#because it's a really... personal experience that i think serves best within full context

[russell-crowe]

Rhod Gilbert: A Pain in the Neck for SU2C (2023)

[mmmmalo]

For anyone still under the impression that June Egbert is just a product of the Toblerone wishes with no particular relevance to Homestuck proper, here's an argument to the contrary: that June (or whatever you like to call her) was already here, woven into John's relationship with the idea of Dad.

Act 1 has a certain preoccupation with the ideal forms of things, John having multiple instances of saying X isn't a REAL X unless it has this or that characteristic. "A fire BELONGS in a fireplace, categorically." One of those outbursts touches upon masculinity, with John saying a gentleman without a monocle is a piss-poor excuse for such. Along such a paradigm, you might gather that something like John saying the beaglepuss sucks as a disguise or trying (and failing) to integrate Dad's pipe into the façade communicates that John is kind of grasping at this ideal of masculinity exemplified by Dad and getting frustrated that he can't seem to measure up to it (or that masculinity feels "fake" on him).

This sort of dynamic is more blatant with Dave, who talks openly about how he isn't a "hero", not really, measuring himself against the impossible standards set by his Bro. But as much was already implicit in Act 1.

Later it gets established that John has some kind of fear of heights: the first ogres appear after John experiences vertigo from almost falling off the stairs, and again after getting launched by the pogo hammer. (Just as Karkat suspected he was given a planet covered in his own blood as a form of harassment, Sburb placed John's house on that needle plateau because of this fear of heights; the game generally manifests adversaries in response to fear). The phobia becomes relevant to Dad stuff after the ogre fight is over, when John is hesitating to jump down into Dad's room: it isn't just that John's nervous about entering the room for the first time, the descent itself makes John anxious. Furthermore, this juxtaposition serves to establish that the fear of heights and anxieties around Dad are related somehow, if not outright synonymous. The two are associated again at the beginning of Act 5 Act 2, when dream!John tries to jump over a canyon to reach Dad, but awakens mid-leap. The formal reason John awakens is Vriska of course, but if we ignore her we're left with John approaching Dad and immediately experiencing vertigo. (The name "June" comes from Vriska contacting John shortly after this dream, incidentally)

This comes up again when John finds Dad's wallet and gets overwhelmed by the prospect of Manhood and the responsibilities it entails -- next thing you know John is flying around in Dad's car, having fun... and after the scene is interrupted by Seek the Highblood, we return to find John crashing the car (another fall from the sky!) and talking with Vriska about dread surrounding societal expectations, and the possibility of rejecting them to pursue something different for yourself. John came into the scene worried (if quietly) about the expectations surrounding manhood, so the Vriska conversation serves to makes those kind of concerns more vivid.

The car crash is itself kind of a metaphor for that conversation's trajectory... in Act 6 we see something analogous play out among the Dersites who have gotten into dapper-wear: one Dersite sits on a hat, panics about ruining it, and then begins to wonder if perhaps a crumpled hat could have a value of its own, aesthetically. (Dirk expresses this sort of counter-assessment more bombastically: "...the next best thing. By which you mean, the vastly superior thing.") Dad Crocker swoops in to condemn the crumpled hat, but the Dersite's tentative revaluation of an apparent failure mode is something the scene shares with Vriska, who initially regards her ambivalence towards murder as a symptom of personal failure, unbefitting her caste. John enters that conversation with a crumpled car, and from context we can guess John's revaluation concerns "failing" to be a man in the way Dad is, and how maybe that doesn't need to be considered a failure.

As laid out so far, I guess none of this quite necessitates trans-Egbert, since people can come at "anxiety and reservations at the prospect of embodying masculine ideals" from a number of angles... but there are other considerations which make me think wrestling with self-deprecating thoughts like "I'm a failed man" are maybe comorbid with a budding sense of being a girl, in Egbert's case.

Foremost, I think it helps to recognize that Dad's car can function as a symbol of John's body. To sketch a case for that:

1a. Death often means transformation: the trolls die in questcocoons to reach the godtiers, suggesting that death stands between the caterpillar and the butterfly, their too solid flesh dissolved into a goo.

1b. A command in Act 1 implores John to "retrieve arms from MAGIC CHEST". John complies twofold: we see some fake arms retrieved from the toy chest, held up by John's real arms which have been "retrieved" from John's ostensibly armless torso.

2. This dual usage of chest is deployed in part 3 of Openbound, in service of building a dysphoria metaphor (among other things). The segment reintroduces us to Fiduspawn, a game in which one creature hatches from another, a host creature, killing the host in the process (fans of the Alien films may recognize this as derivative of the "chestburster", fans of Homestuck may recognize this as analogous to godtiering). Damara (who Rufioh refers to as "doll") becomes the host plush, who is accused of locking away Rufioh's "happy thought" (Tinkerbull) in her "chest". Rufioh's beef with Damara serves to illustrate an adversarial relationship with one's own body, the ways in which the body itself seems to function as a barrier to some happiness. The carnal imprisonment of euphoria (the "happy thought") represents dysphoria. The conversation between Kanaya and Porrim which follows has analogous content and offers a potential resolution to such a conflict, with Kanaya coming to distinguish her body from the reproductive duties assigned to her body by her caste's place in society, and knowing that she is not "bound" to the Matriorb by any will but her own...

3. But the paradigm of Fiduspawn reminds us that the act of actually ripping the happy thought out of your chest has suicidal overtones, when taken literally. And Aradiabot notwithstanding, the inner ghosts the kids give up are often green: Dirkbot tears out his uranium heart and explodes, Rose peels pink bricks off the green core of an island and wonders aloud if her existence is a mistake, and (returning to our main topic!) John tries to retrieve the green package from Dad's car. The retrieval of the box comes to represents the birth of the self from its shell, the now broken body, a gesture which overlaps with the pursuit of death.

So we can infer that Dad is akin to Damara here, having locked the desired object (the box, the "happy thought") within a container that we can identify with John's own body. Thus Vriska's talk of perhaps rejecting her assigned role in society proceeds naturally from the wreckage of Dad's car: insofar as the car functions as an emblem of the masculine expectations imposed upon John, the car's wreckage suggests the possibility of liberation from those expectations, liberation from your own body. John is "sick to death of cake" -- cake is a Life symbol imposed by Dad, in visceral excess, accumulating as every birthday marches John towards Manhood. The possibility of living as a girl does not seem to have occurred to John yet, life and masculinity seem inextricable and absolute. The first time John sees Dad's car totaled (after Rose drops it), the symbol of self-as-corpse is surrounded by yellow bands of caution tape. The Authority Regulator who placed the tape will later declare himself to be THE LAW, and we should take his word for it: the scene's function is to declare that the crumpled car, the "dead" and therefore feminized body, is forbidden to John. No surprise then that as John marches to her death, in defiance of the Law's prohibition, she-whose-name-does-not-yet-suit-her is met with impressions of several maps that actually align with their territories: troll movies whose titles are their contents in full, a rocket encoded by the sound PCHOOOOO. John wants that for herself, I think. And as @lscholar once pointed out, it’s worth noting that John's pursuit of this unity (this pursuit of "death") is interrupted by Dave, who in saving John's life repeatedly emphasizes their status as "bros" -- masculinity being, again, inextricable from life within John’s symbol system.

...and that's the short of it. A more detailed account might get into the association of Vriska and other blue girls with the feminized corpse, or read into Equius self-consciously roleplaying as a cat girl between John’s joyride and crash, or perhaps try to apply this car-body framework to the appearances of Dad's car in the Epilogues. And I haven’t even touched upon clowns...but I'll call it here for now.

[engekihaikyuu]

Hyper Projection Engeki Haikyuu - The View from the Top 2

2.5D Interview Translation with Asuma Kousuke

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Since the show “The Strongest Team,” it’s been about two and a half years since you last played Oikawa. How did you feel when your casting for this show was decided? I really didn’t think the day would come when I’d get to return to Engeki Haikyuu. So when my casting my was set, I was so incredibly happy. This time I will be the only one appearing from Aoba Johsai. So that makes me a little sad, and I also feel some pressure since I’m responsible for representing everyone from Aoba Johsai and I carry the weight of all of their emotions. That’s the main challenge I want to overcome.  

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Full interview and more photos under the Read More! Please do not repost my translations

Asuma-san, your debut was with Engeki Haikyuu. And now this will be your final time portraying Oikawa, so please give us an insight into your state of mind. I’m only here because of Engeki Haikyuu, so I really am very grateful. I’ve never been able to play the same character for this long, so it’s the character I’m most attached to, and I feel like I understand Oikawa better than anyone else. This is going to be the grand culmination of eleven shows, and I want to make it the best production yet, full of all of the emotions of everyone in the cast and crew. That’s the “Summit” that everyone in this company is aiming for, and I will be only one portion of that.  

Asuma-san, you will be the only one appearing from Aoba Johsai, so is there anything in particular you’re conscientious of?   Even with only Oikawa on the stage, I think the atmosphere changes. And because I will be alone, I want to be even more unrestrained in how I present Oikawa. Even at rehearsals, I want to be calling so much attention to Oikawa that even the director will stop me. (laughs) I haven’t been able to join the others at rehearsals yet, but I’ll be the only one there who’s been a part of this from the very beginning, so I think everyone will come to me with their questions. Like, “Show us how you did this in previous shows” or “Show us an example of how to do that.” Although I’m not sure I even could... (laughs) I’m sure there will be times when people tease me like, “That’s no good!” but if I can make rehearsals lively with that, I’m fine. Also in terms of age, I’m somewhere in the middle of the group, and this is my first time in that situation. Normally I’m always teased by my senpai, but since I’ve been here since the very first show and I’ve been able to see and experience a lot, I hope that I’ll be able to give some advice to others. 

Are there any parts of your personality that you think resemble Oikawa? A lot of people around me say that I'm like him, but I don’t really think so. At first I thought we might be similar, but as I’ve gotten deeper into this role, I’ve become less able to say that. Right now, I can only say that I respect him. Oikawa has this one line that I like, which goes, “Talent is something you make bloom, instinct is something you polish!!!” In this world, there aren’t that many people you can call prodigies. Oikawa rose to the top with hard work, and I think it’s just too cool that I got to say that line! Even when I rewatch that DVD, I often feel like, “Wow I got a really cool line...”   Even Iwa-chan says to him, “Even when you’ve become an old man, you probably won’t be happy. Even if you won some big tournament, you wouldn’t be completely satisfied, because you’re an annoying guy who’s going to chase volleyball for his entire life.” Oikawa loves volleyball, he’s obsessed with it, and I have nothing but respect for that.  

Do you normally rewatch the shows you’ve starred in? It is embarrassing, so I don’t often rewatch things. There are things where if I watched them now, I’d think, “Man I sucked.” But when it comes to “Winners and Losers” or “The Strongest Team,” those are different and I used to rewatch them often even back then. I think to myself, “I haven’t done any other plays that are this rough. So I can do this!” They’re encouraging that way. Also I’m good friends with everyone in those casts. The sense of teamwork and friendship is very strong.  

Speaking of your teammates, you spent a long time together with the Aoba Johsai cast. Please tell us about a time during a past tour when you felt strongly about your connection with them.   There are a lot of things I can only talk about now. Everyone was my senpai, but at the time, we would argue a lot. Because we didn’t want to give in to one another. For the duration of the tour, we agreed that we wouldn’t have that kind of pecking order, and that’s how we were able to create those shows. There’s a scene in “The Strongest Team” when Oikawa says, “Thank you for the past three years!!!”, and when I saw everyone’s faces in that moment, I couldn’t stop myself from bursting into tears. I was just so glad that we really had become such a great team by that point.

Within the entire Engeki Haikyuu series, please tell us what you think is Oikawa’s best scene. The first is the opening sequence for the very first show. Because I was good at the count, I deviated from it to do a little double peace sign. And also that’s my very first scene as an actor. At the time, I was really nervous about even doing that one jump, but I’ll never be able to forget the view while facing the front of that stage. We don’t have any lines there, but it’s a scene that I have a very strong emotional attachment to.   The other one is from “the Strongest Team” when Kyoutani gets over himself and really becomes part of Seijoh. Oikawa has continued to trust in Kyoutani, and he continues to grind that gear into place. The result is a unified Seijoh to oppose Karasuno. When I rewatched that moment on DVD, I have this really great smile on my face. I’d kept such a serious expression up to that point, so I really enjoy that shift in expression.  

