefore their wardrobe in the final shot of S4 is similar. Joyce/Jonathan and Nancy/Mike's costuming also similar for the same reason, (...)''

Okay. How did we see Nancy in S4? Confused. Confused with the love triangle between Jonathan, her and Steve. Jonathan is her actual boyfriend. And Steve is her posible love interest again.

So, putting this in byler language: Nancy = Mike Jonathan = Eleven Will = Steve

If Mike's and Nancy's character's clothing is important at this point of the time line and that means they feel similar feelings, this could mean that byler has a chance. BUT then we read this: ''(...) He (Mike) feels stuck in a loop that keeps him from a truth he's scared to face.'' And

''Mike's character motivations are unclear and seem to be kept under wraps.''

THIS LITERALLY MEANS BYLER. FOR REAL. Like byler could be endgame. Also, remember Eleven's injury in S3? Do you remember the leak of a shoe covered in blood?

It's Joyce. ALSO YOU CAN READ THAT WE'LL HAVE SCENES BEFORE THE TIME JUMP. And here it comes. Look at this freaking hair:

Does this look more like this

or this?

The season 4 bowl cut right? So maybe this is right in some part? I dont know. But that could make sense why Will is wearing Mike's pants, because his clothes were in California by that moment. But i really do think that the pic that was leaked a few days ago is before the time jump.

Im so late with this info haha :) but i kinda think some things here make sense. Even if this is too well explained to be a leak.

[shorthaltsjester]

there are literally no standouts in downfall because everyone sat down at that table and said hey you wanna see something cool and proceeded to Become their characters but idk if it’s because they’re beside each other and that aids the dynamic or just because it’s the delicious similarities and insurmountable distance between the god of death and the god of (in various ways) life but ayden and emhira’s interactions were so chewy and delicious. i’ll be thinking of their exchange fairly early on after ayden cast lesser restoration on that old man and emhira not cruelly but just simply stating “you cannot heal everything.” and ayden’s equally simple reply “we can always try.” emhira seeing the family trist has built and wondering at the presence of children, “surprised there is laughter in such a horrible place” and i know she’s speaking of hawk’s hill but i wonder if she is also speaking of exandria itself in some ways. the delicious space between in and out of character that only really happens in improv stories where as brennan is narrating and says “in this dark room” and nick interrupts and adds “it is not dark.” brennan’s incisive point in the cooldown that while the love that ayden and trist have for mortals and for exandria is warm and the kind of love someone would likely Want from gods, there is something maybe more honest or whole about emhira who says . actually these mortals are little shits that will kill you not because they fear you but because they hate you. whose very existence should be (and still often fails to be) a reminder that the gods can be usurped by mortals. the insight nick shared in the cooldown that ayden does not forget emhira’s origins but in a way dismisses them, that the god of death is a different beast. ayden wanting to find. way to save the people of aeor, insisting that the prime deities Win if they can find a way to do so. emhira reminding everyone that death is inevitable (and she does not add anything to clarify that she intends such a statement to only exist for mortals) as she argues for them to work to take down aeor and the people in it. the fact that the god with the most present connection to mortality is also the one given the most explicit clarification that she Is the god we know as SILAHA calls her the matron, brennan’s narration clarifies purvon is her champion, taliesin as asha asks for clarification on the recognition of emhira as a god and prompting the familiar spectre of a woman in a white mask.

i want to be very clear that when i say there are no standouts i Mean it because i’ve been awed and endeared and intrigued by every single character choice everyone made and as always brennan’s narration is so incredibly well suited for the mission impossible greek tragedy vibes that comes with this story and i’m so fucking delighted by the fact that laura, ashley, and taliesin are playing gods that their characters have known quite well in the past. i’m incredibly excited by what we’ve already gotten to see from abubakar, nashir, and nick and cannot imagine what other greatness is to come. i’m psyched to see the relationship between asha and the law bearer and am delighted that (perhaps for now perhaps for the whole arc) it is being seen through the lens of “my wife promised me a visit with apples and all i got was a rock ice emissary”. i also have many incoherent thoughts about the fact that, of the players who appeared as the same character in the opening and the story, taliesin’s ash and asha are the ones whose name remains the most unchanged.

i’m obsessed with the fact that this creature sent as a stand in by the god of law and duty believes his primary gift is love. while there is a certain mourning and sadness to every god we see, that SILAHA has a certain playful whimsy and jofyful curiosity about the world. that the only one of them who has been mortal before stops to steal an imp necklace from the neck of a drunk on the train (and that moment between brennan’s narration that this man will be dead by morning but, with death standing invisible in front of him, he is incapable of seeing it coming, and then laura as emhira breathing in deeply and brennan having that spark a coughing fit. they are Story Telling). asha seeing the erased image of a god, of a family member and saying “there’s a hole in all of us.” brennan narrating “this is a place where they tried to kill a story. it’s a very frightened thing to do.” (and god. the motif of fear. especially given the very present fear felt by the gods in current day exandria. they’re doing insane things in the critical role 3 part departure).

trist reminding ayden “he never tells the truth” and asha contesting “he only tells the truth, it’s just rotting.” emhira and asha both as perhaps the less Good™ much more neutral but doing so in such different ways, asha as bitter and hungry while emhira seems uncomfortable but there’s a familiarity and a certainty in her discomfort with mortality (the law bearer would also be included here but the emissary seems much more like trist and ayden (for now) than emhira or asha). something as insignificant as trist and her husband speaking to their children and affirming that little lies are okay while trist has lead a significant part of her life likely dishonest about who she is. the fact that there’s a certain childlike quality to the emissary who they’re all charged with ensuring makes it to the end of things even if they cannot. the fact that nahal (unclear which god they were, and i’m assuming it’s the first god of death but regardless still an absolutely compelling development in a short amount of time) in those opening moments is horrified by the concept of away which is unfamiliar to them only to soon after look upon their family and say. maybe away was better. Especially if those were words spoken by the god who would one day be replaced. these three episodes are going to haunt me and i’m excited to meet the ghosts.

