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shorthaltsjester · 5 months ago

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doing questionable things like rewatching a bard’s lament for “fun” and scanlan and vex you will always be famous. the fact that scanlan brings up that they’ve travelled across planes to fix vex’s daddy issues but then it’s vex’s daddy issues that ground her rebuttal to scanlan when she tells him to stop treating kaylie like an object. and god. vex’s “fuck him! fuck him for not saying anything sooner. and fuck us for not asking.” in the immediate aftermath, and then once she has time to put her walls back up, vex’s “my take-away from scanlan is that we all talk too much.”

the fact that vex was the one who made that comment that without his magic scanlan is just some guy but he’s also the some guy that vex spends the campaign looking up to (even if she does it through barbs and snark), the fact that when vex was fighting against saundor hearing things like “unproven ally” scanlan was all jokes until he realized how much vex believed what was being said to her. the fact that when scanlan comes back, it’s vex who literally sees through his disguise.

what do you mean scanlan was a deadbeat father who discovered a daughter that he did love but loved only as an object until vex called him out on it? what do you mean vex was a woman who struggled to forgive in part due to her crapshoot father and she was the first to forgive scanlan when he came back?

vex and scanlan also have such interesting interactions in terms of the balance of snark, silliness, and sincerity. it’s not uncommon from any characters of sam or laura’s since they are both silly little guys who also love drama and roasting each other especially when it comes to character rp, but as always it’s so dynamic when it’s the two of them bouncing off each other, especially when they’re doing so through scanlan and vex who are already bitchy characters (affectionate) with humour as a deflection method. but it’s a silly and deeply sincere moment when vex finally puts the witch hat scanlan gave her back on with his promise that he won’t run away from the final battle. it is one of my favourite laughable moments in c1 but it also reeks of sincerity when scanlan asks vex if she prefers planetar scanlan or normal scanlan and vex tells him he is fucking hot as a planetar, but she loves him like he was and he’s her favourite when he’s just himself.

like. they’re insane do you understand. the dawnfather asks vex to prove herself and scanlan turns her into a dragon to help her succeed, pelor asks vox machina what vex means to them and scanlan says she’s greedy and mean and the most perfect of them all. the knowing mistress asks scanlan to prove himself and vex escorts him on a broom he unlocked for her and then she picks an impossible lock for him, ioun tries to remind scanlan that his strength is the joy he provides to his friends and he makes a deflective quip that he’s really powerful and vex undercuts his deflection with a sincere assertion that he is. scanlan cast his last wish spell letting her see her brother on her wedding day. vex sent herself across the continent alone with her worry and grief while scanlan’s corpse lay awaiting resurrection to ensure that his daughter could be there to either bring him back or say goodbye.

they are the platonic chosen soulmates of all time to me. i make a post like this like once a year minimum and it’s because they Haunt me. both sam and laura said what if we made high charisma characters using their charisma as a shield and humour as a weapon and they saw through each other’s masks but they never explicitly talked about it to one another. good riddance to talks machina but i will never forget the episode post bard’s lament with laura and sam where sam revealed that vex was the only one who said anything that actually got through to scanlan and another episode where laura revealed that the reason vex was so angry and sad when scanlan left was that vex felt like her and scanlan had a unique bond where they were the only two who really saw one another’s masks for what they were. also laura providing the insight that while vex was actively working on being more forgiving, another reason she was so open and happy with scanlan when he came back was that vex didn’t want to scare him away again.

what am i supposed to do with all that? be normal about scanlan and vex? literally impossible

#laura and sam will see a dynamic that is riddled with many of my favourite tropes #ask ‘is anyone else gonna portray this?’ and not wait for an answer #in the words of marisha ray circa c2 when they were spending insane amounts of time Bothering each other n being whisper buddies #they are the third row in the van. hella far back. and they are scheming to ruin my life with every character combination they present #vex’ahlia #scanlan shorthalt #scanlan & vex #critical role #tlovm spoilers #to be safe #cr1 #critical role campaign 1 #laura bailey #sam riegel

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saintsenara · 4 months ago

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ik the draw of snoldemort is that it's as delicious and healthy as fibreglass-riddled cotton candy but have you ever considered them being happy?

yes, all the fucking time.

i am genuinely of the opinion that snape and voldemort are each other's most plausible romantic pairing, and while i sustain that opinion mostly thought the power of being delusional, i do think there's a legitimate grain of potential for snapemort to actually be strangely wholesome.

and so, since this is not the first request I've had for such a thing...

