#and what we do get isn't explored in depth

[yuurei20]

I might be dumb but what happens to 4th year students? They’re mentioned but we don’t see them on campus(?) and they can’t play spelldrive? Is it like they go to another campus or??

Hello hello! Thank you for this question! 🏫

We get some information about the fourth-year students in Book 5, where Crewel explains, "At Night Raven, students spend their senior year at internships and research placements related to their magical professions."

Both Crewel and Riddle mention the fourth-year students being on-campus for the culture fair, but we never meet anyone!

Both Ace and Grim comment on never seeing them at the school, and Trey explains that "The typical M.O. for four-year magical academies is that seniors go off-campus for hands-on learning."

Riddle provides more detail:

"Some people apply to shadow a certain special team in an administrative organization, while others leave to excavate or explore ruins, or to decipher ancient texts. Still others accept internships with magic related businesses."

We learn a bit more in Book 7, and the orientation for off-campus internships is the catalyst for the entire Book 7 story! 🥳

Crowley explains:

"The internship program is 100 percent mandatory...Each stint is three months, or one quarter. You can choose up to three internships over the course of the year. It's perfectly valid to devote all three quarters to a single, in-depth internship, as is choosing a different internship each quarter to gain a wider breadth of experience. The internships are at businesses, research institutes, and foundations that cooperate with our school...Be aware that your options will differ based on your electives, class credits, and grades. And in addition to interviews, some internships have special exams you must pass to be eligible. Each quarter, you must receive an evaluation of a B or higher at your internship and submit a report. You will not get credit without those two things. If you receive credit for two of the three quarters, then you'll qualify to take the graduation exam."

Concerning Spelldrive: you are very much correct!

While both game- and novel-Leona say that he intends to participate in the Spelldrive tournament the following year, novel-Jack points out that he isn't going to be on campus to do so:

"Both Malleus-senpai and Leona-senpai are gonna move up next year, so they won’t be here for the tournament anyway. We’re lucky we only had to compete with that monster athlete for one year.'

-Twisted Wonderland the second novel (fan translation)

So it seems that presentations at the cultural festival are tied into the internships themselves, so they are allowed (and maybe mandatory?) but Spelldrive tournaments are not? 🧐 Possibly!

[zleepyhollow]

just want to manage a hotel in sims 4

[cathodic-clairvoyant]

There's a lot about discussion of hdwr that baffles me (not all discussion to be clear, because i do think there's a lot of good discussion about hdwr. But equally so are there the ones that make you wonder if you're reading the same story) and I think one that is especially annoying is the constant infantilization of miwa as this passive eternal victim. It drives me up a wall because this is quite literally an issue she's struggled with within the text of the story! She had an arc about how she dislikes how people treat her this way like towards the beginning of the story! And like even ignoring that, this story is about like nuanced and realistic portrayals of being in relationships and learning how to navigate them and so it's like what's the point if you're going to immediately reduce the characters to "the victim" and "the victimizers?" Is that even interesting? Is that a useful lens to look at interpersonal relationships?

[musical-chick-13]

"This show is SO good, you should watch it!!"

I gotta be honest. If I look at a character list on Wikipedia and get five characters down without seeing a single woman, it's probably not for me.

[marklikely]

i feel like im never going to be fully satisfied by any saw sequel (or the fanbase for that matter) bc i dont think the majority of ppl involved read jigsaw the same way i did.

[rafeandonlyrafe]

escape from isla nublar

words: 2.6k

warnings: jurassic world alternate universe, dinosaurs, violence, brief mentions of gore (but not detailed), illusions of sex but not actually written out, established relationship, soft!rafe, death tw, proposal, mentions of anxiety & panic attacks

a/n: im having a lot of fun with writing aus, so here! take another one!

“thank you so much for bringing me here, rafe.” you coo out, getting onto your tiptoes to press a kiss to his cheek.

rafes arm slides around your waist, keeping you tugged in close as the boat approaches the dock of the island. you squeal along with all the children gathered around impatient and ready to jump off the boat and explore.

“welcome to isla nublar!” the voice of a friendly sounding woman says over the speakers. “please disembark slowly and carefully and enjoy your stay in jurassic park!”

“baby, can i just say-” rafe begins as the crowd shuffles forward, most with bags in their hands or suitcases being wheeled behind them, but rafe has already arranged to have them brought to your room so you can get right to exploring. 

“mhm.” you hum, encouraging him to continue.

“that you've been so chill this entire trip so far. proud of you.” it might sound weird to anyone else, but you've always gotten nervous when leaving your home for too long, worried something bad would happen. rafe saw it on your first trip he took you on where you tried and very much failed to hide your anxiety.

“im so excited there's like no room for nerves.” you giggle as you walk down the gangway. “and the fact that you let me plan everything. you know how much i love a schedule.”

“we are so different.” rafe shakes his head, hand squeezing yours as you step into the concrete, turning away from the crowds heading to the resort and towards the main street and the iconic innovation center.

“opposites attract.” you state, and it couldn't be more true, but rafe loves you more than he could ever envision caring about someone.

as you round the lagoon, trying to see if you're able to catch a glimpse of the giant mosasaurs in its depths, you feel your excitement levels only elevate more.

“oh my gosh, there's the petting zoo entrance.” you turn and pout to rafe.

“isn't that mostly for kids?” he raises a singular eyebrow.

“i mean yeah, but you also get to pet baby dinosaurs. totally worth it.” you tug him towards the entrance.

--

“okay.” you sigh, placing your hands on your hips. “i guess we should slow down so we have things to do for the rest of the trip.” 

“im already exhausted.” rafe chuckles. “how about dinner then to the hotel?”

as tired as rafe is, he's certainly not going to complain about being run around isla nublar when he gets to see the gleaming smile on your face every time he looks at you.

“sounds good… we could go to winstons steak house,” you point in one direction, then the other “jurassic cafe, or the brachiosaurus restaurant.”

“how about whatever is closest.” rafe rubs his hand over his face.

“okay steak house it is.” it's your turn to take rafes hand. 

he barely manages to stay awake through dinner, and by the time you're back at the hotel, he's passed out on the bed before he can change into his pajamas.

--

“what would you like to do today?” you ask rafe. “anything but that hang gliding, you know how i feel about heights.”

“the gyrospheres look fun.” rafe shrugs and looks at the map pulled up on your phone. “or kayaking.”

“why not both.” you toss your phone to the side and cup rafes cheek, bringing your lips together in a kiss.

“you're the best boyfriend ever.”

rafe places a hand on your shoulder and pushes you down onto the mattress, laying you back.

“we can wait a little bit though, right?” the smirk on his face gives him away.

“i think that would be fine.” you giggle, pulling rafes shirt off over his head.

--

“that was actually so fun.” you hum out.

“it was when you let me drive and we could finally go fast.” rafe says. you were halfway through the gyrosphere tour when you handed the controls over to rafe, allowing him to speed through the ankylosaurus herds.

“but we will not be doing that on the kayak.” you hold your finger up.

“yes ma’am.” rafe says, slipping the attendant a $20 bill to move you to the front of the line, not wanting you to have to wait.

“life vest.” rafe says, slipping it over your head while he just grabs his and throws it into the kayak, not planning on putting it on unless something happens.

rafe helps you step down into the kayak, grabbing the paddle knowing he's going to sit in the back and do all the work.

--

“this is so beautiful.” you say, leaning back into your seat as you look at the stegosaurus and it's long neck reaching up to grab the leaves, his feet submerged in the water as you paddle past.

“this might be even better than the velociraptors.” rafe says.

“wait-” you sit up. “whats that sound? is that a radio?”

it takes a second for rafes ears to pick it up, but he can hear the frantic static of voices over a walkie talkie.

rafe continues to paddle, realizing suddenly that you've separated from all the other kayaks and can't see anyone. he brings the kayak closer to the side when he hears the radio as you reach out to pick it up from the muddy bank.

you turn the volume knob up as you try to make out what the voice is saying through the water logged speaker.

“we sent the containment unit out with nonlethal force and they're all dead! immediate evacuation, get everyone inside and back to the hotel!”

“rafe…” you turn towards him, eyes widening in fear.

“im sure it's just some kid pulling a prank.” rafe takes the radio, finding the speech button and pressing it. “what is going on?”

“who is that? this is an authorized channel.” one voice says before another cuts it out.

“whoever you are, seek shelter immediately. the indominus rex is on the loose, currently heading towards-” the radio sparks and then dies out.

“shit.” rafe hits it against his thigh, but it's clearly no use.

“rafe.” your voice is already shaking. “the indominus rex. i don't know what it is, but it doesn't sound good.”

“okay.” rafe stands up and steps out of the kayak, pulling it onto the bank before helping you out. “baby-” he places his hands on your shoulders. “i need you to stay calm. you know this island like the back of your hand. where are we?”

“we-” you take a deep, shaking breath. “we are halfway through the kayak adventure. we should head just west and find the road to the aviary.”

“okay.” rafe presses a kiss to your forehead. “let's go quickly and quietly. im sure they've already contained whatever dinosaur escaped.”

“yeah.” you nod, gulping, not so sure.

rafes steady hand stays in yours, helping you over bushes and downed trees.

“shouldn't be much farther.” you bite your lip, hoping you didn't get the direction wrong.

“hang on.” rafe whispers, placing a finger over his lips. 

before you can fully comprehend what's happening, he's tugging you down under a giant tropical plant, the leaves hiding you as you hear whatever rafe did, the pounding footsteps of dinosaurs.

“that's the stegosaurus we saw earlier.” you remember the distinct marking along its side.

“get over here.” rafe pulls you in tighter, not allowing you to see as he presses you against the stem of the large plant, covering your body with his own.

“it's okay, it's a herbivore.” you say, when you hear the second set of dinosaur footsteps following it. you tense up, and you can feel a panic attack setting in as you pick your head up to see some sort of giant rex running after it.

you both stay still and silent until it's clearly far enough away.

“rafe.” you tremble as you turn into your back, his body still hovering over yours, protecting you, willing to put himself in the line of danger if he needs to.

“it's okay.” his voice is betraying how scared he is as well, but he's going to try his best to not let you see it. “let's just get to the aviary.”

“i-i can't.” you shake your head. “im fucking terrified.” 

“me too, baby.” he says. “but we gotta get under cover somewhere before that thing catches up to the stegosaurus and comes back for us.”

you swallow deeply, eyes closing for a brief minute, gaining all your courage you possibly can.

“okay.” you're up and moving quickly, running towards the aviary. your steps are no longer balanced and cautious, moving quickly through the jungle until you make it through the trees to the grassy plane.

“the aviary!” you point at the large glass dome, just in time to see a helicopter careening into it, smashing a hole that instantly has pterodactyls flying out.

“shit!” rafe shouts, tugging you back into the treeline.

“we're gonna die.” you sob out, not able to hold back your tears as you crumple to the ground.