Tell us something we should look forward to for this show’s Oikawa. I think fundamentally he’s the same as when he was a high school student, so I think the highlight will be to see the parts of him that have changed with age. There’s a lot that wasn’t portrayed in the manga, so I’m personally looking forward to seeing how I can craft those portions on my own on-stage. I’m going to be fairly conscious of my manner and behavior, not just my lines. It'd be great if I can show his difference in age with how I carry myself. I also want to polish my jump serve more. My jump serve right now is the high school version, so I want people to see the change in form and power.  

Earlier you mentioned the line, “Talent is something you make bloom, instinct is something you polish.” What are the things that you will continue to make bloom or polish from here on? Tell us your vision of yourself as an actor. I honestly don’t know if I have any real talents. But for now I’ve continued to get work in this field, so someday I’d like to be able find my specialties while focusing on the work in front of me. In the future I’d like to go overseas, so right now I’m studying English and Chinese. Haikyuu is very popular all over the world. Every time I’ve gone to some other country, there are many people who tell me, “I’ve seen Engeki Haikyuu!” Because I’ve been able to perform in a production that’s this beloved the world over, I’ve come to think that I need to go out into that world! After this, I would love to become an actor that can work all around the globe.  

And lastly, please give the fans a final, exuberant message   In times like these, I think that entertainment and the arts are absolutely necessary. I know there are many things to be depressed about, but that’s exactly why I want people to watch Engeki Haikyuu and then gain some motivation.  This is a production where you can absolutely feel the passion whether you see it in person or through a screen, so I want people to see it whether through an official stream or on DVD.   At last, we’ve reached the finale. Please support us to the very end!  

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You can read the original Japanese interview here: (x)

Please do not repost my translations!  This includes screenshots of bits and pieces taken out of context, especially if they don’t link back to this full post. If you appreciate the work I do for this blog and want to support my translation efforts please consider donating a ko-fi! (x)

[nevermindirah]

Non-Jewish friends, y’all might be wondering right now: Israel is doing clearly unacceptable shit to Palestinians. So, why are some Jews ardent Zionists, and why do some Jews seem to feel personally attacked by criticism of Israel?

A lot of (non-Palestinian) non-Jews have asked me where I stand on Israel/Palestine over the years, apropos of nothing, just because I’m Jewish. For the longest time I felt so stuck because I just didn’t know much about Israel/Palestine and what little I did know turned out to be largely misinformation and I felt so much pressure to say The Correct Thing That All Jews Should Say About This Issue. Obviously the violence Israel is committing against Palestinians is horrific and the interpersonal weirdness individual Jews might experience as people discuss Israel’s horrific violence doesn’t compare. I’m making this post as a small supplement to the important conversations going on about what Israel is doing to Palestinians in East Jerusalem, Gaza, and the West Bank, as well as Palestinian citizens of Israel and Palestinian refugees and their descendants living outside land Israel controls. I’m making this post because non-Jews might be feeling confused by conflicting messages about Zionism as either settler colonialism or Jewish self-determination. It sucks feeling like you have to choose only one oppressed group or another. It’s possible to support Palestinian liberation and Jewish liberation at the same time! Here’s some context that might help.

Palestinian friends will probably want to ignore this post, y’all shouldn’t have to deal with your oppressors’ feelings, and especially not right now.

Zionism is the ideology behind the devastating violence Israel is committing against Palestinians right now and has been committing against Palestinians since 1947-48. It’s heartbreaking and messy to talk about this reality, because Zionism originated as a strategy to protect Jews from antisemitism.

Any oppressed group can turn into oppressors under enough pressure, because humans are flawed. Jews fleeing antisemitism turning into Israelis ethnically cleansing Palestinians happened because Zionism is profoundly influenced by its time and place of origin: 19th century Europe.

Europe invented antisemitism, and basically every European country has done at least one very very bad structural antisemitism, like expelling all the country's Jews (the monarch and/or the church then stole all the wealth the expelled people had to leave behind), looking the other way when peasants murdered a bunch of Jews as an outlet for their frustration with the actual (non-Jewish) ruling class, banning Jews from owning property or holding certain jobs or being members of guilds etc, and of course the big horrific state-sponsored mass-murder operations the Inquisition and the Holocaust. From the 1790s through the 19th century different European governments emancipated their Jews, ie removed legal barriers to full citizenship and economic participation. But this didn't end antisemitism. Just like the legal improvements of the 19th and 20th centuries didn't end antiblackness in the United States.

Also happening in this time: nationalism swept Europe. From the French Revolution through the end of World War I, Europe’s predominant form of government transformed from multiethnic empires to nation-states, countries led by and for a particular ethnic group.

So this Austro-Hungarian dude Theodor Herzl came up with this idea for Jewish nationalism. Every other European ethnic group is getting their own country, so why not Jews? Maybe this is the solution to antisemitism! Maybe we’ll finally be safe if we just all move en masse out of Europe to a place that will take all of us and never expel us!

But also also happening in Europe and around the world in this time: European imperialism and white supremacist settler colonialism. Chattel slavery saw its height and then its end (legally, at least) during this era, but white supremacy entrenched itself across the planet in post-slavery economic practices and cultural imperialism as well as national and international laws.

I believe countries have a moral obligation to take in as many refugees as they can squeeze in. International law protecting refugees has evolved a lot over the past century, but we’re still devastatingly far from every refugee getting a safe place to call home, and the main reason for that is white supremacy. The Biden administration didn’t undo the Trump administration’s horrifically low cap on refugees until like last week and it’s because Democratic party leaders treat centrist white people as more valuable voters than the huge and growing numbers of people of color, immigrants, LGBT people, unmarried women, and working class people who want to vote for elected leaders who get that nobody’s free until we’re all free. Ahem. Back to the topic at hand, the US and many other countries turned away untold numbers of refugees fleeing the fucking Holocaust, so odds are slim they’d be more welcoming in less desperate times. Moving from places where Jews are an unwanted minority to places where Jews are still a minority and either still unwanted or little understood and unlikely to win revolutionary levels of support from a largely non-Jewish public seems like a bad plan.

In the mid to late 19th century, lots of Jews took the kernel of Zionism and ran with it in different directions. Maybe this ideology could mean Jewish cultural flourishing alongside stronger political/economic integration into the societies where we’re already living! Maybe it could mean a particular kind of socialism that advocates for the liberation of Jews both as Jews and as workers! Maybe it could mean a revitalization of Jewish religious practice both in Jerusalem where we have important heritage sites and everywhere we live across the world!

Eventually Herzl’s vision of Zionism won out over the others: Jewish nationalism in the sense of a Jewish nation-state, a country that has a Jewish demographic majority and/or that legally privileges Jews over non-Jews.

Problem is, if you want to do that, you have to find a piece of land on which to do it, and Earth was already a pretty crowded place a hundred years ago. Many locations were considered, and the one that ended up winning that debate was Palestine. Where a shit ton of people, mostly non-Jews, were already living. They were forming their own nationalist movement at the time: in the waning days of the Ottoman Empire they began to organize for local self-determination in Palestine.

The Herzl types who developed Zionism as an ideology and built institutions to advocate for and create a Jewish ethnostate in Palestine were a small subset of European Jews, mostly men, mostly with significant economic privilege within what Jews were able to achieve in their particular societies at the time. They were just as Orientalist as the non-Jews around them, just as antiblack, just as racist generally for all that Jews were (and sometimes still are) considered non-white in much of Europe. They had a cool idea (put a lot of effort into something that could protect Jews from antisemitism) floating in a bathtub full of shit, and they did practically nothing to protect the cool idea from absorbing that shit. Results of this include thinking about the millions of people already living in Palestine as if they were either like the rocks and the trees that will go with the flow and accept a new ruling class, or indistinct Arabs who would just leave for other Arab countries because what could be the difference — in the staggeringly small amount of time they considered the existing residents of Palestine at all.

This racist hand-waving extended to Zionist leaders’ attitudes about Jews outside Europe as well. White Jews in settler colonies like the US were largely anti-Zionist at the time (not wanting their own countries to accuse them of dual loyalty was a common reason) but European Zionist leaders took what help they could get from Jews in the US, South Africa, Australia, etc. Jews across the Middle East and North Africa, however, barely heard from Zionist leaders about any of this until Zionist militias had removed enough Palestinians from the land and it was time to repopulate it with whichever Jewish bodies were convenient. You might have heard "all the Arab countries expelled their Jews in 1948" but lots of first-person accounts tell a different story of Israel coercing Jews who’d lived securely for a long time in places like Morocco to immigrate to Israel and then confiscating their passports and forcing them to live on less-fertile land with fewer resources while serving as a buffer between Palestinians and European Jewish immigrants. Ella Shohat is the best-known writer on Israeli racism against non-European Jews and I strongly recommend Sephardim in Israel: Zionism from the Perspective of Its Jewish Victims as a starting point to learn more about this.

Which brings us to today. We still haven’t eradicated antisemitism, several European governments that did a lot of structural antisemitism they still haven’t made meaningful reparations for get to feel good about themselves for “giving the Jews a state” as if carving up the former Ottoman Empire was up to them and not the people who lived there, and millions of people across the world who previously either lived peacefully enough alongside Jews or hadn’t really thought about us much at all now have very valid reasons to be pissed at this country that claims it represents all of us.

Zionism was supposed to protect Jews from antisemitism. And Israel has saved Jewish lives! But if we hadn’t sunk the past 70+ years into an ethnostate we could’ve been putting that energy into other political and economic activity to create adequate international support for refugees while we work on ending root causes of refugee crises, like antisemitism, racism, climate change, and capitalism. Meanwhile Zionism has killed, maimed, incarcerated, stolen from, traumatized, and erased the history of millions of Palestinians just because they happened to be living on land that some dudes who had a lot more in common with Thomas Jefferson and Donald Trump than with you or me decided needed to be cleansed for a Jewish ethnostate.

White nationalists in the US love Israel because they want American Jews to go away. Fascist leaders across Europe love Israel for the same reason, so much so that Israel’s prime minister is buddy-buddy with Trump and the equivalent shitstains of several European far-right parties. And I don’t know what it’s like in other white supremacist countries that are close allies of Israel, but the overwhelming majority of Zionist lobbying that pushes the US to give so much aid to Israel comes from Evangelical Christians, because they believe all the Jews have to be in the Holy Land for Jesus to come back. No thanks.

This whole thing fucking sucks. Jews and Palestinians, like all human beings, deserve to be free. Many Jews are understandably afraid of what might happen next if Israel decided to give up on ethnonationalism, allow Palestinian refugees to return, make reparations, and establish a pluralistic democracy that represents and protects all its residents — will some Palestinians murder Jews in revenge? That’s genuinely fucking scary. And it’s genuinely fucking scary to be a Palestinian in Israel/Palestine, and has been for over 70 years. We’ve gotta do something different. I say that as a white person sitting on land stolen from Piscataway people who has thought in detail about what portion of my income would be reasonable for my government to tax in order to fund reparations for the descendants of enslaved people.

Ok. One final piece of context before I wrap this up.

Most Jewish institutions in the US are explicitly Zionist, teach children that Zionism is THE way to ensure Jewish safety, and increasingly tell non-Zionist Jews that we're unwelcome or even that we’re not “real” Jews. This comes in a context where it’s only been 76 years since the latest and most gruesome of several attempts to wipe our entire people off the face of the planet. If you grew up in that environment, you, too, might be jumpy about even hearing the words Zionism or Israel, let alone considering the devastation this ideology and country have caused Palestinians.

Jews have a right to exist. Jews have a millennia-old connection to this scrap of land in the Levant, and we have a right to access religiously and culturally important geographic landmarks. What we don't have a right to is murdering or expelling other people in order to make an ethnostate, on that land or any other. Zionism is settler colonialism, but it’s settler colonialism by and for people who have a valid need for protection from structural antisemitism, which means that it’s going to take a lot of messy empathy to undo. The members of my extended family who voted for Trump (non-Jews in my case, though Jared Kushner isn’t the only Jewish Trumpite) are afraid that ending white supremacy will demote them from a privileged class to equal footing with everyone else — that’s the kind of fear individuals work on in therapy, not the kind that’s reasonable for a whole society to prevent from happening. I and millions of Jews do deserve for whole societies to work hard to end antisemitism.