[spuffybot]

Hey hi! I saw your post about Buffy being your favorite show and what do you mean "you know what’s happening with certain characters based on the colors they are wearing"? That's SO cool and something I've never noticed despite being such a tv nerd, do you have examples?

Ohhhh my gosh I love this question!!! There are a few characters who come to mind (Buffy & Willow) but I’m gonna talk about Spike because I love to talk about Spike.

So Spike is a character who very much has a uniform and this uniform is linked to his identity. It’s important to note that this is an identity he crafted. Because as we know Spike started out as William, a man who was sensitive and kind and who was unappreciated by his peers. When he became a vampire he wanted to shed that weakness and he uses his hair, accent, and clothing to reinforce the idea that he is a strong, tough, and evil being.

Spikes official uniform is perfectly slicked back bleach blonde hair, a red shirt, dirty black jeans, combat boots and his signature leather duster. This is Spikes armor. It’s how he embodies Spike and leaves William behind. The red shirt is also quite critically linked to his “evil era” as I’ll call it.

Throughout the show there are key moments where Spike deviates from this uniform and it’s always linked to a crises of identity.

The first moment I want to talk about is Spike in the Hawaiian shirt. He’s just been chipped, he’s relying on the Scoobies for survival, the core tenants of his identity (predator, killer, lover of Drusilla, leader of a vampire gang) have all been stripped from him against his will. He looks ridiculous wearing Xanders clothes because we know it’s ridiculous (at this point) for him to just be one of the Scoobies.

This is not unlike Tabula Rasa (which has a deliciously layered theme of loss of identity both literal with memory loss and metaphoric with each of the characters personal lives) where we see Spike once again out of uniform completely and lacking his identity. Now like I said on the surface he has truly lost his identity he has no memory of who he is. But it’s no surprise that he draws the (incorrect) conclusion that he’s a vampire with a soul on a mission of redemption because for the past few months he’s been playacting that role. After Buffy died Spikes entire identity was usurped by the need to live up to her memory. He babysits Dawn. He patrols with the Scoobies. He lives a mundane and neutered life because he thinks it’s what she would have wanted. Except now she’s back. And she’s opening up to him in ways she never has before. And she’s kissed him. And this is simultaneously the most incredible and terrifying thing to ever happen to Spike because it’s all he wants but he knows deep down, it’s not who he is. He has no soul. He has no remorse. He is not good.

Now let’s talk about some less overt examples. Because the wardrobe team does an incredible job of making subtle shifts to Spikes uniform that communicate his emotional arc.

In Crush, we see Spike swap the red shirt for a light blue shirt (blue is going to be a theme!) and lighter pants. By doing this he communicates to Buffy that he’s different than before. He’s lighter and softer. A man she could be interested in. But of course, just like the uniform of Spike is a performance, this too is a performance and one Buffy sees through quickly.

Blue comes back again in Smashed, an episode where once again Spike’s identity comes into play. He has been play acting at being a Scooby but we know that’s not who he really is. Now, suddenly he finds that he can hurt Buffy without activating his chip. All of a sudden he gets a glimpse of his old self and it infuses him with confidence and purpose. The blue shirt in this episode is deep and rich, verging on purple. By wearing this shirt it shows us how deeply conflicted Spike is. The war between his selfish love for Buffy and his feelings of being trapped and controlled by his chip (and his feelings for her) is coming to a head. And of course, by showing his teeth he gives Buffy the push she needs to sleep with him.

Ok so now we get to talk about my FAVORITE season when it comes to Spikes loss of identity and the use of his uniform to depict that: season 7.

When we first see Spike in season 7 something very important is happening: his hair is completely disheveled and curly, with his natural brown roots showing. This is the closest we have ever seen Spikes hair resemble Williams hair and this is important because as we know, Spike now has a soul and so he is closer now to William than he has been in over 100 years.

When Spike finally leaves the basement he is in a bright blue shirt and lacking his signature leather duster. The duster becomes a key plot point in season 7 with the introduction of Robin Wood (considering it was his mother’s jacket and Spike killed her.) Now, Wood is a controversial character but I personally think having Spike have to reckon with the consequences of his past all tied up in the metaphor of identity that is his leather jacket is chefs kiss.

Speaking of the leather jacket, in episode 15, Get It Done we see Spike put the jacket back on for the first time since Seeing Red. This is a moment of reclamation of identity. Souled Spike is listless and guilt ridden. And as the potentials point out, even a demon can kick his ass. When he puts that jacket back on he takes back a piece of who he is and starts on the journey of self discovery that we will see him continue in Angel season 5. Because ultimately it’s not Spike or William but the fusion of the two that make Spike who he is. AND TO BRING IT BACK FULL CIRCLE while Spike reclaims the jacket, he does not bring back the red shirt.