“no.” rafe says firmly. “i will not lose you.”

he knows he needs to move, especially as the pterodactyls come closer, and he doesn't have time to console you enough to get you ready to move.

rafe reaches down and pulls you into his arms, hugging your shaking form against his chest as he follows the same path of disturbed leaves and muddy footprints back to the river.

“i need you to paddle.” rafe says, glad your kayak is still in the same space. “i know you're scared, but you need to help me here. we need to go fast.”

you sniffle and look up at rafe, your big eyes filled with tears causing his heart to pang out in pain. “okay.”

rafe bends down, pressing your lips together in a soft and caressing kiss before climbing onto the back of the kayak.

you both immediately begin to paddle hastily, not knowing where the next meat eating dinosaur could be.

“the river goes underground then should let us off near main street.” you tell rafe, eyes briefly closing to envision the map in your head before putting your entire focus back onto paddling.

“baby, still.” rafe says softly, both of you pausing as you look upwards, seeing pterodactyls wings flapping over, thankfully not seeming to notice you under the treetops, yet you still wait until they pass over before beginning to paddle again.

“there's the cave.” you say, pointing as the river bends and you head underground, lights strung along the cave ceiling as you paddle underground, able to take a deep breath now that you're under cover.

“are there any dinosaurs in this cave?” rafe questions, helping you move back so you're leaned against him. 

“shouldn't be.” you say, eyes closing as your adrenaline drops now that you're mostly safe.

“go ahead and rest.” rafe hums as he paddles, looking down at you in relief.

--

“y/n.” rafe shakes your shoulder and you sit up with a gasp, looking around, waiting to see the indominus rex charging at you.

“it's okay.” rafe says. “we're just leaving the cave.”

“so that wasn't all just a nightmare?” you sit up, knowing you must not have been asleep that long, but already feeling majorly refreshed.

“im afraid not.” rafe sighs as you grab your paddle to help steer.

“so this let's out…”

“near the resort. we should be safe there.” you squint into the dying sunlight as the kayak leaves the caves and enters into the large man-made lake.

you both quickly steer to the side, glad to be out of the kayak and on your own two feet.

“to the resort.” you say, able to tell that there are still people running from main street in that direction.

rafe is about to toss the paddle back into the boat when a screech comes from overhead and you both look up to see a pterodactyl perched over cave entrance.

“run!” rafe yells, not turning his back from the dinosaur to see that you haven't moved an inch, not leaving him.

the pterodactyl lunges forward just as rafe swings his paddle at it, hitting it in the beak, but it only enrages the dinosaur more.

you move quickly to grab your paddle, joining rafe in hitting at it, keeping the snapping beak away from pecking at your skin.

“baby, go.” rafe grunts out.

“no! im not leaving you.” you keep slapping at its beak and head until it gets annoyed and roars before taking off to the sky.

“fuck.” rafe groans. “i hate dinosaurs. sorry baby.”

“that's okay.” you say with a slight laugh. “i don't think i like them that much anymore either.”

you take off towards the resort, keeping your oars held tightly in your hands, just in case any pterodactyls try something.

“onto the ship or into the resort?” you question, seeing people trying to get into both.

rafe opens his mouth to respond when a roar rips through the air.

he looks around quickly, pulling you into taller grass, not having any other close cover.

“some of the gates must be down.” you whisper.

“why?” rafe questions, not doubting you as his eyes search through the field before you point at the crowd of people, even more frantic as you watch from a distance.

“because there's a metriacanthosaurus.”

the name makes rafe blink harshly before he sees it, the dinosaur flinging people around as it takes advantage of the hoards of people trying to get to cover.

“oh my god.” you cover your mouth, watching as the carnivore rips someone in half.

“don't watch.” rafe pulls you further into the grass, tucking you against his chest.

you close your eyes and focus on his arm wrapped around your shoulder instead of the screams.

“i got you.” rafe whispers, free hand tapping his shorts to make sure the box is still there in his pocket.

“i know.” you press your lips into his neck. “i know.”

gunshots ring out and rafe looks out of the grass to see that the dinosaur has finally brought down and everyone is safely inside.

“okay, let's run.” rafe helps you stand, deciding to head towards the boat instead of the hotel, knowing it's just one step closer to getting you safe.

you take off in a run, entering up the gangway you went down just yesterday morning.

“inside the cabin.” one of the staff says quickly, ushering you through the glass doors into the packed hallway of people, but rafe keeps moving, tucking you into him until you're towards the front of the boat, able to move up a level and find a place to sit down.

“we're okay.” you say as you relax into the sofa. “we’re alive.”

“i love you.” rafe says, head dropping to your shoulder. “im never talking you on another vacation like this again, but i love you.”

“and i thought you were protective before.” you chuckle, breathing out heavily.

“really ruined my whole plan though.” rafe knows that you both just experienced a trauma that will no doubt need to be unpacked later, but you're just happy to be safe inside the cruise ship.

“what plan?” you lift your head up.

“not the best time but-” rafe sits up and pulls a box out of his pocket. “i planned to ask you in front of the waterfall, all romantic and sweet. but i don't want to waste a single moment longer.”

rafe flicks the top of the box up to reveal a glimmering ring. “will you marry me?”

you let out a squeal and jump into rafes arms, “yes!”

sfw tags: @winterrrnight @bejeweledreverie @ladyinbl00d @ethanthequeefqueen @drewsephrry @wearemadeofstardust0

[numberonetrashwitch]

Some observations about Baldurs Gate 3 that hit too close to home.

After another few runs i will probably just make an in-Depth Character Analysis for every character simply because they are good reflections of actual trauma-manifestations and how abuse can manifest in people. They are also so well written that it serves a narrative purpose to explore all the material that is out there about them. I am also personally cursed with actual medically-relevant levels of Empathy and Hyperfixation; so writing this helps me put a pin in it and move on.

But so far here are my highlights

(SPOILERS and obviously content warning bc these are deep)

before you ask; i have almost 300h in this game.

You have to convince Shadowheart to eat the Noblestalk. She actually stells you she rather get her memories back from Shar but when you hit the persuasion or intimidation (what the fuck) check to get her to eat it she'll tell you about her childhood friend. Not her name, not her parents but her best firend. Possibly because she has had a closer bond to that person after being abducted and indoctrinated. With her believing herself to be an orphan, she would've looked elsewhere for comfort and sought out her own family, this is why she falls hard and heavy for Shar and builds the backbone of her indoctrination. She is literally ripped out of her home & given a new identity to server her from all she has known. Religious indoctrination, Gaslighting, Abduction, being forced to let go of your personality are her main themes.

There is a scene out there floating around in which you see Astarions pespective of the night when he bites Tav for the first time, in his meditations he is confronted with the rules Cazador put on him, including that he can't eat intelligent creatures, can't be away from Cazador unless allowed to, has to obey every command and that they are should know that they are property. Which in turn means that Astarion literally didn't just have any autonomy, he was objectified (and not just through seductive/sexual measures) and that is really the crux to understanding why he doesn't believe in kindness, but rather shows self-serving behavior in most cases. Since we know that Astarion was extremely young for an elf before he died and became immortal (literally stopping the aging /maturing process) it is also very telling that Cazador constantly calls him brat, boy or other very juvanile names, refering to them as a family... well it is also the story of a very controlling parent. Themes of (Bodily) autonomy, infantilization ( & puer aeternus, forever-child), slavery, depersonalisation, corruption of life and torture to break someone.

Gale isn't just a guy hung up on his Ex, but also a victim of abuse. In this case a power imbalance none of us can fathom; She is described as being a jealous goddess and rules over the domain of mysteries and magic. So with Gale being a Wizard, she is literally his boss. He admits that he was foolish enough to aspire to be an equal to her, but she is so jealous that she tells him he can't really be worthy as long as he takes breath. She could just take his powers away and be done with it, that would be more than enough punishment for a guy who literally made Mystra and her domain his life's purpose, but she rather makes him do it himself. Add to that, that she literally only tells him this after years of self-isolation (after he put down so many wards that he could've blown up a whole army as he says if you click the right dialogue) to really fuck him up well. He also talks about death pretty much constantly, not surprising giving your situation, but he will tell you that he will kill himself at several points in the game, for instance after he comes clear about his nethrese orb. Themes of romantic abuse, power-imbalance, toxic work enviorment, self-isolating behavior, suicidal ideation

Wyll ... well from the looks of it he is the most well adjusted of all the companions (my opinion) but he has something that i'd describe as the "eldest daughter"-syndrome, more commonly known as parentification. This pattern usually occurs within single-household parents and is commonly described as a parent looking to their child for emotional or practical support, rather than providing it to their kid. We meet Ulder and see that he talks over Wyll a lot, not listening but expecting him to follow the standard he sets for him. That is also why Wyll repeats his fathers words like gospel (because this is what, in his mind, fullfills the expectations bestowed upon him) and why he loves fairytales / bard tales so much (because they are an ecapist view of the job he set out to do) Ulder literally exiled his teenage son because Wyll did the only thing he could to save an entire city, by sacrificing himself. Thats a lot to expect from a 17 year old - even more so, he doesn't stop with the heroics. He expects himself, as a human who hasn't even reached the age of 30 to hold up to mystical creatures such as Astarion or Karlach, or even Gale who is a accomplished Wizard. Themes of parentification, escapism, self-harming through putting himself in danger, chronic-self-sacrifice

In plain words; Gortash, Karlach's Idol sold her to a Devil. But add to that that she must have been pretty young when she was sold (late teens to early twenties possibly) and being that if you play as a Tiefling, you face a lot of predjudice she was likely forced into that position as well. Starstruck she was, with a juvenile naitivy that Gortash used. Appropriately, as he is the chosen of Bane the god of "tyrannical oppression, terror, and hate, known across Faerûn as the face of pure evil through malevolent despotism" (Source: Forgotten-Realms Wiki / Bane) So she pretty much was raised in a toxic enviorment, which forced her to become a killing-machine, first figuretively, then with the extraction of her heart, literally. Themes of slavery, oppression, misuse of trust, being taken advantage by a more powerful/older(?) person, being drafted.

Jaheira - to be honest, you need to know the lore of the previous baldurs gate games or just listen to her dialouge, ask her all the questions. She is a war-veteran against Bhaal, the good of ritual murder, and has a long history of fighting to achieve some sort of balance of power. She lost her husband and several close people all to this, or any other war, but due to her wisdom and strength people look to her for guidance. Themes of: Survivors Guilt.

Halsin - he is really closed off at first but then just casually hits you with "i was captured in the underdark and spent 3 years chained to a bedroom wall by a pair of drows who used me as they pleased". He is reprimanded by some of his druids for leaving the grove as soon as opportunity struck, just to get back and leave the next day, and if you talk to him about his position in the grove he is actually very forthcomming. He actively holds himself back; indulging in simple hobbies because he knows what lies within his heart. He is afraid of himself and his potential (canonnically he can't control his wildshape, which is very weird for an ARCH-druid) Themes of: impostor syndrome, avoidant-based self-harm, sexual opression, loss of control, emotional regulation.