...here comes the snapemort manifesto.

i am also of the opinion that the series presents an extremely narrow and unhealthy definition of love - love as suffering and sacrifice and secrecy - which voldemort can't allow himself to experience because his life has unsurprisingly made him unwilling to suffer or sacrifice and which snape forces himself to experience to the clear detriment of his physical and mental health.

but love is also - fundamentally - about comfort and pleasure and not being bored in someone's company.

the canonical voldemort clearly actually likes snape. he also clearly enjoys spending a substantial amount of time alone with him - especially in deathly hallows: voldemort teaches snape how to fly unaided [the only death eater he seems to do this for], which is canon proof they were going on lots of romantic midnight swoopings; snape is obviously voldemort's source for the information that tonks and lupin have recently married, which means they're gossiping over glasses of wine just as much as they're planning to take over the ministry of magic; voldemort visits snape at hogwarts while he's headmaster, and while that's to steal the elder wand, he does say that he'll join snape once his grave-robbing is done...

the two are clearly intellectually compatible - not simply in terms of level of intelligence but in how that intelligence manifests itself. snape has a very voldemort-ish view of magic as something whose boundaries can constantly be pushed and whose authorities must constantly be challenged - that magic is really about power [and those too weak to seek it] - and it's clear in canon that dumbledore's unease about allowing him near the defence against the dark arts job prior to half-blood prince [when snape agreeing to kill him - and revealing how his love-as-suffering for lily drives him - finally convinces him that snape has rejected the dark side entirely] is because he fears snape's way of understanding magic, since it reminds him of voldemort [and - in reminding him of voldemort - reminds him of grindelwald].

but snape and voldemort's intellectual compatibility has something underpinning it which goes beyond how they understand magic and its purpose in the world. they think the way they do about magic because of the similarities in their life experience.

as harry walks to the forest, he sets himself, snape, and voldemort up as a trio - the "abandoned boys", whose lives have all been shaped, to varying extents, by dumbledore. but, while harry and voldemort are each other's narrative mirror - due both to the overtly mystical pseudo-fraternal [or, if you're so inclined, soulmate] connection which voldemort establishes between them by making harry a horcrux, and to their shared experience of orphanhood - harry actually has much less in common with either half of snapemort than they have in common with each other.

for example, while they're all half-bloods, harry's pureblood parent is his father - which gives him a wizarding name, and the social cachet this brings in a world which is so obsessed with blood, family, and male lineage. snape and voldemort have muggle fathers and muggle names, and this gives them a radically different social standing - even if they are, ostensibly, within the same blood-category - to harry.

similarly, while lily is muggleborn, she is still a witch, attends hogwarts, is known and liked within wizarding society, and - like many muggleborns seem to - separates herself entirely from the world of her birth in young adulthood to live in a way indistinguishable from someone born and raised in a magical family.

tom riddle sr. and tobias snape are actual muggles - which means they exist in a world completely divided [and with that division scrupulously maintained by the ministry] from the magical one. while snape is brought up by his birth family and voldemort isn't, their lives are still dictated by their fathers' experiences of, fear of, and disconnection from magic - and this shapes their lives very differently even than harry's experiences with the dursleys.

harry also heavily resembles his pureblood father, which provides similar social cachet. one device which canon uses a lot is the idea that every member of a pureblood nuclear family unit looks alike - narcissa malfoy is blonde and pale, while her sisters are dark-haired, so that she is immediately identifiable as lucius malfoy's wife and draco malfoy's mother; molly weasley is red-haired and freckly, even though these are weasley, rather than prewett, traits, for the same reason.

in having harry look so much like james - while its primary intention in doing this was clearly to help obscure lily's role in the series' central mystery for as long as possible - the text allows him to smooth his path through the wizarding world because he looks like a pureblood, like someone who is understood to belong in the society through which he moves.

voldemort, in contrast, looks exactly like his muggle father. which parent snape resembles is more ambiguous - in deathly hallows, harry says that snape "greatly resembled" his mother, but both order of the phoenix and half-blood prince suggest this isn't the case, and the person he resembles is his father. this makes more sense, since snape resembling tobias means that he - like voldemort - lacks the visual connection to the wizarding world which would - like a pureblood surname - ease his way of belonging within it.

snape and voldemort are also from the same working-class background and have the same experience of childhood poverty. harry - no matter the financial aspect of the dursleys' neglect of him - is still middle-class in the muggle world by virtue of being raised in a place like little whinging by people like vernon and petunia.