I would never and will never ask a Palestinian to gently request their liberation. But if you’re not Palestinian, and you’ve got a little extra empathy to spare this week, I ask you to remember what I’ve shared here when interacting with Jews about Israel/Palestine.

If you’re a fellow Jew reading this and you feel like Israel is the only way to guarantee our safety, all I ask of you is to sit with the idea that what Israel is doing to Palestinians is too high a cost for safety that’s still not guaranteed, and start to imagine real-world ways we can protect our people from antisemitism without an ethnostate.

I made this post for people who know me (or know of me I guess?) in Old Guard and Cap fandom, despite my better judgment, because talking about Jewish Booker and Jewish Bucky and Jewish Natasha makes me so happy and I think some of the people I love on these characters with might appreciate this perspective. I didn’t provide any links in this post on purpose (to decrease its usefulness, so fewer people will reblog it) because the risk of anon hate when talking about Zionism outside my immediate fandom circles is so high. You’re welcome to reblog this post if you find it helpful! Unless you’re not within a few concentric circles of me, in which case, maybe don’t? If seeing this post makes you want to send me anon hate, no need: many people who share your perspective have already done so on Twitter.

Reliable sources on all this info are a few googles away, and I apologize for the things I know I oversimplified as well as any things I might have misremembered. I’m an American who’s never lived in Israel/Palestine who is posting this on my fandom blog.

TL;DR: This is a short ‘n pithy post about the same idea.

TL;DR, fandom edition: The shortest distillation of this anti-Zionist Jew’s feelings on the matter can be found in segment 4 of Five Times Booker Got Wasted on Purim and One Time He Didn’t.

[dramaticviolincrescendo]

Rewatching Shameless and i just watched 6x1 jail scene. Can I request a meta if its not too much trouble? I feel like reading a really good meta about that scene and you're one of the best we've got so.....

It’s never any trouble at all! That’s so sweet to say—thank you so much! <3 Kind of coming to terms with the idea that anyone cares about my opinion over here. You guys are too much!

This scene is actually extremely important to me because it and the response to it were what made me start writing Shameless fanfiction, specifically when I saw that my views regarding Ian’s behavior and how Mickey received it were so vastly different from what I initially read. (Insert shameless plug for “That Milkovich Reputation” here.) Now, I know you’ve told me not to do this before, but based on the controversial position in which this scene resides, I feel the need to present a couple of disclaimers for our audience at large.

I first fell in love with Shameless last March, a couple weeks before quarantine began. I didn’t know what it was prior to that and therefore was not present when Noel left the show, so I didn’t experience the disappointment of a beloved character leaving in a potentially permanent way and didn’t engage in the fandom or see how deeply upset people were by that until after I finished the series. I also don’t subscribe to the theory that there was something going on behind the scenes or any animosity between Noel and the creators, as I have not seen any relevant evidence from reliable sources to support that what happened was anything other than decisions made in pursuit of career goals on both sides. As such, my analysis of this scene has only ever taken the content and context of the story and characters into account. I have no interest in speculating on the motives of people I do not know in writing it or portraying it this way, and even if I did, this scene made perfect sense to me as it was written and performed.

I understand and appreciate that this is not a popular position to take and urge everyone to pass this post by if my position on that matter is offensive or upsetting to you. I do not mean to tell anyone what to think or believe, only to explain how I view this scene and the context in which I do so.

That said, let’s begin.

When Last Seen: Mickey

As in all things, context is important. Prior to the prison scene, the last time we saw Mickey was when Ian broke up with him and Sammi interrupted their heartfelt moment, which basically sums up her character in a nutshell. That was a rough couple of days for Mickey. He saw how devastated Ian was to hear his family talk about him as though he were just like Monica; was distressed in his own right to return for him and discover that he’d left the base with Monica; buried his frustration and sadness by sleeping around with other people, which seemed to exacerbate those emotions because those people weren’t Ian, nor had he and Ian broken up when he did it; and came running when Ian called him, only for Ian to end their relationship.

Mickey is a very sharp man—we know this. He can read people like books and manipulate or intimidate them accordingly. He knew Ian had feelings for him in s1 when he showed up on his doorstep seeking comfort rather than going to any number of other people he trusted. He was well aware that Ian loved him in s3, and that made what he felt he had no choice in doing that much more painful. He heard what Ian said and knew what he was doing in 5x12. Of that, I have never had any doubt. It wasn’t like Ian tried to hide that he didn’t want to break up but thought that that was what would be best. In fact, the way he initially framed it always made me think that one of his highest priorities was not dragging Mickey down with him, especially in the aftermath of being called “destructive” and similar to someone who “put them through hell.” That’s why Mickey’s response wasn’t to call him an asshole or get angry or beg. It was to reassure Ian that he was there for the long haul, that he loved him and wanted to take care of him no matter what that meant—and that they could make that work. All the sentiments Ian had tried to communicate before he got married, Mickey was reciprocating in his own way. Had they not needed to temporarily write Mickey out of the story and Sammi hadn’t shown up right that second, I believe that he wouldn’t have given up so easily. We do have confirmation of that being the case in the prison scene, but we’ll get to that shortly.

When Last Seen: Ian

Ian isn’t a selfish character. We know this, too. However, Ian needed to be selfish by the end of s5. What he had to come to terms with wasn’t something that anyone could fully help him with, much as Mickey desperately wanted to. To Ian, the enemy was within. It was inside him, in his brain, telling him what to do even if that destroyed himself and everything he loved. It’s terrifying. I’m not bipolar, nor do I suffer from any other diagnosed mental illnesses, but I admire and respect everyone who wakes up every morning and tackles these things. They’re heroes every single day. But by the end of s5, Ian doesn’t feel much like a hero. Instead, he feels like the villain, and he’s lost touch with who he even is anymore.

That’s not a healthy mindset to have in a relationship. Relationships require a level of give and take, and that used to be something that Ian and Mickey already struggled with. Ian gave more in s1-3 because he was able to, while Mickey had a limit on what he could openly give because of the environment in which he lived and the manner in which he was raised. In s4-5, those roles were reversed: Mickey was able to give so much more, but Ian was gradually falling apart. Neither of them are at fault for any of those situations. It is what it is, and they have a stronger relationship for it. Ian is a giver, though. He’s always been a giver. To be in a position where he doesn’t feel like he can give anything to Mickey because he doesn’t even know who he is was truly heartbreaking for him, and objectively, he needed to take a step back so that he could focus on himself. He knew it. Based on Mickey’s understanding of Ian’s reasons after watching him deny that he had a problem for so long, I think Mickey knew it too. This hurt both of them—Ian to say it and Mickey to hear it—but they’re not fools and they’re not naïve. In some ways, they know each other better than anyone.

Jimmy said that when you’re on a plane, they tell you to put on your mask before you help anyone else with theirs. Ian needed to put on his mask. His heart can’t keep beating if his lungs don’t work.

Starting Season 6: Mickey

Unsurprisingly, Mickey has settled into prison life just fine. We’ll focus on his interactions with Ian in a bit as that’s the meat of the scene, but there are major implications inherent in his discussion with Svetlana beforehand.

1.      Mickey has accepted that this will be his reality for the foreseeable future. What else is he supposed to do? Besides, he’s known for a long time that the likelihood of ending up in prison was pretty high for him, as he alluded to in s2. He was a street thug. He stole from local stores, sold drugs, ran guns, operated a rub ‘n’ tug, created scam companies, and was a generally violent presence in the neighborhood for years. He was in juvie twice during the show, perhaps more beforehand. The unfortunate fact of the matter is that it would have been more surprising if Mickey didn’t get locked up at some point than that he did.

2.      Ian has visited Mickey before. We won’t get too deeply into this yet, but he thanks Ian for “coming back.” The other times, he wasn’t even paid to do it. So, as far as Mickey can tell, nothing has changed. Ian is focusing on himself right now, but his love for Mickey hasn’t dulled at all. That’s an encouraging thought, and it certainly puts a smile on Mickey’s face.

3.      Ever the opportunist and entrepreneur, Mickey really is doing just fine in prison. He runs a business, if you will, that appears to be quite lucrative already. This isn’t surprising either. Sadly, it’s a bad move. He’s already going to be in prison for somewhere around a decade, give or take a couple of years depending on his behavior. But his behavior isn’t good. He’s hurting people for money, and if he gets caught and brought up on more charges, not only will he serve the full fifteen years, but he could get more time added onto that.

4.      Ian is aware of this arrangement. He has to be if he’s been going there with Svetlana, and they weren’t exactly hiding what they were talking about. Ian has been very consistent throughout the series: he’s not as concerned with the moral implications of Mickey’s behavior, just how it could potentially impact their ability to be together. He still cares about Mickey at the start of s6, and Mickey can see it on his face when he won’t say it out loud. (More on that shortly.) Once he’s in a better spot mentally, maybe they would have gotten back together had Mickey been on the outside. I’m of the opinion that they would have based on the context of the situation. It isn’t an option, however. This is Mickey’s reality, and he’s not doing everything he can to get out earlier. If anything, he’s tempting fate on not being released at all. (This, in hindsight, sounds rather similar to the issues they’re dealing with right now in s11.)

So, this is where Mickey stands at the start of the season: a prison hitman who is quite pleased that the man he loves has come to see him again, even if the latter is visibly not in a very healthy mental state.

Starting Season 6: Ian

Ian isn’t in most of 6x01. What we do see of him is typically sad or colored by his frustration, outside Carl’s welcome home party at the end of the episode. Even then, there’s an aura of discomfort that accompanies the family’s knowledge that things have changed. Carl came out of juvie a different person—they’re all different people after s5, and they’re not sure how to handle walking on eggshells around each other.

From the very start of the episode, we see that Ian is still struggling even though he’s had enough time to at least partially adjust to his medication, especially if he’s been on and off of it. It’s so sweet how Fiona gently wakes him up—it’s also a bit different. What happened to banging on the bunk bed and yelling for them to come down for breakfast? After behaving pretty normally with Debbie at the bathroom door, she’s almost handling him with kid gloves, and the punches keep coming when she reminds him that he (1) has to get up for work at a place he despises and (2) needs to remember to take his meds.

The kitchen scene is extremely telling of where Ian is at this point, and it partially shows why he’s somewhat standoffish by the time we reach the prison scene. Most of the family is gone or different. Fiona is repeatedly on him about meds and getting to work on time—Ian, Mister Responsible himself who was out of the house before anybody woke up to get to work on time as a kid. Lip is at college. Debbie is absorbed in her unconfirmed but likely pregnancy. Carl is in juvie, and Liam is playing with the switchblade he found under Carl’s pillow before they take him to pre-K. His entire support system is either gone or treating him like he’s broken. All he has is Fiona “going Fiona” on everyone. It’s clear that this is impacting him because he actually derails the conversation to say that they should go visit Carl the following weekend, which was the position Debbie used to be in when Fiona was in jail. Just like Lip shut her down, Debbie shuts Ian down, and he doesn’t say another word as he drinks his coffee—which he can’t finish because Fiona is once again on him about work, so he trudges out the door to another day of being a busboy with no dreams instead of a soldier who has a future.

Work isn’t much better. Svetlana wants him to go see Mickey when he’s determined to stay away. (We don’t have confirmation, but I don’t think it’s unreasonable to assume that he wants to distance himself if Mickey is doing something that will potentially get him into even more trouble, especially given some of his reactions at the prison.) Sean is sending Fiona to nag him about not moving fast enough when the diner isn’t even busy. When Otis is chased down by the cops and slammed against the front window, Sean rather condescendingly tells him to, “take your rag and wipe the blood and snot off the window.” Ian—West Point-aspiring, ambitious, courageous, caring, intelligent, hardworking Ian has been reduced to wiping up someone’s snot by a boss who’s living in his house with a sister that’s treating him like he’s shattered glass and a family that is growing further and further apart these days.

That is the day Ian has had before he even arrives at the prison. Odds are that that is how most of his days have gone for quite some time, minus the blood and snot. …Maybe.

The Prison Scene

Now we come to it: what you actually asked about! It’s taken this long to get here because we can’t possibly interpret this scene effectively without incorporating all of what came before it. Mickey’s position is regrettable, but he knows that Ian still loves him and is at least handling his situation with all the grace and competence that we can expect from him. Ian is a bit of a mess who’s had a bad day and is now faced with the man he loves, who he is telling himself he can’t be with, sitting behind glass—where he’ll be for a good long while.