Lae'zel is a very tragic case, and one that closely resembles the stories of Shadowheart and Karlach. Her entire existence is based upon a matriachial war society allowing her to live if she proves she can be of use and that in a culture which only values brutality, dominance & service. All of that culimating in her finding out that her oh-so-beloved Queen is actually just an imposter, and that everything she has lived for up to that point is merely political propaganda created to make her, and the rest of her entire species, willing pawns in a war that has no longer bearing on their survival alone, but is fought to justify Vlaakith's (the reigning monarchs) personal ambitions. Not only is she forced to reconcile that she is turned into the thing that controlled her kind for hundreds of years, that the only cure she knows of would kill her and then on top of that, that her hopes and dreams were lies and that she is now the Nr 1 enemy of the person she has served with all her being. themes of: oppression, propaganda, casual violence, objectification, child-warfare, eternal warfare

Minthara in short, her story is about being shamed for growing up in the same scenario that Lae'zel grew up in. Lolth, the god of the Lolth-sworn drows is a crazy queen who values scheming & backstabbing so much and is so volatile that you can't know what to expect of your deeds (and i mean it; there were people who were appraised by her for scheming against her, but also those who were killed. It's almost random.) She considers Lolth to be cruel and abandoned her for the Absolute, only to then be used and abused the same way Lae'zel has. Not with promises, but erasing her memory and exposing her perceived weakness. Themes of: casual violence, violent culture, her own ambition colliding with her desire to be safe, being a pawn in a larger game.

[anneapocalypse]

On Wuk Lamat, and Female Characters in FFXIV

The Thing with Wuk Lamat is you can tell me you think she had too much screentime; you can give me numbers on how many lines she had or how many scenes she's in relative to other characters or other expacs; you can prove to me "objectively" that she gets more focus than other main NPCs; you're simply not going to convince me that this is something I should be unhappy about. And not just because it's silly to think you can use numbers to prove a story is good or bad and make someone else go, "Wow, you're right, let me just throw away all the joy I experienced with this story and revise my opinion because you've scientifically proven to me that I'm wrong."

Because while I love Final Fantasy XIV and I have greatly enjoyed its story in so many ways, fundamentally one of my biggest beefs with this game has been how much female characters have been denied complex character arcs and growth and agency and interiority.

Minfilia gets treated as a sacrificial vessel who lives for everyone but herself and doesn't even get to have feelings about her own death because that entire arc is focused on a male character's angst about it instead. The game tells us in the Heavensward patches that Krile sees Minfilia as her best friend and then just forgets about that later and never follows up on what that loss must have meant to her. Ysayle is basically right about most of what she's fighting for but harboring a bit of self-delusion is apparently such a terrible sin that she has to pay for it with her life, while her male foil is deemed so worthy of salvation that there's a whole plot point about how important it is that we risk our lives and others' lives to save him. Y'shtola is a major character who's been around since the beginning, and the game keeps dropping maddeningly interesting things about her (apprenticed to a cranky old witch in a cave! saved her own life and the lives of her friends with an illegal and dangerous spell and it worked! reserved and undemonstrative yet regularly through her actions reveals herself to be deeply caring! disabled!) and then shows complete disinterest in following up on any of those things with the kind of depth and care shown to male characters with complex arcs like Urianger.

In general there is also a repeated thread of female characters being portrayed as weak or overly emotional: Minfilia is weak because she doesn't fight and needs to be eaten by a god in order to gain "a strength long sought." Krile is portrayed as not being able to pull her weight with the Scions (despite the fact that she actively keeps five of them from dying in Shadowbringers) and the only thing they could think of for her to do in Endwalker was be yet another vessel for Hydaelyn (hmm, that sounds familiar) and it's not until Dawntrail that she gets much actual character development in the main story and even that has to come alongside "Look, she can fight now so that means she's useful." (And I love Picto!Krile, I'm just saying, there's a pattern.) Alisaie, despite having very good reasons for needing to find her own path apart from her brother, is portrayed as having to prove herself when she returns, that she's "not the girl she once was," and "will not be a burden" (while Alphinaud is repeatedly given the benefit of the doubt and reassurance and affirmation from other characters even after he takes on responsibilities he isn't ready for and fucks up big time).

And if you follow me you know I adore Urianger, and I love Alphinaud and Thancred and Estinien too, so please don't misunderstand what I'm saying here! I'm not knocking those characters, or saying we shouldn't also love them. I just use them as a comparison to demonstrate how the female characters have been neglected.

Lyse has some of the stronger character development among the female Scions, and while she's still kind of portrayed as being too emotional and hotheaded in early Stormblood, I think it's actually explored in more depth in a way that I like; Lyse has good reasons for wanting to fight for her nation's freedom, but having been away from Ala Mhigo for several years now, she needs to understand the stakes for the people who've been there fighting for years, what they've lost and still have to lose. She grows as a person and rises to the challenge of leadership, and I'm even okay with the fact that she leaves the Scions afterward because it feels right for her to stay in Ala Mhigo, and at least she doesn't die.

And by all accounts she was, like Wuk Lamat, widely hated when her expansion came out.

Unironically I think the other female Scion with the strongest character arc is Tataru. She tries to take up a combat job, finds that it's not for her, and decides to focus on where her strengths are instead. In doing so, she both holds the Scions together as an organization in the absence of a leader by capably managing their finances, and also comes into her own as a businesswoman and makes international connections that benefit both the Scions and her personally. In contrast to Minfilia, she's not portrayed as weak because she doesn't fight, and is actually allowed to be an important character who's good for more than being sacrificed. Tataru is still distinctly in a supporting role for the player character, however, and her character arc happens as a side story that takes up a relatively small amount of screentime over several expansions, which I think is probably why she doesn't evoke such a negative reaction.

But there is a pattern of the game's writing showing disinterest in the interior lives of female characters generally, and in making their growth the focus of a story.

So yeah, I'm going to be happy about Wuk Lamat! I'm going to enjoy and celebrate every moment of her character arc, of her personal growth, of watching her put the lessons she's learned into action. I'm going to love and treasure every moment when she gets to be silly, embarrassing, emotional, scared, grieving, confused, upset, seasick, impulsive, and still deemed worthy of growing into a hero and a leader. I will love her with all of my soul and you simply will not convince me that it wasn't worth the screentime after such a profound imbalance for basically the entirety of the game. We've never had a major female character get such a strong arc with this much love and attention put into it and that means more to me than I can truly say. The backlash to it is disheartening, as this kind of thing always is, but I'm not going to let it ruin the wonderful experience I had playing it and how much joy it continues to bring me.

And for those of you who don't want any of that for a female character, thank goodness you have Heavensward and Shadowbringers and Endwalker and no one can take those away from you.

(And if you follow me you know that I love Shadowbringers and Endwalker and have very fond memories of Heavensward despite some issues with it, so not only can I not take that from you, I am not trying to!)

Some of us have been real hungry for a character like this with an arc like this, so, I think, y'know, maybe we can have that. As a treat.

[felikatze]

listen to me. the Emblems are living existential horror. I am just going to talk about them and you can do nothing about this.

They are. Explicitly. not the people they seem to be. Emblem Marth knows he's not the real Marth. He's aware that he is simply a simulacrum, the personified image of Marth, as seen by myth and history, reconstructed into a person.

Listen to me. Look me in the eyes. What route is Corrin? What route is Byleth?

All of them. It's ALL OF THEM. And that's why they're so vague. That's why they're nigh contradictory. They're every telling of that character, rolled together into a ball.

And in Elyos? That's fine. There is only one Marth, and one Corrin, and one whoever Emblem. But you see, in Askr... There's so many of them. And they're just Another One. Just Another Marth.

But also, now suddenly all too keenly fake.

Any given Corrin in FEH is not filled with contradiction, because FEH is not restricted to having Just the One - you can have one for BR, one for CQ, another for Rev, keep some vague... The multiplicity of the characters can be portrayed in different figures in different stages of life.

But. the Emblems are just "stories".

DOES ANY EMBLEM EVER REFERENCE POSTCANON?

My theory is. the Emblems only remember what is contained in their story, within their game.

Take for example, Emblem Lyn, and Emblem Roy. If Lyn truly is the Lyn-- how come she doesn't recognize one of her best friend's children?

And yes, Sigurd is keenly aware that he dies, but... His death is part of the story, no? It's not something that happens far off and far away, it's part of the plot. Of course he's going to know it.

Whereas Emblem Hector, who dies in a different game to his Emblem's origin, is blissfully unaware of his own fate. It's not part of his story, it's part of Roy's.

(Listen. This first crossed my mind when I read all of Emblem Hector's bond conversations. He references Serra thrice, and his own daughter not even ONCE.)

They are their games, down to the fundamental level. FEH can have a Celica be Queen of Valentia, but that's just one blurb of epilogue, so obviously Emblem Celica is not.

You cannot change my mind on this reading of them. You cannot.

And. The game of course never explores this. But how does it feel for them? To only have this nebulous sense of identity? To remember and feel iterations of you that contradict one another? FEH opens so many doors it is too cowardly to explore in depth.

How does Marth feel remembering both versions of his own past, one with Kris and one without? How does Corrin feel knowing every path she has walked? How do they feel seeing versions of themselves that are specific lived experiences, instead of just legends?

In Elyos, there is no one to contrast them. There are only the legends, only the Emblems. Nobody truly remembers exactly how their stories went, so they never need to specify and show their version of events. They just exist, as the holy, powerful, worshipped Emblems.

Does Lucina know who her mother is? Does Roy? Does Lyn know who she marries? Does Hector know he's going to die? Does Byleth see every student dead or saved?

They are their games and they are every version of their games they are every version of themselves which amounts to being NONE of them.

Which amounts to vague platitudes and allusions to other events and what is a doylist fear of spoilers and an advertisement is also a watsonian nightmare.

This isn't even the worst thing about them.

They're not just simulacra. They're also tools. Literal objects to be called upon and dismissed at will. Sure, in the Somniel, they can move around. But.

They can only affect the physical world in the arena. In combat. Because that's what they are! They are tools of war!

And sure, the divine dragons ask them nicely for their powers, and they get to keep their free will when summoned this way instead of having their souls subjugated.

or well. Do they...?

Do we ever.... see an Emblem say no...?

Of course, the divine dragons are Just and Good and Nice. Obviously the Emblems want to aid them. Obviously the Emblems would rather fight beside Alear than Sombron, saving the world they've been entrusted to. Because the Emblems are their stories, the manifestation of Good and Rightous Heroes, always ready to save the day and slay evil.

Which, of course, leaves us with something unconfirmed.

Could an Emblem say no if it wanted to?