and - crucially - harry's financial circumstances and class-status change utterly when he enters the wizarding world. he ascends to being upper-middle-class; he has the resources to buy everything needed for school new - meaning there's no visual distinction between him and his wealthy peers caused by him having, as voldemort does, secondhand possessions; he is able to treat these possessions casually; and he never, ever worries about being able to afford them [when his nimbus is smashed by the whomping willow, he's upset because he liked the broom so much and because he's embarrassed by the circumstances in which it was damaged, he doesn't worry one bit about not being able to afford a new one - he also considers buying himself a firebolt and, of all the things the one sirius buys means to him, it never seems to seriously cross his mind that it's a stupendously expensive thing for a teenager to own].

harry's class ascendance once he enters the wizarding world also gives him access to the ways of connection and network-forming which dictate how magical society runs. while much of this is voldemort's fault - since it's bound up in the fact that harry is a celebrity - it's also evident that this isn't entirely the case. slughorn's attitude towards harry is influenced just as much by his fondness for lily - and the clear reading of canon is that, if harry was the average hogwarts student and james and lily were still alive, harry would be "collected" for the slug club in the way that cormac mclaggen or regulus black are: people that slughorn wants to keep around in case they offer him something, not people he wants to keep around so that he can manipulate and control them.

voldemort and snape, in contrast, exist outside the social networks which govern wizarding society by virtue of their birth [hence why voldemort sets up a parallel social order - with him at the top - among his followers].

voldemort plays the game the way he's expected to while at school - sucking up to slughorn; leaning in to being, as he puts it, "poor but brilliant" - and then rejects a lifetime of being dependent on slughorn's patronage [he could be minister for magic, but only "if you keep sending me pineapple"!] for the only job he can get on his own merits.

snape rejects the idea of playing the game while at school - the teen snape we meet in order of the phoenix is conspicuous in his difference, not only in appearance but in behaviour, from his peers, and the marauders' bullying of him is motivated just as much by his existence outside wizarding social norms as it is by james' sexual jealousy of his friendship with lily and his own deliberate provocation of james and sirius.

and he also rejects the social convention the series values [by which i mean, the series thinks the class system is good as long as the good guys are the ones insisting on maintaining it] in young adulthood. i bang on about this a lot, but it's clear in canon that the reason snape becomes a death eater - and also the reason why he thinks the death eaters will help lily, even though this initially appears to be nonsensical - is because voldemort offers him a chance to transcend the limitations placed upon him in a world with such a restrictive class system. voldemort is the only person who offers him the things he desires - power, respect, recognition - in a context in which his background is [seemingly] irrelevant.

there's an element of snape seeing what he wants to see here, of course. he's clearly voldemort's exception in terms of social class [just as bellatrix is his exception in terms of gender], and this is a grooming technique on voldemort's part which sets snape apart from the other death eaters and makes him more dependent on maintaining voldemort's favour than men like lucius malfoy or rodolphus and rabastan lestrange, who are inherent insiders to the elite male social circle from which the majority of the dark lord's minions are drawn.

but there is also an element of recognition in voldemort choosing snape which has a heavy blast of affection - platonic or otherwise - behind it.

one of the things which dumbledore gets wrong about voldemort throughout the six books in which he appears is that he believes that voldemort is secretive to the point of repression about his origins, childhood, and life experiences. instead, the canonical voldemort is a certified yapper - he needs virtually no prompting, as a child with dumbledore, a teen with harry, or an adult with harry, to start talking about his life in a way which gives quite a lot about himself away. the proto-death eaters we meet in half-blood prince know all about the teen voldemort's search for his lineage. barty crouch jr. knows his birth name. lucius malfoy is completely unbothered to hear harry state that he's a half-blood.

and this shouldn't surprise us - what orphan wouldn't be on a desperate quest to be perceived, to be understood?

snape is clearly one of voldemort's great favourites because he's someone the dark lord implicitly understands - a clever, awkward, lonely boy searching for respect and power which the stagnant wizarding world refuses to give him. it stands to reason, then, that snape is also one of voldemort's great favourites because the dark lord thinks that snape can understand him.

and, in a situation where he's actually given a chance to offer voldemort this understanding, snape therefore has the power to give the dark lord the thing he's been searching for his entire life - someone who knows who he really is behind the elaborate mask of unassailable majesty and loves him anyway.

none of this has to change the future - voldemort can still be a terrorist who kills his wife guy's only childhood friend, the snapemort will slap nonetheless.

but it still can.

#asks answered #asenora's opinions on ships #snapemort #severus snape #tom riddle #lord voldemort #my otp for life

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