I’m going to divide this analysis into two sections. For a scene that many prefer to forget, to me, it’s a masterpiece of storytelling.

Physicality

The body language in this scene is remarkable—phenomenally blocked, phenomenally directed, and phenomenally portrayed.

When Mickey first appears, he’s visibly chomping at the bit to get to the visitation area. He’s peering out there while he’s still behind a locked door, and he only diverts his gaze to the guard because he’s waiting for him to unlock it. He’s cool about the whole thing—he’s very cool—but he’s obviously also here for one reason and one reason only. That reason is where his eyes go the moment he sits down at his stall and spots Ian’s coat where the latter is pacing behind Svetlana. Throughout their entire conversation, we see his eyes darting to Ian as he attempts to get the business out of the way so that he can indulge purely in the pleasure. It doesn’t matter to him that Ian is visibly tired and reluctant to be there or that he plays with Yevgeny instead of actively joining their conversation. It’s Ian, and all Mickey has to look at in here is a bunch of fellow thugs he hasn’t loved since he was too young to know what that meant. Damn right, he’s going to shamelessly watch him.

In Ian’s pacing, where we can’t see his face, I find it interesting that he keeps himself angled away from the glass. We see more of his back even though he’s moving side to side rather than away. He doesn’t want to see this. He doesn’t want to be there. In s7, he told Mickey how hard it was to see him behind glass—that wasn’t an excuse. He wasn’t falsely trying to make it sound like he was suffering at their separation just as much as Mickey was. We can see that that���s the case right here in 6x01. Ian has never had a problem sitting still through difficult moments, not even when a potential court martial that would further ruin his life was on the table. But this? He can’t sit down. He can’t face that.

The first time he turns directly towards Mickey’s location is so that Svetlana can hand Yevgeny off to him, and Mickey is visibly loving the view. His expression gets a bit softer, and he ducks his head a little so that he can catch a glimpse of Ian’s face. He follows Ian with his eyes even though Svetlana tries to get his attention. What a blast from the past, right? Ian there with his son, taking care of him while he and Svetlana figure out their business? And just like before, he offers Svetlana all of the attention and input that he deems her worth—next to nothing. Ian’s over there. Ian’s keeping the kid entertained, playing with him and rocking a bit in their seat and leaning over his little shoulder to make sure he’s doing okay—but forget that, Mickey’s eyes are examining him from red hair to beat-up shoes. He only glances back to Svetlana because he has to in order to get the information for their next paycheck. Even then, he’s still back and forth, up and down.

And Ian? He can’t keep pacing. He can’t stay turned away, but he won’t look. He occupies himself more than Yevgeny because now he’s low enough that he won’t just see an orange jumpsuit—he’ll see Mickey, and he’s had a bad enough day with his family making him feel more alone than ever without adding that pain on top of it. (This is the third time Mickey’s been locked up for something directly or indirectly related to Ian. I’m sure it’s not unreasonable to suspect that he also feels somewhat guilty about that, especially when it happened right after he broke it off.)

When Mickey asks if Ian is going to sit back there the whole time and not interact with him, Svetlana turns around and presumably says something to get his attention. Their eyes meet, and Mickey gives him a look that clearly says, “What the fuck, man?” This isn’t the behavior of a man who is heartbroken at their relationship ending or questioning Ian’s love for him. This is the behavior of a man who wants the love of his life to get his shit together enough to come say hi to him—or at least look at him—because he can’t pretend that he doesn’t want to see Mickey as much as Mickey wants to see him. It’s impossible to hide that when Ian has let Mickey see so much of his heart over the years.

Ian’s response is so fascinating because he does meet Mickey’s eyes, and he holds that connection for a moment. Then, reading what Mickey is trying to tell him, he actually turns further away again so that Mickey gets his shoulder. This sets the stage for the rest of Ian’s development from now through s9. He’s doing what Ian does: he’s compartmentalizing. He’s taking the emotions he can’t deal with right now, wrapping them in tissue paper, and neatly stacking them in a box that he’ll put up in the attic where he can pretend they don’t exist. But they do. They really do.

If they didn’t, he wouldn’t have spent their entire conversation trying so hard to focus on literally anything but Mickey, because as we saw in the Hall of Shame flashbacks and as has been obvious since their first fight-turned-fuck, once they look, the battle is lost.

Dialogue

I’m going to be real with you guys: I adore this scene. I’ve watched it more times than I can count even though I haven’t rewatched much of the season in its entirety. There was so much said with so few words, and while I was sad at the end, I was also hopeful. This was an impossible position to be put in on both sides, and I truly believe that this was the best resolution they could get at the time. And yes, it hurt. It was painful. But why was it painful?

Because they’re so visibly, obviously, irrevocably in love.

Mickey’s tone when he tells Svetlana to leave because he wants to talk to Ian isn’t as harsh as it’s been for the rest of their visit. There’s such a disconnect between his words and tone: roughly telling her to scram while actually sounding a bit younger at the idea of speaking directly with Ian. Svetlana could tell. It’s so clear, and her smirk is super knowing. In that moment, we’re seeing the woman who stood in the doorway of what was supposed to be her bedroom and watched him make eyes at this unconscious boy she didn’t really even remember. Not in the tears and realizing she was in big, big trouble if he left her, but in the understanding that his heart isn’t in the body on the other side of the glass—it’s sitting behind her. There are a lot of things I don’t like about Svetlana as a person (as a character, she’s amazing), but since they reached their agreement in s4, she’s never had a derogatory thing to say about the love those two share, and I respect that. It’s actually a bit cute how she takes her time and is almost teasing in giving him what he wants. A bit.

As I have this scene running on repeat so that I don’t miss anything in writing this, I paused to type and ended up on such a meaningful glance at Ian’s face. Svetlana just took Yevgeny from him, and he hasn’t gotten up yet. He’s staring straight at Mickey, and he looks hesitant. Scared, almost. Then he looks up at Svetlana, nods a bit, and reluctantly moves into her spot.

Is it overkill to take this one exchange at a time? Probably. Am I going to do it anyway? Hell to the yes.

1.      “Thanks for coming back.”/”Yeah… Svetlana paid me.” – I know that people hate this line and think this is painful. I know that it objectively is painful. I still laugh every time. Not because Ian agreed to come if he was paid. (He’s got medication to afford and no insurance. I can’t begrudge him wanting to make a few extra bucks any way he can.) Not because of the words, but because of what accompanies them. Ian will not look at Mickey—he’s lost so many battles lately, and he can’t lose this one too. Not when he started this one himself. He’s hemming and hawing, not looking up from the countertop and then twisting around to see if Svetlana is still there or anyone else is listening. It’s so stupid, because literally no one cares, but it gives you this sensation that Ian sees himself as being under a microscope the whole time. That’s his life anymore, at home and at work and now here. And Mickey? He doesn’t look terribly broken up about Ian accepting payment in exchange for coming. He gets this expression that I interpreted as, “Seriously? You’re playing it like that?” Then it settles into disappointment that Ian won’t open up or look at him like he normally would—that the glass interferes with the magnetic pull between them. But don’t worry, children. Uncle Mickey has just the thing to fix that: himself.

2.      “You look good.”/*awkward silence* – I mean…what do you say to that? I actually felt so bad for Ian there because what must he have looked like these last visits if Mickey is telling him that he looks good now? What kind of mess was he then when he’s still sort of a mess today? And he can’t even return the sentiment because how can he? Mickey is in prison. He’s in a jumpsuit looking at being here so long that he’ll probably have a few grey hairs starting to grow in when he gets out. I don’t know how to respond when people tell me I look good on an average day, so I can only imagine how that must have felt in his position. And still, he won’t do more than glance in Mickey’s direction. Well, if that didn’t work…

3.      Mickey chuckles and says he got a new tattoo. Ian’s eyes immediately shoot upwards, and Mickey slouches a little so that he’s in their direct line of sight—to hold them there, because once they look, the battle is lost. And Ian does lose. For a while there, he can’t look away again. First, because Mickey is courting some pretty nasty illnesses with his improper use of needles. Seriously, Mickey, a beautiful gesture but holy crap. Second, Mickey has his name (or a very close approximation to it) tattooed forever right over his heart. Ian had asked if Mickey was going to marry him, and Mickey told him to fuck off, but everything he’s doing points in the opposite direction. He promised sickness and health; now he’s made a permanent mark on his body for everyone to see. Mickey, who wouldn’t be seen in public with him once upon a time, has plastered Ian’s name onto his body. Ian tries so hard not to let that impact him, but it’s over. He’s lost the battle already, and he falls further and further. He’s smiling when he tells Mickey it looks infected, he teases him about the misspelling (which I think says more about how much that tattoo must have hurt than any inability to spell on Mickey’s part—I’d have a typo too), and he laughs at Mickey’s irritation that he messed it up. And it’s this sweet little laugh, not cruel or hurtful or mean. The wonderful thing about humor is that it can be used to cope with difficult emotions. We’ve seen a lot of people on the show start laughing when they’re in a bad place. Ian has been trying so hard to accept his life as it is even during the shitty day he was having. He tried so hard not to let himself fall into the trap of letting his love for Mickey rule his actions in the scene so far. That’s a lot. That’s denying himself to the point where I’m sure it hurts. And so he laughs, because Mickey did this crazy, absurd thing for him and yeah, it came out wrong, but he did it. This was all Ian wanted once upon a time (minus the felony), and now he has it—but he can’t have it. So he laughs. He immediately moves to hide it, but he laughs. He smiles more and has to bend away to pretend that he’s not—and Mickey lights up like a goddamn Christmas tree. This is the moment that keeps me from seeing this scene or Ian’s actions as being cruel. They’re both hurting, and this is an awful position to be in. But Ian loves him so much, and Mickey was doing everything he could to make him show it. Not exactly how he saw that going, I’m sure, but he’ll take it.

4.      “Been thinking about you.” – Knowing that he lost that one, Ian looks away again. While the end of this scene will hurt for both of them, especially Mickey, think about the pain he must be feeling in that moment simply because he’s not. He’s not hurting. For the first time that day, he feels good. This can’t last. Mickey isn’t coming home with him when time is up. This wonderful emotion that filled him up enough for him to laugh and smile after such a bad day will be gone the second he hangs up that phone. Then he’s going to go home and have Fiona breathing down his neck with nobody else for support. And Mickey will be here—behind glass. He can’t handle that, and he pulls that box out again and starts tearing off the tissue paper. He has to get rid of this feeling. He has to be the one to put it away before it kicks him to the curb. He’s stubborn, and Mickey can see him shutting down but also knows that he’s knocked enough bricks out of Ian’s walls to say something softer, something emotional and closer to the heart. Something he is willing to say where the other inmates can hear, which I don’t think is lost on Ian since he immediately looks up again. He doesn’t look away either, not even when Mickey asks if Ian thinks about him. He glances to the side and opens his mouth a bit, but nothing comes out. Mickey knows the answer.

5.      “Gonna wait for me?”/”You’re here for fifteen years.” – There’s this thing Mickey does after he first says that. He chuckles, because he knows that that’s pretty unreasonable to ask and has already predicted Ian’s response. His comment about being out in eight is lighthearted, a serious matter spoken as a joke because…this isn’t juvie anymore. They’re not going to see each other in a few months. This is Mickey’s version of what Ian was just doing, only where Ian tried to withdraw and escape within himself, Mickey is making it more humorous. He’s always done that, make light of pretty serious things to avoid looking at just how messed up it is. But I didn’t get the feeling he was really asking for Ian to wait that long. Instead, I got the feeling that he was testing the waters, seeing if Ian would shut him down—which he didn’t. He offered the bullshit excuse that Mickey tried to kill a member of his family, and Mickey saw through that immediately. I think he knows that he can’t ask Ian to seriously wait and never be with anyone else for fifteen years, or even for eight. I think he knows what he’s saying is a touch absurd. He also knows that Ian’s excuse is extremely absurd, and he doesn’t buy it for a second. It gives him a little courage to do something…well, a bit absurd.