One other interesting thing about season 7 is that Spike is no longer as wiry and muscular as he was in season 6. Now, James Marsters has said that this was deliberate on his part because he was tired of being naked on the show and figured if he stopped working out (he has also said that he created his season 6 body deliberately upon being told he would be naked all the time) then they would stop making him take his shirt off. And while this is obviously not a deliberate choice on the part of the show, I do think it’s interesting that Spike becomes less angular and sharp after he gets his soul. He releases some of the hardness that defined him emotionally and physically. Which ties in nicely to this overarching theme of identity crises. It also hints at a certain level of toxicity on set if one of your lead actors feels the need to take drastic measures to protect themselves but that’s a whole different essay.

I hope this answers the question and I would loooove to hear what other people think about this. I know I didn’t touch on every Spike moment but I wanted to highlight ones I feel are critical parts of his narrative.

[shadowed-dancer]

Villains and Their Fates - A Tragedy Would Have Been Fine By Me

I've seen a lot of people who try to write off frustration with the league's fates by saying "you just wanted them to survive" or "you're just upset your favourite character died". And while that may be true for a few people, I know that it's at least not true for myself (which must mean there are others who feel the same way). So today I'm here to share my thoughts. Despite liking the villains and wanting them to be redeemed, I was also willing to accept a well written ending if they died. I just wanted to ramble a bit about the three main villains (mostly Toga) and how I felt a tragic ending could have been improved.

The only villain I felt should have lived is Dabi, but that's more because of the awkwardness his unconfirmed death caused for Shoto (read this beautifully written analysis for more). If Dabi had to die, he should have died on the battle field OR in the hospital surrounded by family where he gets a few last words in. Leaving his fate unconfirmed leads to the ruined Shoto arc, but is also just weird for a character who has existed for so long. You're telling me that even Overhaul gets a confirmed ending but DABI doesn't?

I've also talked a bit about how Endeavor's survival ruins the subplot, and in 426 he continues by making Touya's final appearance about him (rather than the two brothers) but that's something I've talked about too much. If Endeavor has to be alive and hogging screen time, the least Hori could do is imply Touya will survive rather than die, so at least Enji isn't literally stealing time from his other family members to have some interaction with Touya.

If Touya has to end up in that machine, an ideal ending would have been the doctor saying "it will be a gruelling and near-impossible uphill climb to recovery" and then Shoto can smile and say "he's done it before". Boom. Simple as that. Leave it open, but at least on a positive note so we can assume that the family will have plenty of time to reconcile, as opposed to an unknown (but limited) amount of time that Enji vows to use to talk to him (yeah I know it's supposed to be a sweet gesture but even Touya calls bullshit on it). Let Shoto and Touya eat their soba, damn it!

For Shigaraki, my grievances extend to the writing of the entire final battle between him and Deku. As such, I don't have much to say aside from that because it really is just a product of poor writing. Neither were really allowed to talk before the big moment (hell, the vestiges were narrating Deku's emotions half the time like "he must be upset, this quirk meant so much to him". Why not let him tell us???) and the back-and-forth of Shigaraki being destroyed and then not only to be destroyed again was too much. It felt sloppy and hard to follow, and once you figured it out it just felt dumb. It's as if each chapter needed some massive reveal, but the story had done it so much at this point that it just felt tired and like it was happening "because Hori said so", and that should never be what drives a story.

Speaking of "because Hori said so"...

Oh Toga. Out of all the villains, I actually liked her confrontation the most. (Lies. If Dabi vs Shoto was the end of Dabi's fight, THAT would have been the best. But the Endeavor fight ruins it). Despite having limited screen time, Toga and Uraraka had a surprisingly well-built dynamic. Their few interactions were actually meaningful and created a strong foundation for a fight, and at the very least they had more of a personal connection than Deku and Shigaraki ever did. I think that Toga giving her blood to someone she loves (as opposed to drinking/taking their blood like she had said the whole series) is a beautifully tragic end to her character, but still something that could have fit.

To me, the problem comes with how she died. Let me replay the scene for you: Toga stabs Uraraka in the stomach and Uraraka bleeds too much because she keeps moving around. Toga then realizes she doesn't want Uraraka to die. To save her life, Toga has to do a blood transfusion with herself as a donor and she dies because she has to give ALL her blood.

Now... sure. Ok. Fine. Yeah. Maybe by real-world logic this makes sense. I guess. Whatever. But within the world of MHA, this setup is laughable.

Here's a list of things characters survived (or at least, they survived LONG ENOUGH to get to a hospital rather than dying on the battlefield): Deku shattering his bones with 1 million percent, whatever happened to Best Jeanist when AFO attacked him, Nighteye getting a massive spike through the torso, All Might with "his entrails strewn across the ground", Bakugo becoming Swiss cheese, Grand Torino being punched so hard a crater forms beneath him, Touya being a literal flaming skeleton, Bakugo's heart exploding, Edgeshot becoming a worm. Mirko getting a limb ripped off and then running full speed at Shigaraki. That's just off the top of my head, I know there's probably more.

But you want to tell me that Uraraka getting stabbed and then moving was a fatal wound that required ALL TOGA'S BLOOD? ALL OF IT? The reason Toga's death bothers me is that the setup cheapens the actual moment of sacrifice. It feels preventable, so when she tells us that Uraraka is going to die without her blood, all I could do is roll my eyes because I'm not allowed to use critical thinking skills, I have to just accept what Hori says and take it at face value.