The line between divine and fell is dangerously thin. (That is a conspiracy rant for another day.) Like, we see Alear combine prayers and incantations into one package with just prayer effects. You can use an incantation as a prayer if you put your mind to it and you can probably also do it the other way around.

The Emblems either have no choice at all, or are given a choice with one option they would never pick, which renders having a choice moot in the first place.

They are tools, and they know this. They are swords, and it's all a matter of how nice the sheath is.

And yet. All of them remember being human. All of them have loved ones that do not exist, not for them. And what strikes me about the Emblems added to FEH so far... they're all universally stoked to be able to eat.

It's like a fucking sensory deprivation chamber. Unable to touch, to eat, to decide where you go, and the only physical sensation they DO feel is when someone touches their ring. Like I'm realizing this as I write this goddamn post. An Emblem going "That spot was bothering me" when being polished is the only time they ever express physical sensation. Like feeling the dirt on the metal is all they get.

(Side note: you know you're fucked when you look up the petting minigame for Lore)

Like. They know they're fake. That they never had anything outside of this half existence. But they remember it anyways. Of course these memories are going to be precious to them, as vague and muddled and contradictory as they are.

They're tools. They're literal objects. They're alive. They just want to eat some good food again. They want to be with people they love, with people that are long dead and gone.

And this weird spirit existence has to be enough. Smell good food instead of eating it. Make friends with your wielders, enjoy the scarce scenery you get to witness after every battle.

It has to be enough. There's nothing else for them.

And when their duty is done, they can finally rest.

[eve-dawntower]

Treasure (Rafayel x MC)

Rafayel used to have all your attention, but now a rival has arrived. Who would have thought that the most formidable rival he'll ever get is his own flesh and blood?

Warning: None

Pairing: Rafayel x Reader

Tags: Fluff

Rafayel was truly happy when he found out he was going to be a father. I mean, a child is a combination of a small bit of him and a small bit of you, right? He was genuinely ready to become a father despite whatever nonsense Thomas was spouting. But what he wasn't ready for was you focusing all your attention on the half-merman toddler the two of you had created.

Rafayel glared at the small being splashing in the swimming pool in the middle of the baby room. The water in the pool was actually seawater and at the same temperature as the deep waters. Normally, Lemurian children could withstand the temperature above the sea, but babies and toddlers can't. It was all thanks to the protocore technology that they were able to create a baby room appropriate for a half-Lemurian and half-human brat. Brat. That's right. That's what he called his own spawn.

The toddler giggled as you tickled him, making Rafayel pout more. Why was he getting all your attention? The first few months after the baby was born were fine, but he's already eight months old! Isn't it about time for you to turn all your attention back to him, the father?

"At what age will he be able to learn to change his tails to legs?" you asked, not taking your eyes off your son. See? You can't even spare him a small glance, even though you're asking him questions!

"Around three or four. I still need to teach him how. But it's still up to him if he'll be able to master it or not. Not every Lemurian is capable of doing it. Only the talented ones," he replied sullenly.

Noticing that familiar tone, you turned to look at him, and for the first time, you realized he was pouting.

"What's the matter?" you asked him.

"Nothing," he turned away and stomped out of the room.

You look back to your son who was playing around the pool, oblivious to his father's mood.

Days turned into weeks, and Rafayel's frustration lingered. His days were now filled with a mix of responsibilities and longing for the attention he once had. The house echoed with the occasional splash from the baby room, where your son continued to explore his aquatic abilities under your devoted guidance.

One evening, as the sun dipped below the horizon, you found Rafayel brooding in the dimly lit living room. The soft glow revealed the depth of his emotions, and you couldn't ignore the strain on the relationship.

"Rafayel, we need to talk," you said, settling beside him. He sighed, reluctantly turning to face you.

"It's just... I feel like I've become a background character in my own story. Our story," he confessed, his eyes reflecting a mix of frustration and vulnerability.

You took his hand, reassuringly squeezing it. "I understand it's been an adjustment, but our son needs our attention. We can find a balance."

He nodded, but the ache in his eyes lingered. The following days, you made a conscious effort to involve Rafayel in the daily routines with your son, trying to bridge the emotional gap that had grown.

However, the problem with Rafayel was that he's very stubborn, and no matter how hard he tried, it was difficult for him not to be salty about how much attention his son was getting from you.

One day, you were suddenly called into a mission. Normally, Thomas takes care of your son when you're away, but Thomas is away for now, and calling a babysitter is obviously not an option. After all, you can't let anyone know about your half-Lemurian child. Left with no choice, you have to leave the child in Rafayel's care.

"Rafayel, please take very good care of him," you said, looking at him with a comically desperate expression.

Rafayel gave you a very offended look. "What do you think of me?! Incapable of taking care of my own child?!"

The conversation you had regarding what he was feeling about your child having all your attention lingers in your mind, but you decide to shake it off. Rafayel dislikes cats, but he took good care of one for you back then. What more if it's his flesh and blood? Despite what he was feeling, he wouldn't be irresponsible, right?

You nodded and planted a small kiss on the child's temple before leaving.

Rafayel stared at the doorway with an offended and exaggerated expression of shock.

"She didn't kiss me goodbye!"

The toddler giggled, making Rafayel turn to glare at him.

As Rafayel continued to glare at the toddler, the little mischief-maker seized the opportunity and splashed a handful of water in Rafayel's direction, prompting an unexpected reaction.

Rafayel dramatically recoiled, clutching his heart with mock horror. "Assaulted by a baby! This is outrageous!"

The toddler found this uproarious and burst into giggles, thoroughly enjoying the water-based escapade. Rafayel, however, continued his theatrics, staggering around the room as if gravely wounded.

"You've wounded me, my aquatic progeny! I'm a victim of watery aggression!" Rafayel declared, sinking to his knees in a theatrical display of defeat.

Your son, finding this turn of events entertaining, crawled over to Rafayel and patted him on the head. Rafayel seized the opportunity to cradle the toddler in his arms, feigning weakness.

"Ah, the betrayer himself consoles the wounded party. What a world!" Rafayel exclaimed dramatically, earning more giggles from the toddler.

The baby room transformed into a stage for this impromptu comedy, with Rafayel playing the role of the aggrieved victim. Despite the initial frustration, the absurdity of the situation broke the tension, and laughter echoed through the house.

Rafayel sighed after a few moments. "I wonder if your mommy still loves me. It's unfair! I'm the first! Why does it seem that she loves you more?" He whined as he poked the baby's nose, making him laugh. "Yeah, keep laughing at me. Pour more salt on your father's wound." He sighed. "I don't really hate you or anything. I mean, how can I? You're my son. Your mommy's and mine's son. But it really makes me sad how I ended up being shoved aside when you arrive in our life."

Just then, the child dragged himself off his father and slowly pulled himself towards the drawer. Rafayel watched him and mentally compare him to a seal.

The baby then looked at Rafayel, then back to the drawer, babbling.

"What is it?" Rafayel approached his son questioningly.

The child babbled as if trying to communicate with him.

Rafayel sighed. "I really don't have any idea what you're trying to say."

Pouting with a pout that resembles his, the child tried to reach and pulled lower the drawer handle.

"Hey, don't!"

Rafayel grabbed him away from it, making the child look at him in displeasure.

Rafayel groaned. "I guess Thomas is right. You really do look like a spitting image of me, especially when you're unhappy. Fine. You want to open this?"

Rafayel pulled the bottom drawer open, where he saw a book. He took it out and inspected it.

"What's this?" he muttered as he sat on the couch with the baby on his lap. He flipped the first page and realized it's like a diary. Only, it was a diary of your pregnancy.

When you were pregnant, you decided to write all your thoughts in it and how you felt at that time. Rafayel was unaware of it.

He started to read what you wrote.

"Rafayel is always childish and insufferable. He always annoys me, and sometimes I really want to choke him..."

"What the heck?! Is this all about her complaints about me?!"

The baby chuckled as if understanding what his father was saying.

Rafayel glanced at him. "Your mother... Seriously..." He shook his head and flipped to the next page, reading the contents.

More complaints about him were written. The farther he got, the harsher her words became. By the time he was halfway, he was more than ready to burn the diary. But then...

"Rafayel might not be the most mature guy out there, but he is really trying. Despite my mood swings and weird cravings, he was there, never leaving my side. Even if he always ends up receiving my anger, he never retaliated. Well, after I cried when he talked back once, he stop with his sassy remarks. I guess my cries traumatized him. Haha. If you gave me a chance to exchange him with someone else, I'll never do it. Because he's the only man I ever loved and will always love. He is also the one who gave me my treasure. My child."

As Rafayel read the diary, the realization dawned on him that, during your pregnancy, you had poured your heart onto those pages. The entries spoke volumes about the emotional journey you went through, and he found himself becoming a central figure in the narrative.

In the heartfelt words, you described how Rafayel was your pillar of support, always there to ease your fears and celebrate every milestone. The diary chronicled his late-night runs to satisfy your sudden cravings, the countless moments of reassurance, and the joy he brought into the preparations for the baby's arrival.

As Rafayel continued reading, a mix of emotions played on his face—astonishment, gratitude, and a touch of humility. It was a revelation that he had been a vital part of your pregnancy, more than he had realized.

He glanced at the baby in his lap, who seemed fascinated by the unfolding drama. Rafayel couldn't help but smile, a newfound warmth settling in his heart.

"I had no idea," he murmured, a genuine appreciation for the role he played during those months.

The entries continued to paint a picture of a loving partnership, with Rafayel actively participating in creating a nurturing environment for the upcoming addition to the family. He discovered how, despite his initial grumblings, he had been a source of strength for you.

Closing the diary, Rafayel looked at his son with a newfound understanding. The baby, sensing his father's softened demeanor, reached out and touched Rafayel's cheek, as if acknowledging the unspoken connection.

He hugged the baby. "If she consider you a treasure that I gave her, it makes sense how much she cares about you." He kissed his son's temple. "I also care about you but I guess I just felt so left out, I started seeing you as a rival. I promise it will never happen again."

With the diary in his hands, Rafayel felt a newfound appreciation for the bond he shared with you and the significance of his role in your life. As he embraced his son, a sense of warmth enveloped the room, dissolving the remnants of frustration that had lingered.

In that moment, the past frustrations and perceived rivalries faded away. The baby room became a sanctuary of reflection and realization. Rafayel embraced the depth of his role, not just as a father in the present but as a constant support throughout the journey of bringing their child into the world.

_____

After the particularly challenging mission, you returned home, exhausted yet relieved to be back. Opening the door, you realized it was too quiet.

"Rafayel?" You called out, worried about your husband and child.

You receive no reply and so, you went to the baby room.

Just then, you were greeted by a scene that melted away any residual weariness.

In the dim light of the baby room, you saw Rafayel peacefully sleeping on the pool, the baby nestled on his chest, both in a serene slumber. The sight was heartwarming – a testament to the newfound understanding and unity that had blossomed in your absence.