6.      “Will you? Wait? Fucking lie if you have to, man. Eight years is a long time.” – I think the important part of this isn’t that Ian says he’ll wait when he doesn’t mean it, which is the popular take. For one thing, I don’t think we can ascribe that level of calculated behavior to Ian in this instance. There are a few things about this part of the scene that mean a lot to me: (1) Ian doesn’t get up and go. He doesn’t even move in that direction. He sits there with the phone after the buzzer sounds and before Mickey tells him to lie. His mouth opens and closes like he’s not sure what to say. Because what can he say? If Mickey serves the maximum, Ian will be in his mid-thirties by the time they can be together. At that point, he was either nearing eighteen or just turned. I still can’t fathom what I’ll be doing in my mid-thirties, and I’m a whole lot older than that. Ian looks just a little terrified here, and that’s because he knows he loves Mickey but has no clue what he’s supposed to do with that in the impossible circumstances they’re operating under. (2) Ian can’t even see himself moving on yet. He’s still trying to figure himself out, not think about a relationship. He has a job he hates, and his family is a different brand of chaos these days. He feels alone, yes, but not in a way that has him openly desperate for a relationship. Based on what he says to Mandy about Caleb, I think it’s pretty safe to assume that he doesn’t think he’ll ever be in a serious relationship at this point or even in a position for more than casual sex anytime in the near future. How can he say that he’ll wait when he doesn’t know where he’ll be whenever Mickey does get out? Maybe he’ll feel better. Maybe he’ll be out of his mind, roaming all over the place like Monica. Maybe he won’t just be standing on that bridge. It’s a huge question, one that has a lot of ramifications no matter what his answer is, and Ian clearly has none. He’s blindsided by that, which Mickey sees. That’s when he gets serious about those eight years, about how absurd their situation really is. That’s perhaps the first and only time in this scene where we can see that, for as successful as he is at navigating prison, his freedom means something to him. His freedom means he wouldn’t have to coax a glance out of Ian—he could kiss his dumb ass and make him stop being stubborn about how much he loves Mickey. But he can’t. He won’t be able to for a long time. And I think that is what really breaks his heart in this scene, not…

7.      “Yeah. Yeah, Mick, I’ll wait.” – Did anyone else notice how Ian swallowed hard before he answered? How his voice gets hoarse when he first speaks? I paused again to type, and the video is sitting on his face staring at the counter before the second part of what he says. He looks like he might cry. He looks like his heart is breaking just as much as Mickey’s is, because he can do what he’s asking this time—reassure him with a lie. Not because he doesn’t intend to wait, but because he is buried so far under what life has piled on top of him that he can’t see the light these days, and he doesn’t see waiting or moving on. He just sees the daily struggle of being this shell of a person. Of being without Mickey even if they’re not technically together. (Admittedly, I think he knew they would be if Mickey weren’t in prison at that moment. Ian has no real self-control where he’s concerned. Lip told him as much, and he’s self-aware enough to realize it, hence his behavior in this whole scene.)

When Ian hangs up the phone, he doesn’t get up immediately. He looks at Mickey—really looks at him—and each of them watches the other’s heart shatter. I don’t see it the way a lot of people do, though. On Mickey’s side, I don’t see it as being because Ian lied. I think it’s so much bigger than that.

Ian looks at him when they can’t hear each other anymore, and if he didn’t seem ready to cry before, he looks it now. Why? Because there’s nothing he can do for Mickey besides that. Ian, ever the giver, can’t give him anything. At that point, he couldn’t even help himself. He can’t be what Mickey needs in that moment, just like he couldn’t be what Mickey needed while he was sick, and it kills him. It kills him to know that by the time Mickey does get out, he’ll be older than he can fathom being and has no idea if he’ll even be around that long. It kills him to feel like even if he is, he’ll still have nothing to offer because, in his own words, this is where he lands. And it kills him to have to walk away and leave what he loves most behind glass.

Mickey is watching this. He knows Ian, and as painful as it was to get exactly what he asked for, it’s even more painful for him to see what him being here does to Ian. Where Ian is a giver, Mickey is a fixer. He makes things better. When stuff is broken, he puts it back together. When there’s a problem, he resolves it. Ian was going to leave because he couldn’t be an unacknowledged number three in Mickey’s life anymore? He jumped to solve the problem by coming out. Ian was acting strangely and wouldn’t get out of bed for so long that Mickey realized something was wrong? He immediately went to hunt down Lip, who he knows is closer to Ian than anyone else in his family. Fiona tells him that Ian is sick and needs to be cared for? He jumps in to do it, even to the point where it did more harm than good. Sammi caused a problem that Mickey couldn’t solve? He fixed the problem of her being there at all. But here he sits, behind glass, watching Ian that whole time and knowing that he was trying to maintain some emotional distance—and, because it’s Mickey, knowing why. There’s nothing he can do about this. He can’t fix it. For the first time since s3, Mickey is absolutely helpless to fix a problem. He takes a breath as Ian walks away as though he’s about to say something, but what can he say? What can he do? Nothing. He can do nothing but hang up the phone and weather the storm.

In the end, the heartbreak in this scene isn’t about them hurting each other, from my perspective. It’s not about Ian being callous and cruel or purposely trying to hurt Mickey. They know each other too well for that. They’ve been through too much. To me, this is about two people who love each other more than anything not being able to be what the other needed when they needed them—and that’s a whole lot more painful.

[reyeslonestar]

Question what are some things you wanna see in season 3 of lone star? Character development, plots, anything

I want to see Tonya Kong write every episode. that's all. thanks for asking!

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sadfkja I joke, I do have other ideas, but that is definitely high on my wish list! i'm gonna go through by character and talk about what I'd like to see for them, so this is gonna get quite long whoops...

the main thing that I'd like to see overall, though, would be evidence of an overarching season plan or arc - it doesnt necessarily have to be a plot that stretches through all the episodes or anything major, but I'd love them to have plotted out the season before they start. from watching this season and then reading interviews after the finale, they dont appear to plan many things from the start and end up throwing in ideas as they go along. if they plan it from the start they can foresee how theyre going to affect character development more, and they can have a bit more balance in the types of episodes they have, so that the season is less insane and more naturally ebb-and-flow with a few light episodes to break up the drama.

okay, onto the characters! just going to do this in billing order for simplicity's sake. customary reminder that these are just my own opinions and thoughts, and this is more of a wish list than a realistic expectation.

if you want to search for a specific character, ctrl F for one of these terms including the dash at the start:

-Owen

-Tommy

-TK

-Grace

-Judd

-Marjan

-Paul

-Carlos

-Mateo

-Nancy

press “j” to skip the whole post.

-Owen

okay so I'd love to see them actually develop his character. Owen has been given a lot of backstory with lots to play with development-wise, but to me it feels like the show never goes anywhere with it. he's got a lot going on what with 9/11, feeling responsible for the fates of his fellow firefighters, the codependence of his relationships etc. I'd like to see him go to therapy and see him grow some self awareness and seek to manage himself better, rather than all his screentime devoted to him being a hero when other characters have the situation handled. it would really show him as a good leader if he drew on the skills that his team has and refer to them for advice/ideas. realistically he is the main character, so I'd like them to develop him like one.

also, I kind of love the chief role for him? I think it would suit him really well. but it would drag him away from the 126 and split up the dynamics too much so it would make for bad tv and I wouldnt actually want to see that. good for his character though.

-Tommy

I love Tommy :) just wanted to say that.

so obviously Tommy's got a lot of grief to handle next season, and I don't want them to shy away from that. I want it acknowledged and processed. (I'd also like a little bit of seeing the twins' grief too, because they're also suffering a massive loss). maybe something with Judd helping Tommy learn to manage her grief with his own experience of losing the original 126, encourage her to go to therapy, plus Tommy, Grace and Judd all feeling the loss of Charles together. after all, Grace and Judd were his friends and they will be grieving too.

I'd also kind of like to see Tommy have something outside being a working mother. obviously we're going to need to deal with that a lot especially now that Charles is gone, but I feel like she's been assigned the Character TraitTM of being the working mum and I'd like to see them give her a hobby or something. idk. and give her a night off with Grace or something. give her something just for her.

-TK

okay so I think theres a fair likelihood that theyre going to return to looking at TK's addiction next season which im not averse to. I think him struggling with his sobriety would be worthwhile to see for his character and to show that its not a straightforward path, plus it makes sense with all the insane stuff they've thrown at them in s2. however, Id like to see it in the context of his friends and family rallying around to help and support him and show him that he's got people to rely on, and that he's allowed to rely on them, plus the support of his AA meetings and therapy. I also need them to lay the groundwork for him struggling, so putting in signs of him deteriorating so the situation makes sense. this storyline doesn't need surprises to be interesting or good, and frankly it shouldn't have any.

as for him and Carlos, I definitely want to see them househunting! I'd like to see the combination of househunting/Carlos with Tommy's kids/Grace and Judd having their baby have an impact on their perspectives regarding their future and spark that conversation (like, looking at houses with more rooms and thinking about kids, future, marriage etc). I think that maybe one of them, probably TK, or maybe both of them those boys have way too many parent issues having anxieties about being a dad could be an interesting way to add tension without being too drastic, and then that can be resolved in a way that reassures them of their relationship and reaffirms their strength as a couple. the talk about the future would also lay the groundwork towards a proposal at the end of s3.

-Grace

grace :) my love :)

I could watch episode after episode of Grace kicking ass and saving people over the phone. I'd love to see an episode set there? like, some kind of story within the call centre with all the handlers having to resolve that between them, but also tie in the first responders, so we see the fire team, the paramedics and Carlos all working but we only see the bits that Grace and the other call handlers hear, if that makes sense? also an actual Grace/Carlos team up where they are coming in from the different angles with different amounts of evidence and figuring out the best way to solve something together. plus I'd like to see her maybe get some recognition for being awesome at her job, maybe another handler coming to her for advice on how to solve something.

of course we've got the baby Ryder on the way, and I want that to go comfortably and smoothly for her. she deserves that. lots of wholesome excitement for her and Judd from the whole extended firefam, baby shower, gifts, the full works. pamper grace please.

-Judd

judd4captain2k22. please.

yeah I know its not gonna happen, but I loved judd stepping in as captain this season and I'd love to see that continued with him taking more leadership, and Owen deferring to him for advice/council in a work environment rather than personal life. maybe set up a long term idea about judd being a captain someday.

he's gonna be a dad :') so what are his anxieties about that? why were they putting it off before? was it related to his PTSD? he's got lots of people relying on him now, how does that make him feel? what if his kid loses him? id like to see him still using therapy as a tool to help himself deal with everything. lots of meaty questions to dig into there :D

-Marjan

I'd quite like to see more of her balancing her daredevil nature with the impact of that and realising how much danger she puts herself in sometimes. or on the flip side, maybe the team is dealing with a really dangerous situation and they utilise her fearlessness to save people. her relationship with social media could also come back? but bring in the development they gave her this season, and her Firefox presence is more serious, less flippant?

I think that theres now a space for her to explore her sexuality/romantic experience now that she hasn't got her engagement with Salim as a kind of failsafe. maybe she wants to put herself out there and date, but thats really daunting as shes never really had to do that before? personally I think this could tie in really well with a self discovery/exploration regarding her sexual orientation, but I doubt they’d go there with her, so thats just my headcanon.

-Paul

I want them to draw on Paul’s observational skills and perceptiveness more, especially on calls and in emergencies. I remember someone (sorry I cant remember who) pointed out that he would have been a great character to centre the arsonist plot around in terms of noticing the clues etc, so id love a storyline that revolves around him dealing with an emergency like that. I also really want a Carlos and Paul friendship so maybe them collaborating on a call to solve something, that’d be cool.

can we give Paul a girlfriend please. if im not complely insane, there was a reference to someone in like,, 2x04?? someone who put mayo in his sandwich? idk I havent checked (edit: it was aioli in his banh mi! thank you @meneatyoghurt), but if there is someone can we show him having a fun and loving relationship please. I dont need there to be any drama. just them having fun on a date or something.

-Carlos

so I know that some people are keen to see him in his police role more but I really don't need much of that. on calls with the 126 I'd like to see him be the officer in charge more, but I don't need police-exclusive storylines. I've talked about it here if you want to know why.

the only area that I'd like to see would be in the direction of reform/addressing the flaws of the system, and I think they can do that on a personal level for him, because he and Mitchell need a chat. if they'd gone with her decision in 2x08, he, Mitchell and the bank robber would all be dead, and I think thats gotta have some impact. also the fact that he was suspended for trying to preserve life. theres a lot they could work with there and maybe have him thinking about how he can do good and how he can effectively protect and serve. not to mention, the opportunity that would provide in terms of addressing his relationship with his dad and how he maybe sought approval by pursuing a police career?

also I’d like him to learn that he doesnt need to accept blame/preemptively put blame on himself and that he doesnt need to apologise when someone else hurt him. kind of want to send him to therapy. kind of want to send all the characters to therapy. but yeah, him learning that he can accept apologies and understand that he doesnt have to make people feel better for hurting him. hes allowed to be hurt and feel pained about it. and that can tie into his relationships with Mitchell, with TK and with his parents.