If the author wants you to live as Edgeworm despite saying you were gonna die, you can. But if the author needs a stab wound to be fatal and require ALL of someone's blood? Well tough luck bud, that's just how it goes. Mirko can run and move all she wants after having a limb ripped off, but moving a bit after one stab wound is fatal. Why? Because I say so.

If Uraraka's wound was actually serious then this ending would have been a beautiful tragedy. But as it stands now, the ridiculousness of her wound makes it all feel preventable.

Oh, there's also the fact that Toga switching blood types when she transforms was never established, but I've rambled enough.

That's it. Thanks for reading!

[tizeline]

I love your drawing style! I find it super interesting and cute. Just one question, you shouldn't answer if you don't want to! You already answered that the events of the movie would focus on Donnie and Mikey, what would happen to Leo and Raph? Basically they would switch places? Like, Donnie and Mikey switch places with Leo and Raph? Would Leo still "sacrifice" himself?

THANK YOU!!!

But to put it simply, yeah, Donnie and Mikey basically switch places with Raph and Leo. So we get the latter two trying to constantly play mediators with Donnie's and Mikey's constant arguing lol. In the movie, Leo's character arc is him embracing his leadership role, but I'm planning on Leo getting through his whole leadership-arc earlier in the AU (probably by the end of season 2) Because of that, Leo and Raph have probably established a co-leader dynamic between the two of them (because I love co-leaders Raph and Leo so yes that's gonna be a thing). Point is, Leo and Raph aren't really gonna be arguing a whole lot during the movie. MAYBE the co-leader dynamic is still pretty new to them, so they'll have to figure out exactly how that's gonna work for them, but I'll figure out those details later.

I have NOT figured out how the whole Prison Dimension situation is gonna go down. Like, AT ALL. Considering Donnie took Raph's place as Krang Prisoner in the AU, by that logic Mikey should take Leo's place as Krang Punching Bag in the PD..... except Mikey's kinda needed to open the portal to get the Designated Krang Punching Bag OUT of the PD, which is gonna be hard if HE is said Punching Bag. Some people I talked to on Discord figured Leo might get to open up the portal considering he's also a portal-guy. Alternetively, Mikey might manage to open the portal by unlocking his Hamato Ninpo abilities. I know all the turtles unlock their Ninpo in the season 2 finale in canon, but considering Mikey's a BIT hostile towards the Hamatos in the AU, it might take him longer. Since the AU's version of events focuses Mikey and Donnie overcoming their differences and growing closer, it would fit for Mikey to properly connect to the Hamato clan in this moment. Maybe Mikey is able to magically connect to his brothers across dimensions through their ninpo and all four are able to open up a portal together or something, idk, magic is weird.

Also, I have no idea if Draxum is gonna be around for the invasion or he's doing something elsewhere like in the movie. Either way, he's gonna be dealing with like a million heart attacks after all this lol.

[eriexplosion]

Tech Lives: An Ungodly Long Essay

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

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

THE LEAD UP

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

Doomed By Character Development?

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

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

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

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

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

That Sure Is A Lot Of Open Plot Lines

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

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

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

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

And then there's his personal plots.

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

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

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

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

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

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

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

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

Too Much of a Survivor To Die?

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

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

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

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

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

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

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

THE FALL

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

What is Plan 99?

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

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

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

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

Pacing Goes Out The Window

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

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

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

Tarkin, Eriadu, & Saw Gerrera

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

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

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

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

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

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

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

Did Tech's Sacrifice Mean Anything?

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

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

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

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

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

Framing is Everything

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

So why does Tech die with his helmet on?

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

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

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

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

We end up with something closer to this.

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

The Flip Might be Intentional

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

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

THE AFTERMATH

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

"What if he's hurt?"

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

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

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

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

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

No Body?

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

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

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

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

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

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

Reused Score

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

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

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

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

SEASON 3 SO FAR

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

They Aren't!

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

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

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

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

Narrative Grief

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

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

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

How Do You Like Yearning?

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

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

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

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

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

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

What's to Come

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

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

MARKETING, INTERVIEWS, & SOCIAL MEDIA

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

Constant Focus

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

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

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

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

Never Say Die

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

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

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

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

What an Odd Thing to Say

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

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

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

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

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

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

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

[picturejasper20]

Any thoughts on the New Wish finale?

It was.... (sigh) something

There are some things that really nails and funny moments but it feels it should have been something that should have been longer? There are emotional beats that feel like they should have lasted more to have a proper pay off.

For me the biggest issue i have is that Dev and Hazel barely interact in this finale. After their relationship being like the main core of this season and what moved the arcs, we barely get any of that in here.

When i saw the episode title card i thought this episode was going to be about their fight and what has been happening between them, but no, they only get very few interactions in the actual episode.

Another issue i have is that i feel like Dev was made out to be too cruel in a way in this episode? It is fine to turn him into a villain but some of the things he does feel way too extreme for what we have seen of his character so far. He even ends up trapping Peri on a cage for days?? It feels too extreme for someone who just like was throwing tamptrums and wanted to just annoy Hazel and make her miserable some segments ago.

One thing i do like is the scene that Wanda hears Dev complaining about Dale not paying him attention not matter what he does. Wanda explains to Dev about it is dangerous for fairies to not use their magic for too long.

Then Peri telling Dev that he cares about him and Dev breaks down in tears, finally realizing that what he was looking for he could find it in Peri or other people. He throws the key and just goes to another room. He sounds so defeated in tha moment.