You couldn't help but smile at the peaceful tableau. Gently, you approached the sleeping duo and planted a soft kiss on Rafayel's kiss. He stirred, slowly waking up with a dazed expression.

"Welcome back," he whispered, his voice still heavy with sleep.

You nodded, savoring the tranquility of the moment. "What happened while I was away?"

Rafayel grinned, gesturing to the peacefully sleeping baby on his chest. "Well, we had a little water-based escapade, a dramatic showdown, and a realization that we're all in this together. Oh, and I read your pregnancy diary. Turns out, I played a more significant role than I thought."

"What?! Where do you find it?!" Your cheek reddened in embarrassment. You almost forgot about that diary.

"Well, a little fishy showed it to me," Rafayel gently shifted, allowing you to join them on the poolside. You gave him a look, annoyed that you wanted to get in the pool and have your hunter outfit get wet.

Sighing, you got in the pool.

"It's my real feelings, by the way," you said, referring to the diary's content.

"Yeah. Sorry for being so childish. I guess I just got used to having all your attention. I mean, I'm used to having everyone's attention. As a child, everyone fawned on me, and even when I became an adult, being the artist that I am, everyone looks up to me. So now, having another being get the attention of the person that I love the most made me anxious. I promise I'll never try to compete with my own son for attention."

"I also want to apologize, Rafayel. I guess I really did neglect you." You kissed his lips, as if apologizing for the times he felt neglected.

"It's fine. But promise me, once our child is old enough, I'll be the number one again."

You chuckled at that and snuggled to him.

"I promise."

"And I'm sorry for being a bit of a drama king," he admitted, a playful glint in his eyes.

You chuckled, "Well, I wouldn't have it any other way. Our story may be a bit dramatic, but it's uniquely ours."

The three of you shared a moment of quiet happiness, basking in the love that bound your unconventional family.

With your son sleeping peacefully between you, the challenges of the past were replaced by a sense of unity and understanding. As you leaned in to share a tender moment with Rafayel, you knew that every twist and turn in your story had led to this beautiful chapter of shared laughter, love, and the promise of a bright future together.

As the moonlight filtered through the window, casting a gentle glow on the room, you couldn't help but feel grateful for the journey that had brought you to this moment. 

END

MASTERLIST

[blurredblu]

Announcing Sonic Supernova 2025!

Hello all!

I'd like to announce that planning for the fandom event Sonic Supernova 2025 is officially underway!

What is Sonic Supernova?

Sonic Supernova (Supernova for short) is an unofficial community event made by Sonic fans for Sonic fans, where artists and writers collaborate in teams to create unique fanworks for the Sonic the Hedgehog fandom over a creation period. During this time period, participants can also get to know one another in the social space created for the event, i.e. a Discord server. The end result is a fandom-wide, celebratory event aimed to contribute an explosion of fan content to the Sonic the Hedgehog community over a publishing period during which each team's creations are released.

What's special about Sonic Supernova?

Supernova takes inspiration from Big Bang events! Big Bangs are a popular and well-known format of fan-organised experiences. We wanted to make an event inspired by the Big Bang format but with aspects of it adjusted based on what fans like you and me would like to see in a collective fandom activity. Hence, instead of an explosion kick-starting the universe (Big Bang) we're naming our event after the explosion of a star that gives off light to a degree of a billion times more than our own sun (Supernova!).

For starters, we want Supernova to prize creators first in their humanity and their autonomy. Art is powerful. Stories are powerful. It can be as liberating, cathartic, relieving, and thought-provoking to read them as it is to create them, giving us the space to explore concepts and situations safely and at our own pace. So, to support a wider range of creative possibilities for our participants, Supernova will allow creators to make mature-rated content as an option for the event. Proper tools and moderation will ensure only adults who opted in will be able to submit and see mature works.

We also want to do team-ups differently for Supernova. In Big Bang events, artists and writers are typically teamed up via a blind match-up where artists select from a list of anonymised summaries of each writer's story. While this has its draws, our team is looking to implement different team-up methods where artists and writers get to be more aware of what project they're signing up for and who they're working with. The end goal is that participants are given the absolute best chance to be fully satisfied with the project and people they end up with for a creation period that will last a few months.

While it's still in its early days, we're also discussing features to make Supernova a memorable time for our participants, including making our own website for the event and offering exclusive digital art goodies for everyone who participates in it.

Above all, we at Supernova aim to put creators first. What we can say about the goals of Supernova—what we as organisers aim to accomplish—are the following commitments:

Bridging together creators in the Sonic fan community

Respecting the depth, diversity, and humanity of our creators

Upholding fans' autonomy to choose what content they wish to make and/or see

Organising the event in a transparent and considerate way

Ensuring creators' safety and no tolerance for harassment

Can I participate in Sonic Supernova?

Yes! Everyone will be able to participate in Supernova. All you need is a Discord account, an AO3 account if you're a writer, and a love for Sonic the Hedgehog!

As we're allowing fanworks with ratings ranging from general audiences to mature ones, we're working on a robust, thought-out system that supports creators' autonomy by ensuring people will only be able to see what they opted for. This will apply both for the Discord server hosting the event and the final, published works.

The event isn't restricted to visual artists and writers only. If you're passionate about making GIFs, graphics, music, animations, knitting, sculpting, or anything else, Supernova is more than open to you, too!

When will sign-ups open?

Unfortunately, we don't know just yet. We're still in the planning stages and we want to take the time to make sure we get things right, including getting community feedback on an interest check form so us organisers can make decisions with your wishes at heart. 

We'll provide more information as we get closer to milestones in our development stages (like when we open sign-ups for the event!) and fully welcome questions, comments, and feedback from other Sonic fans! Feel free to contact us at the following accounts:

@blurredblu

@franticmelody

@soft-anomaly

We hope to hear from you either in our inboxes, or through our sign-up form once it comes out!

On behalf of the Sonic Supernova organising team,

umi  

(a.k.a. blurredblu/shizuumi151)

[thewriteadviceforwriters]

Hey! I was reading on your character arcs and was wondering how you would write character regression over the course of the story :)

Hey there, fellow writer! Thanks so much for your message. Sorry, this response took so long. But, I'm thrilled that you found my posts on character arcs helpful, and I'm excited to dive into the topic of character regression with you. It's a fascinating and complex aspect of storytelling that can add so much depth to our narratives when done well.

What is Character Regression?

Before we dive into the nitty-gritty, let's define what we mean by character regression. In essence, character regression is the opposite of character growth or development. It's when a character moves backwards in terms of their personal growth, beliefs, or behavior. They might lose skills they once had, revert to old, harmful patterns, or abandon positive traits they've developed.

This doesn't mean your character simply becomes "worse" or "evil." Regression is a nuanced process that can happen for various reasons and manifest in different ways. It's about your character losing ground on their personal journey, facing setbacks, or struggling with challenges that push them back towards old habits or mindsets.

Why Use Character Regression?

Now, you might be wondering, "Why would I want my character to regress? Isn't that the opposite of what we usually aim for in storytelling?" Great question! While it's true that we often focus on character growth, regression can be an incredibly powerful tool in your storytelling toolkit. Here's why:

Realism: Let's face it, real life isn't a straight line of constant improvement. We all face setbacks, make mistakes, and sometimes fall back into old patterns. Including regression in your character's journey can make them feel more authentic and relatable.

Conflict and Tension: Regression can create internal conflict for your character and tension in your story. It gives your character something to struggle against, adding depth to their arc.

Emotional Impact: Watching a character we care about struggle or backslide can be incredibly emotional for readers, creating a strong connection to the story.

Set-up for Greater Growth: Sometimes, a character needs to hit rock bottom before they can truly grow. Regression can set the stage for even more significant character development later in the story.

Exploring Complex Themes: Character regression allows you to delve into themes like addiction, trauma, fear of change, or the difficulty of personal growth.

How to Write Character Regression

Alright, now that we've covered the what and why, let's get into the how. Writing character regression requires a delicate touch and careful planning. Here are some steps and tips to help you navigate this tricky terrain:

(Beware Very Long Post!)

Establish a Baseline

Before you can show regression, you need to establish where your character starts. What skills do they have? What are their core beliefs and values? What positive traits define them? This baseline will be crucial for showing how the character changes over time.

For example, let's say we have a character named Alex who starts the story as a confident, outgoing person with a strong sense of right and wrong. This is our baseline. (I will be using "Alex" as an example character for the remainder of the post)

Identify the Catalyst

Regression doesn't happen in a vacuum. There's usually a triggering event or series of events that start the process. This could be a traumatic experience, a significant loss, a series of failures, or even a gradual wearing down of the character's resolve.

In Alex's case, maybe they witness a horrific crime that shakes their faith in humanity and the justice system.

Show Gradual Changes

Regression, like growth, usually happens gradually. Start with small changes in behavior, thought patterns, or reactions to situations. These should be subtle at first, things that the character (and maybe even the reader) might not immediately notice.

Alex might start being a little less friendly to strangers, or hesitate before helping someone in need – small shifts that hint at bigger changes to come.

Internal Conflict

As the character begins to regress, show their internal struggle. They likely won't be happy about these changes and might fight against them. This internal conflict can be a great source of tension and character depth.

Alex might berate themselves for their newfound hesitation, trying to force themselves to be the person they used to be.

External Consequences

The character's regression should have real consequences in their world. How does it affect their relationships? Their job? Their role in the main plot of your story?

Maybe Alex's friends start to notice their withdrawal and become concerned. Or perhaps their hesitation in a crucial moment leads to negative consequences in the main plot.

Escalation

As the story progresses, the regression should become more pronounced. The character might start to rationalize their behavior, or fully embrace their new, regressed self.

Alex might start actively avoiding social situations, or develop a cynical worldview that contrasts sharply with their former optimism.

Rock Bottom

In many stories with character regression, there's a "rock bottom" moment – a point where the regression reaches its peak. This is often a powerful, emotional scene that fully illustrates how far the character has fallen.

For Alex, this might be a moment where they refuse to help someone in danger, fully betraying their former values.

Potential for Redemption

Even if your story ends with the character in a regressed state, it can be powerful to show a glimmer of their former self. This hints at the potential for future growth and can leave the reader with a sense of hope (or tragedy, if that potential is never realized).

Maybe in Alex's darkest moment, they have a flicker of doubt about their new worldview, or a memory of who they used to be.

Tips for Writing Effective Character Regression

Now that we've covered the general process, here are some additional tips to help you write compelling character regression:

Keep it Believable: The reasons for the regression should make sense for the character and the story. Don't have a character completely change overnight without good reason.

Show, Don't Tell: Instead of simply stating that a character has regressed, show it through their actions, thoughts, and dialogue.

Use Supporting Characters: Other characters can serve as mirrors, reflecting the changes in your regressing character and providing commentary on those changes.

Maintain Sympathy: Even as your character regresses, try to maintain reader sympathy. Help the reader understand why the character is making these choices, even if they don't agree with them.