I think I mentioned most of the tarlos stuff in TK’s section, but I wouldn't mind at least one instance for them where we see it all from his perspective instead of TK’s.

finally ive mentioned above how i’d like a team up with Paul on a scene and both of them figuring it out together. I'd also like them having a friendship outside work, just the two of them, bonding over books and being relatively sane people compared to the rest of their friends.

-Mateo

Mateo is so sweet. I loved 2x14 and the recognition he got, more of that please! also theres still so much I want to know - one of the more consistent things they set up for him in s2 was his faith, so I want to know more about that. what's his relationship with religion and God? he's pretty isolated from his family so how does he feel about that? is his religion something that helps him feel connected to them? maybe the church helped him find a community when he first came to the states, before he got settled with the 126, and he finds reassurance in faith that God is looking after his family while he cant be there? I think maybe there's scope for a conversation between Marjan and Mateo about that, about that distance and caring for their families through faith and prayer.

also, if he's still with the horrible firehouse, I'd like to see the other firefighters being won round by his resilience and stepping up to look out for him, and someone backing him up against the captain. Mateo is used as the butt of the joke most of the time, but I'd also like to see a bit more acknowledgement of things like losing his house and the bullying hes going to get more of from this firehouse.

-Nancy

I think that her speech to Tommy in 2x14 was really telling, and I'd love to see them expand on that a bit more. first on the loss and fear of losing her friends and coworkers, but then also on her hopes and aspirations - she said she wants to be a paramedic captain so lets see her working to take her exams and qualifications, and showing initiative on scenes etc.

id like to see more of her being integrated into the 126 group. she and marjan turned up to the hangout together, so lets develop that relationship more. I would love it to be romantic but I'd also love to see that as a friendship. but also her forming bonds with others in the group as well as more of her and TK being a chaos duo. I love that they stole the ambulance, more of that insanity please!

-

I think thats it? if youre still reading, youre insane and I appreciate you a lot! honestly im open to all sorts of things in s3, this isnt a prediction or anything, its just stuff I think would be interesting based on where the characters are now. 

[stonecoldhedwig]

I’m still in a WhatsApp group with all the people I used to work with at my hot trash job. Today has truly been a day to be grateful.

I was a digital strategist in the third sector before I gave up my job to write full time. My Big Boomer boss hired someone to replace me who *can’t use Microsoft Word*.

It’s a rollout day for one of their new programmes. Big deal. Generally brings in a lot of money from important donors. I think I spent more time teaching my replacement how to do this than anything else because I had digital programme launches down to an art.

The Boomersaurus Rex hired to replace me has fucked up the delivery strategy so the programme launch has come from her personal account, is going to everyone’s junk inbox, and has thus far been sent out nine consecutive times. The WhatsApp group is a-flurry with messages about how everything has gone wrong.

I got a text this morning from the Boomersaurus that simply said “I cannot send?”. Send what.

This is obviously amusing for me, but it highlights something about the third sector that pisses me off. It never, ever uses the skills, knowledge and diverse experiences of younger people that could genuinely make a difference.

The international third sector is generally no longer about sending neatly-turned-out white kids “overseas” to find themselves and occasionally build schools. Thank God. Despite popular conceptions, it’s not full of altruistic angels looking to change the world, either; it’s instead full of people who—for the most part—do want to do good but are also flawed and desperately human.

There is, however, a major stumbling block to genuine progress all the same, and it’s exactly the people you’d expect it to be: white boomer men.

I’m the youngest year of the millennial generation. Most of my friends are involved in either public sector or third sector work. Most of us are paid like shit, and work for boomers who don’t know TikTok from Twitter. My best friend works for an organisation that defends journalistic freedom around the world, and her (male) boss is incredibly proud of being a second-wave feminist who once read Simone de Beauvoir, and likes to chime in with suitably outdated opinions on gender with typical White Man enthusiasm. Great. Only, it’s 2020 and we’re now on fourth-wave feminism. How can his organisation defend the journalistic freedom of trans, enby, gender fluid people when his mindset is firmly rooted in the 1970s?

My former boss used ethnic slurs about various peoples from the part of the Middle East we worked in. We provided healthcare. Imagine the impact it has on a population when the person who heads up your healthcare provider is a racist. (I obviously reported this to the chairman before I left, and it was the straw that broke the camel’s back for me in terms of having to resign. In good conscience, I couldn’t stay). That doesn’t even touch on his deep and rich misogyny.

These are obviously much more extreme examples than simply not knowing how to use Word. But the fucking up Word is important. It highlights the fact that the third sector is steeped in capitalism—the kind of capitalism that values longevity more than anything else. The boomer who was hired after me? She was hired because she’d been in the sector for a long time and my Big Boomer boss respected that. It’s capitalism in action: how much production can we squeeze out of you until you expire? It is quantity over quality every time because that’s what late stage capitalism does.

There’s a really simple remedy to this: bring in young people. More than that, bring in a diverse range of young people. Young people of colour, young people with a range of gender identities and sexualities, religions and heritages. Organisations don’t need these young people to have degrees in digital marketing or seven hundred years experience of sending Tweets. We’re the fucking internet generation. Choose the quality of a more meaningful, more nuanced CV than a boomer with 20 years in the same role who, sure, has lasted long, but doesn’t really have much to show for it.

When charities or third sector organisations contact you asking for support (and let’s face it, that’s predominantly financial), ask them the age breakdown of their staff. Ask them their hierarchical structure within their offices. Ask them the demographics of their staff, and ask them how they’re pursuing a more diverse and representative workforce.

Part of believing in radical economic restructuring for me is knowing that the need for charity constitutes a moral failing on our part, collectively. Our economic structures should (and can!!) be reformed so that charity is a thing of the past. Part of the work of moving to a regenerative economy that removes the need for charity is by using charities as a proving ground. What this means is holding “the best of us” to account. It means ensuring that the most vulnerable of society are served by people who look like them, and who are committed to a society that includes them. The best charities ultimately want to be redundant.

So, just as you do for politicians, hold the third sector to account. It’s uncomfortable. No one wants to be the dick that questions the lovely people at a charity. But no third sector organisation is immune to its context, and the damaging attitudes and prevailing cultural norms that we see in the rest of life exists there too. Radical economics demands this of us.

[dreamylyfe-x]

Woah boy here we go ok. I need to tell you about my feelings for Bound. Which I have been meaning to do for literal weeks, but I read it so quickly the first time I wanted to give myself a slower second read through in the hopes that it would help me form some manner of coherent thoughts to offer you about why it is so brilliant.

I regret however that that strategy does not seem to have worked. I started a little notes doc with thoughts for each chapter and it began with full sentences but then as I went on and got more pulled into just reading the story the sentences turned into mere collections of words and then single word exclamations. The last note I have is jaaaaamiiiiiiieeeeeee!!!! And after that I gave up the pretense of taking notes at all and just let myself devour.

I think it is perfect?? Perhaps it is a perfect piece of writing???

From the outset, the very beginning of the prologue it is so visceral. Your descriptions of feelings are so physical, that the whole time one of them is in pain, I also feel that I am in pain. And so I feel like I have spent quite a lot of the story in pain, but the phenomenon of that makes me feel that I am so closely connected to both Ian and Mickey and I love it. And likewise when they are feeling joy or desire or relief. God the relief! It starts in that first reunion they have at the Kash and Grab after the gun incident, every second of that is filled with this wonderful release of physical tension, and then it simply escalates from there. I can't begin to describe how effectively you manage to convey the experience of having an emotion as part of your physical body, and how that is heightened by the soul bond aspect of the whole thing. Incredible.

What else? The world building! Heavens. I have read not that many soulmate AUs, but in terms of creating and explaining the rules of this adjacent universe where soulmates exist and endowing it with history and prejudice and letting that all just bleed into and across the story, you have eclipsed every single one. I totally buy into this parallel history and the nuances of opinions and variety of bond experiences and antiquated terms for gay bonds, it's all a very rich tapestry and I think you've done an excellent job of weaving it.

I am so here for a story that follows the canon without exactly recreating it. There are so many moments where you can pick out specifics from the show that are reflected or echoed, but are in a different context or setting, and yet manage to create that same feeling. And it's great because it's like a little easter egg, a little hit of recognition, but also is original in its form and serves its own purpose within your story. It connects us to Shameless without binding us into it and it is very deft and I enjoy it immensely.

We also have to talk about characterisation. Which. I actually don't know if I can talk about at all eloquently but you have to know that I am enamored with it. Ian and Mickey, but equally MANDY my beloved, who is sharp and brutal but also caring and so willing to help. I really like Ryan, I feel like you totally have that guy's voice, even though we knew him for only a few short moments, and I like that you made him not at all a predator. These kids need some adult advice once in a while! Which leads me onto Veronica. Best Aunty I love her, she is perfect.

But mostly I am just in awe of how you have written these versions of Ian and Mickey who feel so true to who I know them to be. I appreciate so much this Mickey who is accepting of his feelings for and connection to Ian from so early on, but that you haven't transformed him into someone who is really very soft in expressing those things. He is still motivated by fear and that fear makes him hard-edged, even when his insides are goo. And I love your Ian, who is sunshine itself, but also so much more alone than he ever is in the early seasons of the show because he isn't able to be out even to Lip really. His relationship with Monica is so heartbreaking and his descent into his loneliness and into resentment and feeling like Mickey doesn't care, all of it feels like something I could have been watching on the show.

That thing that Shameless does where they give you a little moment of pure wonder, and then follow it up by socking you in the mouth, it's that. You've captured that.

I swear there is so much more I could say but I feel that would be maybe concerning and you might take out a restraining order. But honestly I have been thinking about how to write this more succinctly for days and I couldn't come up with a way that could accurately convey how excellent I think this fic is in less words than I have used.

In short though, I love your writing and this work specifically and am very invested in reading the next chapter and all of the chapters after that.

🖤 Howl x

Hello! I'm slow! I'm sorry about that!

I'm also blown away. This whole thing is amazing and makes me grin like an unhinged person. But I sometimes am like "should I reply privately or is that rude?" -- I think I landed on that it's rude (so apologies to people I've done that to) and I apologize for my neuroses.

So first of all: super glad you like Bound. Super glad you have feelings about it! Totally love that you tried to make notes -- it's truly amazing that you'd make that kind of effort over it. Much love. 💕

Bound started life as a one-shot so sometimes I’m momentarily surprised when people talk about how the story starts in season one. I’m glad you enjoy the relief because I feel like it’s the emotion I write with them the most and a lot of times I’m like “I hope this doesn’t feel repetitive…” (though. Not a problem in recent chapters I guess). But. A bond under threat has a euphoric quality when they get to be together.

Also, because it was a one shot I didn’t expect to have to do much world-building, but that’s maybe one of the things I have the most fun with. Like tonight I was doing the dishes and starting wondering about how, exactly, things work when you bond with a psychopath. These are the things that haunt me.

I like the idea of the socio-economic impact of soulmates, so I very much want the other characters to continue their canon journeys. It’s maybe a little pessimistic but I see enough situations where we decide something that occurs naturally is wrong and must be fixed for me to think that people would accept the actual rules that seem to exist around soulmates without wanting to shape them into something else.

So happy you like the characterization! I’d never written Mandy before the one-shot but I immediately loved her. And I love wiring so many of the characters. Iggy. Fiona. DEFINITELY V. So glad you enjoy Mickey and Ian, too. I don’t think absolute security in a relationship is entirely possible for Mickey — but also, even knowing that he’s bound and that Ian loves him, it can still be really uncomfortable for him to be open about everything that means to him. I also, since I will probably never write a 3x12-4x07 fill-in fic I really wanted to get into Ian and Monica. That relationship is so interesting to me.

I don’t know who these people are who look askance at people taking the time to tell them they really like their work ARE, but I assure you I am not among their number. Truly so grateful for this. Thank you for your time, your attention and your really kind and thoughtful words. It truly means so much to me.