I do like the different characters that we saw in the season helping Hazel to take back Fairy World. That was a good use of continuity. The scene Hazel tells to her friends and Anthony about how she has godparents and them being unfaced by it is pretty funny.

Dev and Irep do have some good scenes in the episode. They have a fun dynamic and i wish we could seen more of that in this season. They are a good villain duo.

For me the episode drops the ball in the last minutes... Hazel and Dev have a short conversation, which is cute but feels not enough with what they have been through in the season.

Dev loses Peri and loses his memories about fairies as result.... what does that mean then? He is only going to remember certain things? What about the lesson he got from this episode? Is it going to stay with him. It is underwhelming because it doesn't give us any further hints of what really happened to him.

On last point, i do like the idea of more people knowing about fairies besides Hazel. I think that now that Jasmine, Winn and Anthony know about it, it could lead to some interesting scenarios for the characters.

Outside of that it is a rather underwhelming season 1 finale that leaves things open for second season, ending a somewhat of cliffhanger that left a lot of fans with bad taste in their mouths.

[dragonlands]

There's so much negativity around Izzy's death so I wanted to address some of the points I keep seeing thrown around.

"Izzy's death was pointless"

No, he just had his big speech about how basically they can kill him but they cannot kill the movement. That is a clear paraller to a lot of real life protestors of unjustice. He died protecting the community, he died so the community could go on.

"Izzy's death made his healing pointless"

No it didn't. Healing is always good, feeling happiness and belonging are ALWAYS worth it. We never know how long we've got, doesn't mean we gotta stop trying to be better or happier. His healing was still real. It still mattered.

"Izzy's character arc was left unfinished, it's bad writing"

Oh my god. If you open any writing guide about how to write impactful deaths, and the first thing that comes up is to leave some part of their arc unfinished. And his arc did go through quite a beautiful line, sure there could've been more but his story didn't end like, mid arc. As a writer, of course you want to make the audience sad when a character dies. It's good storytelling. Good stories are supposed to make us feel.

"Izzy died on the arms of his abuser"

Where the hell did this idea come from? Ed and Izzy have been in a toxic codependent relationship way before this show started. You could argue that Izzy was Ed's abuser, but that is not the argument I want to make here. Yes, we saw Ed driven to madness shoot Izzy on screen, but we know Izzy's the one that forced him to be Blackbeart when he didn't want it anymore. There's turmoil all around them. But the final moment is them finally meeting as people, not as components of Blackbeard.

"Izzy's death was unnecessarily awful"

His death was sad, yes, but it was quite beautiful as far as deaths go. He was surrounded by family who cared for him. He was loved, and accepted as he is. He knew his legacy will be carried on.

"They killed off the only character that showed us healing is never too late"

Did we watch the same show? That begins with then unhappy 40+ year old Stede deciding it's finally time to reach for his dreams? Where we see Blackbeard slowly gaining back his humanity? Where Black Pete starts off as toxically masculine dude but ends up in a soft gay marriage? Where most of the crew wanted to mutiny but then they realized being soft is good, actually. Jim's whole purpose in life being revenge but them learning to let that go and instead concentrate on love and fun and family. And so on. Izzy's arc is beautiful, but he's not the only person healing who thought it was too late already.

"Izzy's death was bury your gays trope"

No, what, no. In a pirate show where everyobody is queer some queer people will die. Bury your gays is about only having one or few queer characters and killing them off while the straights get their happily ever afters. This is so far from that.

Also, I want people to be aware of the phenomenon, where creators of diverse shows are subjected to more critism than those of non diverse shows. If this intrests you, Sarah Z on Youtube made a great video on it called Double standards and diverse media. Our flag means death has given us so much, queer love story with a happily ever after, finding community, nonbinary character. And the creators have always been so kind to fans, so let's show them tht kindness back. Because critizicing this one aspect can easily turn to seeming like the whole story is just unwanted. That stories like Ed and Stede's aren't worth telling. And I'm so aftraid that will happen, when just now for the first time in years we are finally getting queer stories.

Also, I understand people are sad. I am sad too - Izzy was an amazing character and his death was sad but that's just. Good writing. You can grieve, but trying to turn it into a moral or dramaturgy issue is just not a good look. And attacking the creators of this wonderful show is just horrible.

Remember - this fandom is a safe space ship 🏴‍☠️🏳️‍🌈

[writing-with-sophia]

Endings

An ending in a story refers to the conclusion or final part of the narrative. It is the point where the events, conflicts, and character arcs reach a resolution or closure. The ending provides a sense of completion and brings the story to a satisfying or thought-provoking conclusion. The purpose of an ending in a story is to tie up loose ends, answer lingering questions, and bring a sense of resolution to the narrative. It can provide a finality to the conflicts and challenges faced by the characters, offer insights or revelations, or leave room for interpretation and reflection.

Here are some common types of endings:

Resolution: This type of ending provides a sense of closure and ties up loose ends. It offers a clear resolution to the conflicts and questions raised throughout the story.

Twist or Surprise Ending: A twist or surprise ending presents an unexpected turn of events that may challenge the reader's assumptions or provide a shocking revelation.

Open Ending: An open ending leaves some elements unresolved or ambiguous, allowing readers to interpret the conclusion or speculate about what might happen next.

Circular Ending: A circular ending brings the story back to its starting point or echoes the beginning, creating a sense of symmetry or completion.