Consider the Pacing: Regression can happen at different speeds. It might be a slow burn throughout the story, or a rapid descent following a major event. Choose the pacing that works best for your narrative.

Don't Forget the Positives: Regression doesn't mean a character loses all their positive traits. They might still show flashes of their old self, adding complexity to their portrayal.

Use Metaphors and Symbolism: Visual cues, recurring motifs, or symbolic elements can help underscore the character's regression in subtle ways.

Explore Different Types of Regression: Regression can be moral, emotional, professional, or related to specific skills or relationships. Mix and match for a nuanced portrayal.

Common Pitfalls to Avoid

As with any writing technique, there are some common pitfalls to watch out for when writing character regression:

Making it Too Sudden: Unless there's a massively traumatic event, regression usually doesn't happen overnight. Be careful not to have your character change too quickly without proper buildup.

Losing Reader Sympathy: If your character's regression makes them completely unlikeable, you risk losing reader investment. Always strive to keep them understandable, even if not always sympathetic.

Inconsistent Motivation: Make sure the reasons for your character's regression remain consistent and logical within the context of your story.

Ignoring the Impact on Plot: Remember that character regression should impact your main story. Don't let it become a subplot that doesn't connect to the main narrative.

Overdoing It: Regression doesn't mean your character has to become a completely different person. Maintain some core aspects of their personality to keep them recognizable.

Examples from Literature and Media

Sometimes, it helps to see how other writers have handled character regression. Here are a few examples you might find inspiring:

Walter White from "Breaking Bad": His transformation from mild-mannered teacher to drug kingpin is a masterclass in character regression.

Daenerys Targaryen from "Game of Thrones": Her descent into ruthlessness in the final season is a controversial but noteworthy example of character regression.

Oscar Wilde's Dorian Gray: His moral decay over the course of the novel is a classic example of character regression in literature.

Michael Corleone in "The Godfather": His transformation from war hero to ruthless mafia boss is a powerful portrayal of moral regression.

Studying these and other examples can give you ideas on how to handle regression in your own writing.

Final Thoughts

Writing character regression can be challenging, but it's also an incredibly rewarding aspect of storytelling. It allows us to explore the complexities of human nature, the fragility of personal growth, and the myriad ways that life can shape and reshape us. When done well, it can create some of the most memorable and impactful characters in literature.

Remember, there's no one "right" way to write character regression. The key is to make it authentic to your character and your story. Let it grow organically from the events of your plot and the unique personality of your character. And most importantly, don't be afraid to dig deep into the messy, complicated aspects of human nature.

As writers, we have the privilege and responsibility of reflecting the full spectrum of human experience in our work. Character regression is a part of that spectrum, and embracing it can lead to richer, more nuanced storytelling.

Balancing Regression and Reader Expectations

One thing to keep in mind as you write character regression is the balance between realistic portrayal and reader expectations. Readers often come to stories expecting character growth, so a character who regresses can be jarring or even frustrating if not handled carefully.

Here are a few strategies to help manage this:

Foreshadowing: Hint at the potential for regression early in the story. This can help prepare readers for what's to come.

Clear Motivation: Make sure the reasons for the regression are clear and understandable, even if not agreeable.

Moments of Hope: Intersperse moments where the character shows glimmers of their former self or potential for growth. This can help maintain reader investment.

Character Self-Awareness: Having the character acknowledge their regression can help readers process it.

Narrative Purpose: Ensure the regression serves a clear purpose in your overall story. If readers can see why it's necessary, they're more likely to accept it.

Character Regression in Different Genres

The way you approach character regression might vary depending on the genre you're writing in. Here's how it might look in different contexts:

In Literary Fiction: Character regression often serves as a deep exploration of human nature and societal influences. It might be subtle and psychological, focusing on internal changes rather than external actions.

In Fantasy or Science Fiction: Regression might be tied to magical or technological elements. Perhaps a character loses special abilities, or technology they relied on fails them, forcing them to regress to a more primitive state.

In Romance: Regression could manifest as a character retreating from emotional vulnerability, perhaps due to heartbreak or fear. The challenge becomes learning to open up again.

In Thrillers or Crime Fiction: A character might regress morally, crossing lines they never thought they would. This can create intense internal conflict and external tension.

In Horror: Regression might take on a more visceral or psychological form, with characters losing their grip on reality or reverting to primal states in the face of terror.

Character Regression and Story Structure

Consider how character regression fits into your overall story structure. It can be a powerful tool at different points in your narrative:

As an Inciting Incident: A character's sudden regression could be the event that kicks off your main plot.

During the Rising Action: Regression can add complications and raise the stakes as your story progresses.

At the Midpoint: A significant regression at the midpoint can dramatically shift the direction of your story.

During the Dark Night of the Soul: This low point in many story structures is a perfect place for a character to experience severe regression.

In the Resolution: Sometimes, a story might end with a character's regression, leaving readers with a sense of tragedy or unresolved tension.

The Role of Regression in Character Ensembles

If you're writing a story with multiple main characters, character regression can play an interesting role in group dynamics. Here are a few ways to use it:

Contrast: Have one character regress while others grow, highlighting the different paths people can take when faced with similar challenges.

Domino Effect: One character's regression might trigger changes in others, either pushing them to grow in response or causing them to regress as well.

Support Systems: Show how a group responds to one member's regression. Do they try to help? Enable the behavior? Distance themselves?

Power Dynamics: Regression can shift the balance of power within a group, creating new conflicts and alliances.

Regression and Theme

Character regression can be a powerful way to explore and reinforce your story's themes. For example:

If your theme is about the corrupting influence of power, showing a character regress morally as they gain more influence can underscore this idea.

For a theme about the importance of human connection, you might show a character regressing into isolation and the negative effects this has.

If you're exploring ideas about identity, having a character regress to an earlier version of themselves can raise interesting questions about who we really are.

A Word of Encouragement

As I wrap up this deep dive into character regression, I want to offer a word of encouragement. Writing regression can be emotionally taxing. It often requires us to delve into dark places, to imagine our characters at their worst, to confront difficult truths about human nature. This can be challenging, even distressing at times.

Remember to take care of yourself as you write. It's okay to step back if things get too intense. Talk to fellow writers about what you're working on. Engage in self-care practices that help you process and separate from the darker elements of your work.

And most importantly, don't lose sight of why you're including regression in your story. Whether it's to create a more realistic character journey, to explore complex themes, or to set up a powerful redemption arc, keep that purpose in mind. Let it guide you through the difficult moments of writing.

Remember, every character's journey is unique. There's no one-size-fits-all approach to writing regression. Trust your instincts, stay true to your character and your story, and don't be afraid to push boundaries and explore uncomfortable truths. That's where the most powerful writing often emerges.

I hope this deep dive into character regression has been helpful! Keep writing, keep exploring, and never stop pushing yourself to grow as a storyteller. Your voices and your stories matter.

Happy writing, - Rin T

Sources:

K.M. Weiland's blog post: "How to Write Character Arcs: The Flat Arc"

K.M. Weiland's "Helping Writers Become Authors" blog: "5 Ways to Write a Negative Character Arc"

TV Tropes: "Fallen Hero" 

[casscainmainly]

Bruce Wayne & Cassandra Cain in Batgirl (2000)

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

Who Does She Remind You Of?

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

You Can't Understand A Word I'm Saying

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

Denial

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

Good Answer

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

Jason Todd

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

Denial 2

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

Good

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

Overprotective Dad Mode

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

Realisation

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

He Never Let Me Touch Him

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

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

[brokebonewritings]

Moonlight Lovers

Gale Dekarios x Fem! Reader

Tags: 18+, Fluff, Smut, Domestic Bliss

Summary: You and Gale spend a lust filled evening together. One of the many shortly after returning to Waterdeep and getting married.

Word Count: 1.9K

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"The moon is a beautiful sight tonight, isn't it."

You jump as the husky voice appears to suddenly, but you turn around knowing that it's your husband. Gale leans in the doorway of the balcony as you stand at the rail looking up at the stars. You smile as you watch him walk to you, placing a kiss at the temple of your head.

As the cool breeze ruffled your hair, you closed your eyes and leaned into Gale's touch. His presence was a comforting anchor amidst the vastness of the night sky. Together, you both gazed at the luminous moon, its ethereal glow casting a soft radiance over the world below.

It seemed as if time stood still in that moment. The worries and troubles that had plagued you throughout the day melted away. You often sought solace in the late hours of the night, finding solace in the gentle dance between darkness and light.

Lost in your own thoughts, you whispered, "Sometimes I wonder what it would be like to touch the moon."

Gale chuckled softly, his warm breath tickling your ear. "Oh darling, if only we could reach out and grasp it. But sometimes, it's the beauty of things just beyond our reach that enthralls us the most."

You turned to look at Gale, his eyes shimmering with a mixture of longing and wonder. There was a distant look in his gaze, as if he were envisioning making it a reality. It was one of the many reasons you fell in love with him - his ability to see the extraordinary in the ordinary.

Lost in the allure of the night, you both continued to stand there. One of his hands holding your waist, as the other grips the rail. The world around you fell away as you found yourselves drifting into a shared reverie.

Suddenly a shooting star streaked across the sky, drawing a gasp of wonder from you. It was as if the universe was responding to your unspoken desires, affirming that there was indeed still magic left in this world.

"You've bewitched me, truly, you are even more stunning than the moon." Gale whispered, his voice barely audible over the gentle rustling of the wind. "I would give anything to make your dreams come true."

You turned to face him, your heart swelling with love for this man who cherished every ounce of your being. "And I, you," you replied, a tender smile gracing your lips.

He leans in and nuzzles your jawline with his nose. Peppering your skin with light kisses. As Goosebumps prickle your skin, you feel an electric current surge through your veins.

In that moment, you both knew that the moon was not the only thing that held irresistible allure in the night sky. The depth of your love for each other seemed to transcend the earthly realm, reaching heights that only the stars could fathom.

Gale's lips find yours, and the world around you dissolves into a sea of passion and desire. In each kiss, there is an unspoken promise of forever, a pledge to explore the wonders of life together.

"Do you ever regret what we have done?" You ask, the question comes suddenly and without warning. This causes him to stop his shower of his kisses.

Gale pulls back slightly, his eyes searching yours for any sign of doubt or hesitation. His hand gently brushes against your cheek as he speaks, his voice filled with sincerity.

"Regret? Never," he murmurs, his gaze unwavering. "Every step we've taken, every choice we've made, has led us to this moment. And in this moment, I am the happiest man alive."

"I don't regret it either," you reply softly, your fingers intertwining with Gale's. "All those risks we took, all those obstacles we overcame, they were worth it to be here—to be with you."

His face softens, his eyes reflecting a profound sense of gratitude. "To be with you," he echoes, his voice filled with an overwhelming tenderness. "There is nothing in this world I would trade for the love we share."