[voidsentprinces]

I am seeing some weird defensiveness in the community lately so, I thought I’d write a little something up on my thoughts regarding it. Because though I love Final Fantasy XIV, my experience getting into it seems to begun to echo through the influx of WoW Refugees coming. So before I go forward let me say, I enjoy FFXIV. I think Shadowbringers is the best MMORPG story, I’ve ever been through. That being said, Heavensward was over hyped for me and Stormblood might be slightly worse than ARR for dividing its focusing among two separate revolutions. One which takes up a sizeable chunk of the game and doesn’t impact it until precisely the penultimate quest before the end of the main Stormblood MSQ. That being said, I have like 50 Million Alts and am planning an OC AU Comic to be posted eventually. With that out of the way let me say my peace:

I am glad, there is a surge of new players in FFXIV but like...ARR is still a hurdle. The story time meanders, it rarely finds focus and it feels very monster of the week up until the very end and not every player is going to wait or want to wait for that whole “It gets better later” spiel. If a game doesn’t grab a player within its first few hours, its its own fault. Another wave of new MMOs doing something different is on its way. Between New World and Ashes of Creation, the MMO Market is about to be bombarded with potential once more. After Endwalker, ARR is gonna have to be polished and shifted even more to compensate because the stagnation of the last twenty odd years ain’t cutting it no more. MMORPGs gonna have to sink or swim. No matter how much I like this game, I am not going to be writing home about how surprising the twist behind the ambush before Ifrit was. Or that same story beat is used in quick succession for Laurentius and again for Tiduslayer also being an imposter or for Thancred being possessed by Lahabrea or how it turns out the Inquisitor is also an imposter spy.

Like ARR has one twist beat and it is always that someone is a spy or isn’t who they say they are and it never refreshens it. By the end of Post-ARR its the same story beat they used for Ungust and that’s like Hours of Content that amounts to, “Yeah so, here’s another person who isn’t who they say they are.” Final Fantasy XIV is a fantastic game and all, but the incoming population shouldn’t be expected to stick around especially if we as community keep hyping up, “Oh it gets better in Heavensward” or “Oh Shadowbringers is where its at”. You set the expectations too high and they’re going to expect the second coming of Christ and as we saw with Cyberpunk 2077 or No Mans Sky or hell who remembers Spore? You put too much stock in something it is never, ever going to deliver on that promise.

I came to FFXIV during WoW Legion which is turning out to be the last good thing that MMO has done. And the grind, the overused story beats, and the world did not warm itself to me. It wasn’t until BFA that I actually broke into FFXIV and the only reason I broke through ARR is because I had already done the same thing with Dark Souls. A game about banging your head against a wall until it submits itself in defeat out of pity. Pretty sure general population didn’t get into Dark Souls either.

Point is, I am starting see a lot of defensiveness when a WoW Refugee comes over and isn’t instantly enamored with FFXIV and goes to try something else. If someone is turned off by something and goes to do something else they aren’t worst for it and they didn’t personally break into your house and steal your pets. They’re giving valid criticisms as to why it just didn’t connect with them. No one should have to get use to a look or a story. The story and look should be there to draw them in. Serve as a way to hook them and if it doesn’t there is little you can do about it.

And actually now that I think of it, I feel the need to quote a game critic talking about Dark Souls that I feel holds true for FFXIV experience and how the community seems to have to hint at it getting better at certain story beats later on:

“Now, I never reviewed Dark Souls because other titles were out and my playtime was limited, and every time I sat down to it, it was like walking into a dark shed full of rakes, immediately treading on one and getting blatted in the face. Other people with more time on their hands started telling me it was the greatest thing since tummy-rubs, so I'd go back in the shed thinking, "Well, maybe there was just the one rake," before BLAT in the face again!

So I left it for a while, but this week with plenty of free time in my schedule, I thought to myself, "Last chance! I'll just keep tanking the rakes and maybe I'll somehow become really psychotically into being rake-faced just in time to be prepared for the sequel." And I'll be blatted in the face with a rake if that isn't kind of what happened. I've been raking myself all week right up to bedtime, I'm at risk of going blind!

You see, I resisted Dark Souls partly because people kept telling me, "It's good once you're used to it" and I've always held that the same thing can be said about being boiled alive, so I'd ask them to explain why it's good and they'd reply, "Ooh, we can't tell you. You'll just have to find out for yourself." And then I'd say, "Shut up or fuck off, ideally both, in either order!" But then after watching a decent Lets Play of the game, gone over the wiki a few times and a six week preparation with a team of advisors and physical trainers, I was able to break through the wall. And I suppose that's the first failing of Dark Souls; that you need the fucking Cliff's Notes to get into it.”

Final Fantasy XIV A Realm Reborn treads the same road and is unfortunately the entry point in the series and not everyone is built to do the grind all over again after coming from another MMO. Heavensward is an okay story, the aether currents if you’re not an altoholic like me are irritating to track down especially if, like me, you pick up flying to finish exploring a zone. Stormblood leaves much to be desired from the way it sort of forces Lyse down your throat to the way Hien just sort of goes about thing a little too pragmatically to be called a hero and doesn’t enamor any more confidence during Yotsuyu’s amnesia arc. Shadowbringers is the moment the story becomes about you. Which is kind of strange in the context that an MMO should make you feel like you are the central character and WoW’s greatest failing is in that the world changes about you and you have little say in how things actually unfold. It is a difficult balance to find but one Shadowbringers has done beautifully.

But again, to have to drag yourself through a two expansions to get to the actual goods while having the ever present need of FOMO to be with your friends. ARR certainly isn’t doing the influx any favors.

I am happy our community is welcoming and that there is a sizeable group of people sticking with it til the good stuff. To expect everyone to immediately become entranced by this new world we’re being thrown into is a little silly.

I am sure no one I follow or who can see this is causing an uproar but hey it never hurts to just get it out my system. Oh hey and there’s only 3 months until Endwalker. Here’s hoping for another solid expansion folks. Be excellent to one another even those who only stick around for five minutes and then leave the game for something else.

[sepublic]

You know, I've seen plenty of great ideas for Amphibia x TOH swaps, but there's one thing I haven't seen anyone point out yet. If Luz takes Anne's place and goes to Amphibia, then she gets something she's always wanted at the start of TOH: Being part of a prophecy.

           …That is, a VERY interesting concept, not gonna lie!

           The thing about Luz’s fundamental issues prior to meeting Eda was… She really had a problem with distinguishing fantasy from reality, learning to set the boundaries between the two, and fully respect said boundaries. She wasn’t malicious of course, but regardless…

           This is an interesting ask because we don’t know yet how the prophecy will unfold and be revealed within the show, or even its exact nature! But regardless, this is making me imagine Luz meeting the Plantars, and… Really, I can see Hop Pop’s more down-to-earth nature helping Luz learn to distinguish fantasy from reality, to an extent. Especially since Hop Pop himself is lowkey like Luz in that they’re very unorthodox heroes who don’t quite save the day the way they expected to; But their methods are –usually- valid. Such as Hop Pop accidentally inspiring a revolution among the Frogs, or that time he served as a martyr for those tiny frogs, with his mistreatment by the Hasslebacks being the final injustice that pushes them to fight back and defend themselves, without having to rely on any outsiders to do the work for them. Then there’s him projecting a Noir Film onto his search for Sal, to the point where he straight-up kills an innocent man…

           And, that’s making me imagine Luz and Hop Pop kind of bonding over this (not the murder though), especially with Hop Pop’s failed dreams of becoming an actor. I can see Luz being pretty sympathetic and a lot more involved in Hop Pop’s stint with Renee Frodgers, a lot more than Anne did- And considering we see her try out for Romeo and Juliet at one point, maybe she also has a taste for theater herself! Not to mention, all of this discussion of confusing fantasy with reality is just reminding me of Marcy… Specifically, the speculation of Marcy low-key seeing her time in Amphibia as more like a videogame with its tropes, to a potentially harmful extent as she might not treat this situation as a very real one with actual stakes and living, breathing people.

           Of course, the thing to remember is- Luz takes a lot of initiative in her own character development, too! She’s a receptive person and self-reflects. I feel like even if she never met Eda, it wouldn’t have been out of the question for Luz to still resolve her own issues… It’d have just been a much more difficult and tedious journey, especially if Luz had to go through that Reality Camp. But regardless, when you remember that Hop Pop also goes through similar character development, albeit more around the Season 2 timeframe… With Hop Pop making the conscious decision on his own to call out Renee on her thievery, without Anne nor any circumstances goading him into it, because he’s a very moral character at heart…

           Maybe Luz could have issues like Marcy. It’s worth considering if Andrias is manipulating and feeding into Marcy’s dreams. But regardless, I see Luz and Hop Pop working together, mutually, to get past their own issues, well before the prophecy is revealed- And we still don’t know when that’s going to happen! Maybe Luz and Hop Pop could be a duo reminiscent to Luz and King during Sense and Insensitivity. I can’t say for sure if Luz’s character development will be as potent by the prophecy’s reveal, as she is as of the Season Finale in HER show… I think Eda is ultimately a wiser character than Hop Pop, and characters like Willow and Amity serve as neat narrative contrasts/foils to Luz’s own antics. Though, I can imagine Luz getting caught up in shipping Sprig and Ivy, and possibly the fallout of this leading to a lesson or two…

           But in the end, as I said- Luz has a good heart, and she goes around to do the right thing, in the end. She’s like Hop Pop in that regard, and of course there’s also the existence of Sprig and Polly, not to mention what a fellow weirdo like One-Eyed Wally might have to say, here or there. I guess a lot of it depends on the exact context of how this prophecy is revealed, and how it even works… But I see Luz as being grounded by the more down-to-earth Wartwood, well before she gets to Newtopia. This does raise the interesting idea of her possibly backtracking on her character development, especially with Marcy’s influence and Andrias’ potential manipulations…

           And yet, I can see Luz still turning around to do the right in the end, just as Hop Pop did; Even when his dreams DID come true, and he became a renowned actor! I think Luz would come to the conclusion that even being ‘chosen’ by some divine force doesn’t really make her any better than anyone else… Not to mention that the people and world she’s saving is still very much its own thing, not beholden to her. So I see Luz accepting the mantle of being a hero, if only because she’s a good person and of course she’s not going to let something bad happen… And I can imagine the Plantars helping to gently nudge and remind Luz of her past lessons, to not get confused with fantasy and reality again. The prophecy would definitely be a twist antithetical and contradictory to Luz’s character development, given how she’s being transplanted into a different show with different themes, originally intended for a different protagonist…

           But, if Marcy is going to learn her lesson and get past her own issues –assuming those specific issues ARE a thing of course- then I can see Luz being a guiding light and force for her… Maybe the two mutually navigate past potential delusions together, who knows? I’ve speculated in the past how Luz would handle the revelation of having powerful magical heritage... How Luz would truly show off her character development by rejecting even this seemingly objective, tangible cosmic reason for her being special, and still asserting her equal standing with everyone else. Even when placed on top of the hierarchy, Luz rejects it, showing how much her lessons mean to her. I can see Andrias trying to set Luz up to agree with his hierarchy under that concept of divinely-ordained ‘specialness’, and how it’d all just tie into Luz working to abolish the caste system with Hop Pop.

           I can see it being a contrast to Sasha and Grime, who want to topple the current Newt Hierarchy… More than likely, so they can switch it around with Toads on the top. Not exactly the most helpful change, in the end… Luz decides that instead of reversing the roles, it’s best to just get rid of the roles entirely. It could play into a discussion of privilege, and it’d be interesting to see how Luz, Marcy, and Sasha would all bounce off of one another- Sasha low-key has her issues with dismissing the people of Amphibia, and once talked about ‘having fun’ there. Obviously her respect for Grime has changed this a lot… But there’s still that willingness to conquer what she fully recognizes now as an actual civilization of people. She would certainly take the revelation of a prophecy as full justification that she was never wrong about anything, and that Sasha is of course entitled to taking over Amphibia- Especially if Grime feeds into this both out of genuine support and his own desires.