Epilogue: An epilogue is a section that occurs after the main events of the story and provides additional information about the characters or their future.

Cliffhanger: A cliffhanger ending leaves the reader in suspense or anticipation, usually by ending the story at a critical or unresolved moment, enticing readers to continue to the next installment or chapter.

Bittersweet Ending: A bittersweet ending combines elements of both happiness and sadness, often leaving the reader with a mix of emotions.

Ambiguous Ending: An ambiguous ending leaves the reader with multiple interpretations or unanswered questions, allowing for personal reflection and contemplation.

Catastrophic Ending: A catastrophic ending involves a tragic or disastrous event that dramatically alters the course of the story or leads to significant consequences for the characters.

Reflective Ending: A reflective ending provides a moment of introspection or contemplation, allowing characters to reflect on their experiences and lessons learned.

Happy Ending: A happy ending concludes the story with a positive outcome, where conflicts are resolved, and the characters achieve their goals or find happiness and fulfillment.

Tragic Ending: A tragic ending involves a sorrowful or devastating conclusion, often characterized by the downfall of the protagonist or significant loss.

Moral or Lesson-Based Ending: This type of ending aims to convey a moral or lesson to the reader, providing a clear takeaway or message that aligns with the themes or values explored in the story.

Reconciliation Ending: A reconciliation ending involves the resolution of conflicts and the restoration of harmony between characters or within a community.

Transformational Ending: A transformational ending signifies a significant change or growth in the characters, where they undergo a personal transformation or achieve self-realization.

Metaphorical or Symbolic Ending: This type of ending employs metaphors or symbols to convey a deeper meaning or reinforce the themes of the story, leaving the reader to interpret the symbolism.

Poetic or Lyrical Ending: A poetic or lyrical ending uses language and imagery to create a sense of beauty or evoke emotions, often leaving a lasting impact on the reader.

Reflecting on the Future Ending: This ending provides a glimpse into the characters' future or hints at what may come next, leaving room for imagination and continuation beyond the story's conclusion.

Irony: An ending with irony involves a contrast between what is expected and what actually happens, often resulting in a surprising or unexpected outcome.

Circular Journey Ending: This type of ending brings the story full circle, with the characters returning to a similar situation or place but having undergone significant changes or growth.

These are just a few examples, and endings can often be a combination of different types or unique to each individual story. The choice of ending depends on the author's intention, the genre, and the desired impact on the reader. A well-crafted ending can leave a lasting impact on the reader, leaving them with a sense of fulfillment, emotional resonance, or a desire to contemplate the themes and ideas presented in the story. It may evoke a range of emotions, from satisfaction to surprise, depending on the type of ending and the journey the reader has taken with the characters.

If you want to read more posts about writing, please click here and give me a follow!

[bonefall]

instead of asking what parts of wind you’ll be getting rid of, i’ll instead ask what parts you’re keeping. the list is shorter then haha

FROSTPAW AND WHISTLEPAW.

Best part of Wind is the bond between these two, in fact, the entire plot about WindClan felt like it dropped out of the alternate universe where the books are good. The sudden dream of catastrophe, the way StarClan gave Frostpaw this sign on purpose to make them know she's legitimate, Whistlepaw injuring herself to try and save her little sister... Even the little details, like Nightcloud and Hootwhisker trying to drag the tree by the trunk, were neat to see.

I Dont Rewrite Arcs Until They Are Done BUT I do know that I'm going to elevate and expand what's going on with Frost and Whistle. They're fantastic.

Another small thing I'm actually planning on keeping is this exchange between Squilf and Jayfeather, which you'll probably find surprising since I'm so open about how much I dislike the way they've made Squilfstar less proactive;

In a better book, I think this could have been a GREAT moment.

What I dislike about this exchange is that Squilf is able to rebuke it, because the writers DO feel that Bramblestar was a good leader. They're trying to show that Squilfstar is going to act more "mature" (read: boring) with her role now, probably to make a point about how Bramblestar wasn't being "indecisive" for the 10 years we were stuck with him but "responsible." Basically, she gets the power and finds out it isn't so easy-- I'll even bet at some point in the next arc or two she'll become frustrated by someone acting the way she used to.

I've seen some people praising this, and like, it's not illegal to have bad taste. But I think this is an AWFUL thing to do with a character who could have finally caused interesting things to happen, on top of just feeling like contempt of criticism on behalf of the writers.

"Ohhhh they thought she would be more decisive than our beloved baby boy, WELL, WE'LL SHOW THEM. You will sit through 10 paragraphs of debate no matter WHO is in charge!!!"

But like I said....... in a better book, this could have been great. If this was a wake-up call for her.

Suddenly experiencing the full weight of responsibility upon herself, she stops making bold decisions. The complicated political situation in front of her, individual opinions of her Clan around her, and the wounded glares of the furious Brambleclaw below her are all acting like briar vines, pulling her down.

Even StarClan itself seems to have placed a weight on her, cats who she's followed faithfully and been punished by.

So Jayfeather, with all of the changes he has in BB, brawling with angels, speaking defiance to the stars, and pulling spirits down from the heavens, is the perfect cat to be honest with her.

I'm still trying to find a good way to describe the electricity between them in this moment. BB!Jayfeather once reached up his paw through the veil between life and death to grab her ankle and fetch her from her own trial, knowing that she wanted to keep living. He's part of whatever motion she took to remove Bramblestar from power. Her son, her cleric, her ally. How do I put these emotions into words?