You're quick to turn and jump in his arms. You wrap your legs around his waist as he holds you against the railing. Kissing him with full passion, you let your love and desire consume you both.

"You really are going to be the death of me, aren't you?"

"I might be but I think you've got me in a bind here, Mr. Dekarios."

"How so?"

Biting at his lower lip, and pulling ever so lightly. You hear him groan at the sensation. "Because my body, and soul are forever yours."

Gale's eyes darken with desire as he holds you tighter, his hands roaming over your body. "And mine, my love, belongs to you," he whispers huskily, his voice filled with an intoxicating mix of passion and adoration.

Without breaking eye contact, Gale carries you across the threshold into the bedroom. You had forgotten just how strong your husband was. When he approached the bed, he laid you down gently before climbing above you.

His eyes burn with a hunger that matches your own, igniting a fire within your veins. As he hovers above you, you feel the weight of his desire pressing against your body, a tantalizing promise of the passion to come.

With a feather-light touch, his fingertips trace the contours of your face, leaving a trail of fiery sensations in their wake. His lips meet yours in a searing kiss, an explosion of longing and need.

Clothing becomes an unnecessary barrier as he undresses you with gentle urgency. After freeing your breasts from the night shirt you were wearing, he gently kisses around your nipple before taking it into his mouth.

You arch your back, your chest rising and falling with each labored breath. The sensation is exquisite. Gale's hands continue to explore every inch of your body, leaving you panting with need.

"I need you," you whisper, your voice barely above a whisper.

Gale's eyes lock onto yours, the desire within them burning hotter than any flame. He leans down, his lips finding yours once more. This kiss is more intense, more desperate than any you've shared before.

His hands continue to roam over your body, his fingers tracing the curves of your hips, the dip of your waist. You feel yourself melting into him, your body responding to his touch with a yearning that threatens to consume you both.

As he presses you into the mattress, he lowers his head, his lips finding the sensitive skin of your neck. You can't help but moan, your body trembling with pleasure.

His fingers trail along your inner thigh, the anticipation building with every stroke. You let out a soft whimper, your body begging for more.

Finally, he reaches the apex of your desire, his fingers lightly caressing your most sensitive spot. You cry out, your hips bucking against his hand in a desperate attempt to find release.

Gale smiles, his eyes filled with lust. "You're mine, always." he growls, his voice low.

And with that promise, he slides two fingers inside you. You gasp as your body adjusts to the overwhelming invasion. Your hand grips his forearm, nails digging into his flash as he begins to pump his digits into you.

Your body trembles, and your mind is hazy with desire. You can feel him watching you, his gaze makes your heart race even faster.

His fingers continue pushing deeper, stretching you wide as he adds a third.

"Please," you whimper. "Please, I need more."

Gale responds by replacing his fingers with his mouth, his tongue lapping at the delicate folds of your core. The need for release consumes you completely. He knows just what to do, just how to make you come undone.

His tongue keeps searching, delving deeper, threatening to pull you into the abyss of ecstasy. Your body is aflame, your heart pounding against your ribs.

"Gale, I swear to you, if you do not take me right this instant, you will become a widower." You pant through your moans.

At the sound of your plea, Gale removes his mouth from your core and positions himself between your legs. "Come now, we can't have that now can we?"

You feel the swollen head of his erection brush against your entrance. As he pushes in, you gasp, your body stretching to accommodate him. You feel his warmth enveloping you, and you can't help but whimper at the sensation.

He begins to move, his hips swaying in a rhythm that matches the pounding of your heart. Each thrust sends waves of pleasure coursing through you, and your nails digging into his back.

He pulls almost all the way out, leaving only the head of his erection inside you, and then thrusts in deep once more. Your eyes meet, and he leans down, his lips brushing against yours as he continues to move inside you.

You wrap your legs around his waist, pulling him closer and the sensation becomes exhilarating. You feel yourself getting closer and closer to the edge, the pleasure building with every thrust.

"I need you to tell me where to come." He says, his voice hoarse with desire.

Moaning loudly, you respond "Please, Inside me. Come inside me."

"You want me to fill you?" He grunts, as he thrusts in you. "Want to feel my seed spill inside of you." 

"Yes! Gale, fuck yes!" You scream.

His eyes glint with hunger, and he obliges, increasing the pace and depth of his thrusts. You gasp, your head thrown back in pleasure as he continues to fuck you relentlessly.

"So fucking tight," he growls in your ear, his breath hot against your skin. "You're going to make me come"

You reach up, your nails raking across his back, and grimace as you feel his hand cup one of your breasts. His fingers toy with your sensitive nipple, his thumb brushing against it in circles that send shivers down your spine.

Body screaming for release, you know it's close. You arch your back and beg him to keep going. With each thrust you feel his hips hitting against your clit. Your walls begin to clench around him, and you feel yourself tightening, ready to release.

Just when you think you can't take any more, Gale groans and thrusts deeper, harder, driving you over the edge. With a loud cry, you explode around him. Body shaking with pleasure.

His own seed begins to spill into you, filling you completely. As you continue to pant, your body still trembling with the aftershocks of your orgasm, Gale's thrusts slow and then stop.

He collapses onto you, his weight heavy but comforting, as his heart beats wildly against your chest in sync with yours. 

You both lie there, spent and breathless, your bodies melded together as one. The sweat from the exertion mingles with the remnants of your passion, leaving your skin glistening in the dim light of the room.

Gently, Gale lifts himself off you, his gaze never leaving yours. He kisses you tenderly, his lips soft and warm against yours, and you can taste the remnants of your lovemaking on his tongue.

As he pulls away, he looks down at your now-swollen lips, a satisfied grin spreading across his face. "That was incredible," he whispers, "You are incredible."

"As are you." You say, gently caressing his face.

Gale pulls up the covers and wraps you in his arms, his body still warm from the passion that just ensued. As he holds you close, your bodies still panting heavily from the exertion, you can help but marvel at the connection you share.

You close your eyes, feeling Gale's heartbeat against your cheek. "I love you more than anything,"

Gale responds with a sigh, "And I, you."

The words linger in the air as you both drift off, your bodies still entwined, and the promise of more passion to come.

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[cer-rata]

An incomplete but very angry diatribe about the missed potential of the Star Sapphires

So back in the day Geoff Johns and co decided to open up the Green Lantern mythos and add some more flavor and expand the concept of sci-fi tech powered by elemental emotion to more than just willpower. Which yes, is not an emotion, we ignore it and move on.

Anyway we got some really cool stuff! A rage tyrant fueled by experiencing incredible injustice on a personal and cosmic scale, whose vendetta twisted him into something terrible. An avatar of greed who was never allowed to have anything, not freedom, not family, not safety, who takes and takes and takes to fill a void that can never be satisfied. A priest who lost everything but presses on through his unshakable hope that the future can and will be better. It's a lot of fun stuff!

So in this great creative re-imagining, they had to do something clever and fun with the idea of an all female corps powered by love right? They took the opportunity to move past the purely romantic, sexual idea of love and the obsessed femme fatale archetype, because they had the chance to really explore different types of affection now that there were a bunch of different avatars with different stories to pull from right?

Right?

Nope! The only Sapphires we ever learn about are heartbroken over a cursed romance like Carol, grieving a dead fiance like Miri Riam, forcibly mind controlled to be one like Fatality, or just Miss Bloss who...kind of said she wanted to join up? No clue what her deal is, as far as I'm aware that's never really explained. And then we just never learn about anyone else, and still haven't. The hell is "The Lost Sapphire"? No idea, we'll likely never know.

It's frustrating because not only is this a glaring example of the depth of plotlines offered to women in comics compared to their male counterparts, but also a wild lack of imagination. Love is one of the most complicated emotions we experience. Fear, anger, hope, all pretty easy to quickly define. Love is multifaceted, cultural, incredibly contextual and a factor in so many different kinds of relationship. Just thinking logically it should be much easier to flesh out the motivations of a group pulling from such a nuanced source of power, versus something as clear-cut as rage. But no, the red lanterns got so many varied reasons for their rage, the male ones especially: Bleez being the woman was of course given the SA narrative, which I don't think is inappropriate on its own, that's an incredibly valid reason to be angry, but as the ONLY truly prominent female Red Lantern it's like...c'mon guys. But still, at least she and Atrocitus had different reasons for becoming what they are, and that variation was played for plot and drama.

But there's not a single Star Sapphire that personally champions something other than romantic love. And before you shoot me, it is explicitly mentioned that they DO protect other forms of love, so there's no reason for them to all be sexy and obsessed with kissing people. There are no Sapphires that are driven by:

The love of their children and families, even in a tragic sense, like Atrocitus and Saint Walker and Larfleez are...

Their love of their people, or their culture. It would have been interesting if Fatality was inducted BECAUSE of her pain at losing her world, but no, they just...replaced her anger with lovey vibes and called it a day.

Their love for nature. Not everyone is social, but social love isn't the only way to strongly experience the emotion.

Their love for themselves. Where is the fun narcissistic ass who loves their own self image to the point of getting powers? It would have been a fun twist and a cool way to get another villainous Sapphire if you wanted to.

Their platonic love of ANYTHING really. Are ace/aro people just...not capable of love then? It doesn't mean anything to be willing to drive cross country to help a friend move just because they needed it and you care? No? You need to be fucking for it to count?

It's like...fascinating if you really think about it. In this vast fantasy universe full of alien races with wildly different perceptions and life cycles, and where the other corps have plenty of non-human, truly alien looking members, that the women's only love corps is full of only hot hot scantily clad baddies. Most love that people experience in their lives isn't even romantic! You will have far more experiences with friends and family members and even loving strangers than you will have with romantic partners.

Like the reason is clearly sexism, duh, but we know sexism is bad, that's obvious, what I really want to make clear is how much this blatant, unexplored sexism just completely desecrated the potential of the worldbuilding here.

From another angle even: Let's say this this WAS the sex and romance all the time corps. Let's say that you wanted to keep it all women. I hate the idea that women are capable of love in a way that men aren't, that's such a bad take and just regressive and unhelpful, but let's just play ball for a moment. They're not even hot? Their designs are such ridiculously narrow versions of feminine attractiveness that they're not even successful at really being mass appeal sexy. I haven't even reached the point of complaining about the fatphobia and criminal lack of different body types yet, I'm still just saying that from the standpoint of fantasy sexy it's not even good at being stereotypical offensive fantasy sexy. It's just boring! They're all so visually boring! You can be scantily clad and still have an interesting and coherent character design! But that is not what they gave these women! They actually redesigned the classic Star Sapphire costume and made it MORE sexist and boring:

Yeah it was cheesy but it was also cute and fun? The design is playful classic sci-fi girl and this is when she was still a dangerous unhinged villain. Its fun to look at and feels tonally coherent next to Green Lantern.

And then they just...

No actually, I will not explain this one, you have eyes.

And yeah they fixed her costume finally,

But! She's still stuck as Hal Jordan's romantic punching bag, and has not gotten to have any new adventures on her own.