"Did you come this far just to become someone else?"

Just... what a moment it could be. For this to be the second that Squilfstar realizes in spite of everything, Bramblestar's thorns still jab at her. That she has to move forward, DAMN the uncertainty, by being herself.

[i-heart-hxh]

I just want to say I appreciate you for staying positive about killugon. Admittedly, I’ve given up on them. Maybe it’s too many angsty fanfics or metas I’ve seen that basically make it seem like they’ll never be close again but it’s nice to see some people still going strong with this ship! Hopefully one day I can enjoy this ship again the way I used to. Currently everything I read about them in fandom just depresses me.

Hi anon!

I'm sad to hear the negativity has gotten to you to this degree! It actually surprises me how much the fandom seems to think what happened between them can't be fixed. I've been into HxH for almost 8 years now and as time has gone on and I've revisited the series and analyzed it deeply and discussed it with others, I've only grown more certain that things between them will be okay--assuming Togashi can reach that point in the series. And right now is a great time to be hopeful about the future of HxH, with Togashi working so actively on the series the past few months.

Sooo many of the messages in my inbox amount to "Is there really hope? Are Gon and Killua really going to reunite and reconcile? Or is their relationship hopelessly broken?" so even though I feel like a bit of a broken record addressing this topic so much, it seems like it's a topic people really want addressed, so here's some more of my thoughts. (Trying to make my answers on this topic at least a little different each time even if some repetition is inevitable...!)

Here's this post I made of some of the reasons I anticipate a Gon and Killua reunion and fixing their relationship. And here's this eye-opening analysis post of the separation, yet again, which also offers hope.

So much of HxH is about second chances. It's about how love and human connections transform people and make life worth living, no matter how painful and difficult it may be. At the end of Chimera Ant Arc, Meruem and Komugi (who are, by the way, absolutely parallels for Gon and Killua) find their meaning for living in each other, and decide to stay together even knowing the only way they can be together is in the afterlife. If you trace back this scene to all the factors and character moments that made it possible, it goes all the way back to Gon extending kindness to Killua and changing his life. I believe Gon and Killua are on a path wherein they will ultimately find their meaning in each other and vow to stay together again (albeit without the dying part).

Gon and Killua are the protagonists of the series, and they are emblematic of the themes of HxH. Looking at the themes of HxH and the worldview it presents, it doesn't make sense for Gon and Killua to experience this horrible traumatic incident as the young teens they are, then never ever get to fix and resolve it even though they're both clearly upset to have to leave each other and they definitely have more to say to each other. Why show them feeling dissatisfied and unhappy to separate if they'll never get a chance to fix things and be happy together again? Do you really think that's the direction Togashi wants to go in, with the focus of the series and the repeated emphasis on how the hope we can find in a cruel, painful world rests in the connections we have with the people around us?

It's meaningful that they make each other so happy and transformed each others' lives. It's meaningful that even now in merch and artwork and such, they're portrayed as a pair. It's meaningful that a huge chunk of the audience so desperately wants to see them together again, and I'm certain Togashi is well aware of that. These two are at the heart of what makes HxH so wonderful and moving.

It's okay to take a break from the ship if it's not bringing you joy. Sometimes I get frustrated by takes and interpretations I see about it, too, trust me. Ultimately, it's here for you whenever you want to revisit it, and there are plenty of fanworks with happy endings and reconciliation between them if you need something to tide you over until canon hopefully resolves things between them. But do what feels right for yourself--it's okay to focus on something fluffier and less complex if that's what you need for now. I hope eventually you can come to see it with more hope, as I have lots of hope for their future--and I don't think it's unwarranted at all. 💖

[ishallgivehimupforever]

Here We go again Bellarke warriors, if you can hear me, it's been about 1680 days since I stopped caring (or so I thought)

I hadn't been to tumblr in years, before I decided to give the 100 a rewatch in June of this year, as I had given up somewhere around the start of season 5 (I remember hating the LONG ass timeskip teased at the end of S4, I guess some other media must have swallowed me during hiatus, and when I tried to give that season a chance I vividly remember 1) I couldn't see shit on my screen 2) I hated what the timeskip did to the established relationships) and so I dropped it for good, looking back I almost can't believe I could just...not finish it like that because let me tell you I did NOT fuck about Clarke and Bellamy, and Raven, and Monty, and probably some other characters back in 2015-2016. I think I maybe did not appreciate season 4 enough at the time it was airing (because I think binge-watching is very flattering for that season, watching it live I remember it was frustrating to watch the characters go on side quests in 4A) but now knowing what the character arcs are and where it was going makes it my second-favorite season. BUT, I digress, wow. This is meant to be a rambling, incohisive love letter to the compelling relationship between Bellamy and Clarke. I warn you, they truly do not fucking leave you as it turns out. I would go to the trenches for them back in my fandom days in 2015-17, and I realised, after binge-waching the show over 4 sleepless nights (seasons 1-6, which are the only seasons in existence, obviously)that I STILL just FUCKING CARE SO MUCH. I NEVER CARED ABOUT FICTIONAL CHARACTERS SO MUCH AS CARE FOR THESE TWO SEPARATELY, AND AS SOULMATES. Because let me tell you, Clarke and Bellamy, they fucking love each. Like actual, happens-only-in-romances LOVE. It is frankly INSANE how JRoth, K*m Shum and other managed to gaslight me over some of the bellarke scenes in S2-S3 as to make me think it's in my (and thousand's of fans') head WHEN IT IS SO FUCKING OBVIOUS FROM SCORE, EDITING CHOICES, LONGING LOOK SHOTS, HANDS SHOTS, LINES, AND FINALLY, ACTING AND DIRECTION THAT THESE TWO ARE LOVERS.

I have never, ever, before or since, followed two characters who were so compatible, so equal, so trusting in each other, so open with one another, so mindful of the other's emotions and needs, so so so made for each other, that it is no surprise to me that they are top 10 F/M pairing on AO3. Because Bellamy and Clarke would fall in love in every imaginable scenario, in every universe, across time. I am not usually that cheesy or cringy, but it is true. I could not put my finger on why they are my absolute favorite to read fanfic for and then it occurred to me. That as long as the hands of fate put these two in proximity of each other, it;s a done deal. That chemistry transcends the limits of a single tv show. The depth with how Clarke and Bellamy love each other honestly makes me pause for breath sometimes. It is not just the iconic, famous bellarke scenes, but also the quiet moments.

Like in 6x05 or 6x06 (cant remember) when Clarke's body was stolen by Josephine after her one-night stand with Cillian. (stay with me) Bellamy, unaware that Clarke isn't herself at that point, comes over to chat, he's clearly at least a bit jealous over her sleeping with Cillian, and yet he says "happiness looks good on you" with that wide, earnest smile. And just wow. How must he love her, to be so utterly happy for her own happiness that has in that instance nothing to do with him. so selfless. well, selfless is basically Bellamy's middle name.

Or how in season 4, after a lot of the characters and at times the narrative wanted to push this idea on Clarke that she is the sole leader of her people, gets right back on track to her co-leader dynamic with Bellamy, constantly checking with him, considering his input, and respecting choices that she herself would maybe not make (releasing the ensalved arkadians and grounders vs ensuring they get a machine necessary to generate water) but always understanding that these choices agree with his core values, and she loves him for it.

This post is way too long. I love Bellamy. I love Clarke. People often use the 'MY PARENTS" about ships on twitter, and you know what, in my case that's kinda true with bellarke. I met these characters when I was 15. I am 25 now, and with an adult perspective to my surprise I found their relationship even more profound then I remembered, and I was insanse about them already. They are truly THE power couple of all time. I miss the 100, If you wanna ramble about it together, feel welcome to send me ask, I'd love to have an excuse to share some of my (sometimes unpopular) opinions lol.

[rwbyrg]

Hello again! I was wondering, in your own opinion, what moment(s) for both Oscar and Ruby, really implied that there was much more going on with the two character, in the sense that their relationship was starting to evolve? Also what do you like about those moments? To add, do you think we will see it much more in volume 10?

Hello!! I think, generally speaking, all of their focused scenes imply there's more going on or that their relationship is evolving in some way. RWBY doesn't have filler. So when characters - especially ones as central to the narrative as these two - get focused screen time together (and romance-y tropes), it's done with intention.

Ruby's arc is about many things, but especially about how she's pretty much the last silver eyed warrior that can face Salem. Meanwhile, Oscar's arc is about defining who he is while under a curse that robs him of his identity. And in their first meeting, Oscar comments on Ruby's eyes, and she asks him who he is. Even their first lines to each other are mirrored in how they're spoken!

This scene really shows that their character arcs linked from the very beginning.

We get all the stuff I mentioned in my last post and more and none of it is necessary to do if it's not building up to something. Which it very clearly is.

I have no doubts we'll get to see more of their shared story in V10 onward. The V9 epilogue - what was supposed to be the final episode of the season - works as both a closing point for the Atlas arc, and a kick off for the Vacuo one. It's setting the stage for what is to come. A non-extensive list of what we know we're getting so far:

Nora's and Winter's character arcs; both of them struggling with responsibility, grief, and guilt.

Weiss will almost certainly be getting some focus by extension of that as well. Especially because her arc has always been about her family.

Ren being more open and trying harder to support those around him.

Qrow, more hopeful than he's ever been before and how much it's propelling him forward.

And then we have Oscar.

Oscar and the merge. Oscar Pine, Little Prince, pining at Ruby's grave in the desert. I talk about this set up a lot, and it's difficult to explain succinctly because it's got a lot of complex pieces at play (and has been going on since their meeting, as mentioned above). But if I were to try and break it down as simply as possible:

Ruby's fatal flaw is her grief. Her silver eyes are powered by, and the embodiment of, the preservation of life. She doesn't want to lose anyone else that she cares about and cannot bear the weight of responsibility that comes with it alone. So much so that she almost abandons her own identity via ascension because she is offered the choice to do so. She stays true to herself in the end as someone that fights, not for those she's lost, but for those she hasn't lost yet. And the narrative, through all their interactions, but especially the Tea Party, has placed Oscar front and centre in the position of who Ruby hasn't lost yet. Oscar, who wants nothing more than to be a part of the team that he keeps pushing away. Oscar, who just wants to be who he is, to preserve himself, but is being robbed of that choice via the merge. Something Ruby, can't protect him from.

RWBY loves to make its pairings thematically complimentary and it loves pushing characters to their limits. There is no way that the scenes and setup between Oscar and Ruby haven't been intentionally building to something big with how much their respective and shared conflicts are directly playing off of each other. There is no way CRWBY - with their limited budget and resource constraints - dedicated all that screen time to these two for it to not pay off at some point. And given this arc is the last one... now's a good a time as any for it to happen.