So.

What I'm saying is it's a flop all around. 2/10, and only because despite everything Fatality STILL managed to serve. I actually think that all of the corps have been poorly used since blackest night, even the greens actually, but they never even gave the Sapphires a chance. They last showed up in...a WW annual I think? During the whole dark gods event, they needed Diana to help them fight the evil god of love, and there was a guy in the corp finally, and they talked about sisterhood and then we haven't heard a peep from them since. I think Carol might be due to get her ring back in the GL ongoing but she's not really been treated well so far, so I'm not hopeful for anything fresh and well reasoned.

So my lovely ladies (and that one unnamed guy), until they let you get it together it may be time to

[yangsharperavery]

my carmy/sydney related thoughts on season 2

i think when digesting this show, it's done more easily when we see who carmy and sydney are as people and how they bring that beingness to their dynamic.

it's interesting to see the takes from people who are troubled by what they saw in this season in terms of their relationship.

i personally thought there was so much fascinating groundwork that was laid.

we knew when molly gordon was cast they were likely trying to introduce a love interest for carmy.

i was not shocked, i was not surprised. i literally expected it.

doesn't mean i wasn't rolling my eyes but i was well aware of what function she would play within the narrative.

but the writing is so sharp that there are a million subtle elements of carmy's character, and what we know about him up to this point, including what was illuminated by the christmas episode.

let's first talk about carmy's choices and behavior where it relates to claire vs sydney and the restaurant.

we know that carmy is awkward, isn't incredibly relationally experienced and has sacrificed everything for his career and specific level of skill.

he'd just been ruminating on expanding his experiences as expressed in the al-anon meeting.

we know this man is intensely grief-stricken and also that he's battling his own mental health.

we also know he's literally been bred from chaos and emotional tumult.

even him not going to his own brother's funeral makes so much sense after that christmas episode.

he couldn't stand to witness what that type of grief had done to his already deteriorating mother.

so he's trying to conceptualize fun.

notice he wasn't trying to conceptualize love or relationships or a partner.

it was literally presented and integrated as fun.

so he runs into this girl he used to a have a crush on and even then, he's not sold because he knows himself, he knows his priorities, his propensities toward self sabotage, etc so he gives her a wrong number.

yet she persists.

so to me, this may seem like a sign to him to give this a chance, do some exterior exploration of something outside of the kitchen and outside of his career and outside of his own neurosis.

so he's just going with the flow. trying to be "normal". not really knowing the content or context of anything. another reason why he wasn't even calling claire his girlfriend.

claire even brings up the fact that they'd hung out so much but didn't actually talk.

which is SPOT on because the audience only actually ever sees them talking about their careers or what they were like as kids/teenagers.

but you know who carmy DOES talk to? hmm, more on that later.

so claire is symbolic of this thing that was pleasant when he was younger, when he was less of this grown conglomerate of anxiety and disarray and sorrow. a part of him that's separate from all of his current worry and fixations and dysregulation.

him saying he loves her so much and that he thinks she's so great actually rings hollow because we, the audience, didn't actually get to see when and where that level of specific emotion or intensity occurred.

so off rip i don't believe him. i don't think about it in the context of if or when he and sydney explore anything, because it feels patently untrue to me.

and completely separate from sydney.

it's not earned. it's not rooted. it's not tacitly valid.

it's fine. it's a good time. it's some laughs and conversation and sex and a nice, normal person he has fond, nostalgic memories of.

and i think it's written that way on purpose!

so him professing this to other people feels like this way to continue digging a hole of his own distraction, his absence, his lack of attention to detail.

i completely understand the frustration that many feel about interpreting this like carmy was essentially choosing claire over sydney.

carmy was trying to have an unfamiliar and different experience and didn't have the depth perception, the self awareness and the internal regulation to recognize he was doing it to the detriment of something so deeply and irrevocably important to him.

as soon as sydney brought it up, he got defensive but then moments later recognized his errors and apologized.

she told him she didn't want to share his attention.

he told her she was absolutely correct and that she deserved his full focus.

what's fascinating about this part is they aren't even explicitly talking about the restaurant.

she says "me" and "i", he says "you".

uh. wow.

now even in the context of JUST the restaurant this is saying ALOT here.

him instantly apologizing and agreeing with her requests means a substantial amount.

carmy isn't an ass because he stood sydney up for the palate cleanser. or even because he went absent when he shouldn't have.

carmy is deeply troubled and wounded and suffering and he was grappling for something else to feel or do or think about besides what he's ALWAYS thought about and done and fixated on.

that's why he's unreliable, that's why he's haphazard and emotionally or energetically messy. he's coping.

that's why he knows he makes mistakes all the time. because he feels like he's a screwup in a lot of specific ways in his life so he's used to it.

he's not being malicious or cruel or even unkind to sydney.

and this isn't an excuse. it's a reason. it's what all the information we have about him up to this point is providing us.

and yes, his timing is godawful.

but he trusts this person so implicitly because he knows how talented and capable she is.

carmy does not know HOW to be a partner, of any kind. where would he have learned that? where would that have been modeled for him?

"this is what you wanted originally and i'm giving it to you."

so let's transpose the way carmy and claire are presented with how carmy and sydney are together.

he literally can't WAIT to hear what sydney has to say. about literally anything.

at any given time.

"say more please."

all he wants to do is listen to her talk. he wants to know everything about her. the personal stuff too, almost especially.

he listens to her so closely. in the first or second episode she loses her train of thought and he repeats everything she just said.

i don't even think it was restaurant related.

he brings up her mother not once, but twice.

he feels like he should have known that sydney lost her.

he wants to pour into and believe in her because he does. he already does.

he's ready to apologize to her because he knows what a mess he can be and often is.

he knows what his anger can do. he knows how he was conditioned and raised in the industry and he doesn't want that at all for her, least of all from him.

especially after she walked out last season.

he's hyperaware of it. he calms down instantly both times she does the sign for sorry that HE taught her.

he has this propulsion to NEED to know what's happening with her in the very moment something occurs.

he did it last season when she quit on the spot and he kept trying to talk to her when she was leaving.

he did it this season when she was frustrated and trying to say goodnight after carmy was actively telling everyone goodnight and to go home, yet he tried to talk to her when she was leaving.

"what?"

"i'm saying goodnight."

he was repeatedly ushering everyone out but because of the look on her face, carmy's like wait, "what's that about, what's happening?"

he can't stand it!

same with them outside last season when he brought her food and asked what was wrong.

if something is up with her, he reacts immediately.

if she's peeved, he wants to know why right away, he wants to know what to do to make it better, how to approach it, what to say, he goes out in search of that information in the moment it's happening.

sydney is his soft place.

he feels very anchored and tethered to her and i believe she feels the same with him.

sydney is his respite. his peace. the thought of her literally calms and stills him.

her being energetically seats him.

we saw it penetrate his seismic and consistent panic in real time.

that was clearly displayed for all of us to witness.

he doesn't want to be cruel or unkind or anything other than present and communicative with her.

i'd venture to say he actually doesn't want anything more than that, besides maybe the restaurant to succeed.

now sydney is in her "i have something to prove" era.

she is so driven and so determined but she's also a realist and is inundated and surrounded by all this proof that what she's doing may be foolhardy.

at the very least, it's incredibly risky. it's a jump.

and someone deeply ambitious and creative and tuned in and focused like sydney has such fear of failure.

because she knows what it often means for someone like her.

that's why she overextends herself so continuously.

she's often had to and she thinks it gets her closer to the opposite of failure.

she was not only aware of the gaps carmy's absence was leaving but also planning this tasting menu with a MILLION things on it because something was gonna be the star because it MUST.

and i think the carmy absence flares a bit of abandonment as well, like he's left her in a lurch.

she has feelings about that.

she finds out why he did, and TRIES not to have feelings about that.

that's confusing and she's already beyond stressed out so she tries to stuff it.

her success is so tied to her identity because she's worked so hard to get where she is and still feels like she's not where she wants to be.

so she wrestles with worthiness and worry and the financial climate of affability for restaurants. she's riddled with what if she can't hack it?

she has evidence of that being true in the past.

she has evidence of her past failures and those are what keep her up at night, not the infinite possibilities of her future successes.

and that's also why she picked carmy.

because she was always going to pick the best.

she was always going to follow the career and moves of the standout in the industry.

of the person that made the best meal she's ever had.

so if he's anal retentive or jumpy or doesn't call about changing the structural elements of their restaurant while it's happening, she deals with it because she picked him.

she chose him. and then he chose her.

(and then she lightweight chose him again when she came back)

so that's why when they're talking he so often checks in by looking her in the face, scanning her expression. he instantly picks up on something being off or wrong or him being "shitty".

or why when they're under a damn table, despite being peeved or annoyed with his disappearing acts, she lets out the most vulnerable, softest admissions about the perceived necessity of her contribution and future failure.

or why he responds with "i couldn't do it without you" so instantly, so rapidly, it's like it's etched in him. that's the quickest response he'd given to anything she said to him the entire season, she barely got the words fully out before he was verbally soothing her.

then he STAMPS this by saying "i wouldn't WANT to do this without you."

there was such an unexpectedly, viscerally aching quality to that exchange.

it's honestly searing.

i'm sorry are these wedding vows or are we talking about opening a damn restaurant?

or the way he says "you love taking care of people" to her when she talks about making sugar food.

that's also a stellar mirrored moment because i've seen a few people, i believe @eatandsleepwell is one, talk a lot about how that's one of carmy's main drivers and internal tenants.

they see so much of themselves in each other.

the buried parts, the unknown parts, the odd parts.

the parts they wanna work on. the parts they wanna exalt.

they are so similar. they are also quite different.

they have reflected one another in the narrative since s1 ep1.

they exist so flawlessly within the others interstices.

she wordlessly hands him pepto for his stomach.

he tells her he won't let her fail.

the pulsing undercurrent of sydney and carmy is pretty fucking palpable.

there's people on social media who weren't convinced or didn't ship them last season that have suddenly completely seen the vision.

whether the writers actually go there or not remains to be seen.

i don't necessarily trust that they will or won't to be honest because i know there are so many moving pieces and variables and factors.

ships get bypassed and messed up all the time.

i don't watch any shows for ship guarantees but i know how writer's rooms work.

i'd venture to bet that at least 1/3 of that room DOES have an interest in seeing something happen between carmy and sydney, (maybe even 1/2).

or at the very least the option to have it explored.

different people write different episodes, the showrunner/creator can scratch or add whatever.

scripts are TIRELESSLY edited and shortened.

yet there is alot that makes the final cut that points to the potent carmy and sydney marrow.

him giving her the captain reigns before they served for the first time, her saying 'let it rip'.

to me, sydney walked into that failing sandwich shop with a mission that day, they locked eyes and immediately fused.

something happened to the both of them in that moment and they largely don't even realize or can adequately reckon with its magnitude yet.