           Then there’s that idea of Sasha and Grime enabling one another to be worse, even if they also still go through a little bit of positive character development… And as for Marcy and Andrias, I can’t quite say because the latter is still quite the enigma. Either way, Luz has to serve as a grounding force for the other girls with Hop Pop’s help… And really, it sounds like the set-up for total chaos, a battle royal, a complete free-for-all with every Amphibian and Human for themselves as they navigate one another amidst the backdrop of this prophecy. If we want to apply Luz’s motif and themes of being a guiding light for other characters in her own show, I can see her forcing Sasha and Marcy to confront the reality of what they’re doing… And I think interactions between her and Grime would be fascinating, as she’d be VERY much in favor of toppling the monarchy- But specifically to undo the hierarchy entirely, instead of switching it around to the Toads’ favor. If Sasha and Grime enable one another, perhaps Luz will have to act as a voice of reason and buffer between the two- And again, it depends on how Sasha and Grime’s character development goes.

           Overall, this sounds like QUITE the debacle, and I’m kind of fascinated, imagining how these different characters with different motifs, meant to be compatible with narrative parallels and contrasts, amidst the themes of their particular show; And how they’d adapt and fit into another show’s cast and themes! Anne taking Luz’s place in the Boiling Isles would be interesting, given how Anne has clearly internalized Sasha’s idea of ‘knowing what’s best for someone you care about’, and how this seems to be a recurring trend amongst people like Emira and Edric toward Amity, Lilith with Eda, etc. And, I guess I could go into a whole ‘nother discussion of how Eda has to help Anne recover from this low-key abuse and toxicity, and Anne having a similar moment of standing up to Sasha with those characters, possibly citing her own experiences… But, that’s probably a discussion for another time, I think. I guess it depends if I have the time and energy for it, and my cyclical focus aligns just right…

[lonelyghosts-stuff]

Loki-Character Analysis (and Rant lol)

Idk if anyone will see this and I frankly don't care too much, just kind of ranting and venting. (for context I am not necessarily in the healthiest head space as of now so my emotions could be more extreme than they normally would be)

Loki's death is really hitting hard for me again. The fact he went from a mischievous kid who just wanted his father's recognition, to sabotaging his brother's coronation to lead up to defeating the Jotuns for his father and proving himself worthy as Thor, in the process finding out his life was a lie and that he himself was a Jotun who was abandoned, to giving up his life only to be found by Thanos to be threatened and manipulated (idc what anyone says, Loki was definitely tortured during his time with Thanos. How else could you explain how sickly and gaunt he looked when he first showed up in Avengers?) to losing his mother and protecting a mere mortal just because his brother cared for her, also willing to sacrifice himself for her and his brother, to finally having a period of success, only to witness his father die, see his home destroyed, and then ultimately get killed by Thanos as he tried to kill him to protect Thor.

He had an arc. He grew. And then he died. While we will get Loki in the new Disney+ series, he will never be the same Loki unless they find a way to implant the experiences of the prime Loki into this one. While I have no doubt he will be shown key points of his alter variant self's life, seeing them from an outer perspective cannot substitute for the experiences themselves.

Loki was such a complicated character who, while sometimes seeming inconsistent, was consistently inconsistent within the nature of his chaotic and mischievous character. He cared. He wanted recognition and to be viewed as equal to his brother. Along the way he got lost and found and twisted even more. Notice how in Thor 1, he never killed anyone other than Jotuns. While he did endanger other humans, he never killed them despite being easily able to do so with the destroyer automaton. And when it came to his brother, he had the perfect chance to blast him, but resorted to a backhand; and while that could have proven to be fatal, when it came down to it, Loki couldn't bring himself to do it the easy way. Deep down he still wanted to be on equal terms. That's why when Thor returned to Asgard, Loki kept instigating Thor, trying to rile him up so he would fight him. He ended up resorting to threatening harm upon Jane just to get his brother to treat him as equal and a worthy opponent. He denied familial connection to Odin and Thor, trying to convince himself that the reason he will never be viewed as equal with Thor is that he is a Jotun, the "monster parents tell their children about". In the end, when Odin still wouldn't show any more sympathy to Loki or try to reason with him, instead just telling him "no", Loki gave up. He was willing to accept whatever happened to him when he let go and he fell into the collapsing portal of the bifrost.

Cut to the first avengers, he is clearly very changed. He's sickly, gaunt, and weakened, needing support just getting onto the back of the truck for Clint Barton to drive him away on. His eyes are sunken in, he's greasy and slow, and borderline sociopathic. He clearly experienced something that turned him into this. We already know the scepter influenced his mind and that Thanos threatened him eternal suffering that would make pain look sweet if he didn't get the tesseract. But I steadfast refuse any statement someone could give me saying he wasn't tortured or manipulated by Thanos or his followers. Loki quickly goes in for the attack when he arrives on Earth, killing without hesitation or regret. When Thor confronts him on Stark tower, for even just the most fleeting second, he pauses. He knows what he's done and that he's gone too far. Even when he doesn't back down, he doesn't try to kill Thor. He simply, or, well, "simply" stabs him and runs off knowing very well it would take much more than that to kill his brother.

When he is brought to Asgard for imprisonment, his pride and guilt eat away at him. He refuses to acknowledge what he did as wrong to anyone, but he is very well aware of his actions the weight of them. The person who affects him the most being his mother, the one who always showed love for him and Thor equally. He tries to hide this knowledge, denying her being his mother as well since he is of Jotun blood, but he cares for her greatly still and can't help but feel guilty for how she sees him now. He still strives for chaos and when the Dark Elves invade, he mischievously points them in the direction of the throne room, not knowing their full capabilities, but living for the potential chaos to ensue. Of course this leads to his dear mother being killed. Loki is furious, broken, and lost. His actions have gone too far, causing the woman he loved the most and felt loved him more than anyone else to die. Thor can easily see through his illusions proving that Loki has shown his adoration for Frigga enough that even Thor knows of it. When they finally get to the Dark World, Loki tries getting under Thor's skin again, but also in an attempt to understand him. He prods at Thor's feelings for Jane and reminds him that her life is but a brief moment in their own lifetimes. They bicker and scuffle on the ride to their destination, but it is ultimately resolved by Loki's declaration that Thor can trust his rage, his rage at Frigga's death. When there, we see Jane in direct danger twice. Both times, Loki throws himself in harms way to protect her, seeing her both as vulnerable but also something that Thor cares for. Loki then proceeds to save his brother's life, being willing to sacrifice his own for him as well. Knowing his wound is not fatal, but also being fully aware of his skills in trickery and illusions, not only does Loki trick Thor into believing he is dead, but he also takes the opportunity to try to relieve his conscience; he apologizes. He then follows it up by saying that he didn't do what he did to make Odin proud or acknowledge him, not this time. He did it for the one who truly cared for him and showed it, Frigga. This gave Loki the opportunity to discreetly get back to Asgard and exile Odin and take his place. Now, Loki got the respect and adoration he felt he deserved. But it would only last for so long.

When Thor gets wind of Loki's antics, they both find themselves eventually facing down Odin and him passing away, but not before telling them that he's proud of them and loves them. Even Loki tears up here. He feels somewhat that it's his fault for Odin's passing, but he also feels empty after finally hearing Odin give him what he thought he always wanted. Hela arrives and Loki tries to reason with her; perhaps thinking he can relate to her and handle the situation. Unfortunately, Loki and Thor get separated for a while, eventually reuniting, but on opposite ends of the social class on Sakaar. Loki could easily continue to bask in his new status over Thor, but still decides to help him when h found him in the waiting area for the fighters (even though he eventually tried to betray him later when he realized he could regain what status he had and that he viewed escape futile and pointless with Hela still around). In the end, despite him having the chance to escape and run off, he returns to Asgard to help fight. He even proves key in defeating Hela as he revives Surtur, also grabbing the tesseract on the way. He doesn't hide. He doesn't show bitterness. He returns to the ship alongside his brother. (despite how much Waititi gave a middle finger to the writing and characterization of the characters, I am still trying my best to piece good Loki moments from Thor Ragnarok and fit it into Loki’s personality given that Ragnarok is considered MCU canon).

Thanos attacks. He has Thor in a precarious situation, threatening to kill him if Loki doesn't give him the tesseract. Loki tries to hold out as long as possible, knowing the consequences of giving it to the mad titan, but eventually yields when he sees no other way to save his brother; after giving it to Thanos, he immediately goes to Thor's side to protect him. When Thanos took down Hulk, Loki realizes the only chance they have to get out of there alive is to use his trickery. He proclaims himself Loki, prince of Asgard and, most impressively, Odinson. He accepts who he is. He acknowledges he is the rightful heir to Jotunheim, but he also knows that, even if not by blood, he is Thor's brother, and Odin and Frigga's son. Unfortunately, he rushes to action quite recklessly, potentially undermining the power Thanos has already with even just the two infinity stones he as acquired. Loki is killed. Neck snapped from the pressure of Thanos choking him. He died trying to protect his brother. Trying to fight for the good fight. Died at the hands of the man who twisted him in the first place and promised him suffering if he didn't deliver the tesseract.

Loki may have started out as a dark antagonist, then to a twisted villain, and eventually progressing to an Anti-Hero, but he died a hero.

This just breaks me. He was such a loveable and complicated character. He had many faults, faults he battled with every day. When it came down to it, he threw his own life down for his brother.

It upsets me he died so quickly and seemingly so pointlessly within the first ten minutes of Infinity War. But he also served a great, if I may, glorious purpose. He brought the Avengers together in the first place, and died trying to make sure another one of them, and his own brother, could live on to fight and stop Thanos.

Loki will always be my favorite character and hero and villain simultaneously in the MCU. And I couldn't thank Tom Hiddleston enough if I got the chance for his stellar performance of this fantastic and complicated character who helped bring the Avengers together, even if unintentionally.

[escxpedes]

loopholes (cont.)

I literally can’t even begin to tell you how much everyone’s support meant to me on the last chapter. All your comments and tags were so sweet, it was seriously the highlight of my day. I’m sorry for the delay, I meant to get this out a couple of days ago, but I’ve come down with a bad cold. This part, while fun, was so hard to get right. Angus Macgyver is a genius, his mind goes a mile a minute, and I wanted to do my best to replicate that. This part is a little slow in getting to the Macriley stuff, but I wanted to show how much he really thinks about things. He’s such a complex character, that if I didn’t do him justice, I wouldn’t be able to forgive myself. Also, there’s dialogue in this one! Sadly, Jack isn’t mentioned in this chapter, but he’s there in spirit. Clearly, we all love and miss him. I hope you guys enjoy, the last part will be out soon! x

~

loop·hole

noun | A loophole is an ambiguity or inadequacy in a system, such as a law or security, which can be used to circumvent or otherwise avoid the purpose, implied or explicitly stated, of the system

~

Riley finally moves into her new apartment, but struggles to adjust after the events of Codex and the realization of her feelings for Mac. When Mac finds her passed out over her keyboard after a late night of coding at Phoenix, he decides a talk is long overdue. Just some slightly angsty soft!macriley to help you cope with this season 5 hiatus.

~

of lips that i am yet to kiss (and eyes not met my own.)

It's highly unlikely that you'll find Mac walking down the halls of the Phoenix Foundation so late at night. Without the bustling energy of his coworkers fetching important documents or discussing the best way to break down one of the many mysteries the foundation deals with, the darkened hallways and quiet atmosphere can be unnerving.

Sure, he spends nearly every waking hour employed there, but he'd rather be outside the office in different countries, doing hands-on work and saving lives. When you work in his profession, It can be difficult to separate business and pleasure, but that only makes it more important—if only to conserve what mental health he has left. 

However, in the haste of putting together last-minute preparations for yet another meeting with the Department of Justice and trying to make it back to his house in time for something Desi whipped up, he managed to forget his cellphone.

It's funny, mainly because of how little the small device truly matters to Mac.

It only goes to show how insignificant material objects, or even human beings in general, are. The idea that something so meaningless can affect someone's life so much when, if they just looked past that obsession and considered its part in the profound scope of the universe, another perspective would take shape.

It's fascinating stuff, really.

There's a concept essential to understanding Japanese aesthetics, otherwise known as an ancient set of ideals important to Japanese society, called Yūgen. When applied in the right context, Yūgen underlines this deep awareness of the universe and the experiences we have within it. It's often the feeling interpreted when you gaze at the stars late at night or watch the sunset dip behind a hill.

Mac wouldn't think twice before breaking his phone, or rather, breaking the phone of his nearest friend, open for an obscure part that might make one of his many homemade devices come together. However, when he's the only person able to communicate the scientific specifications of an unheard-of-until-recently base plan for saving the planet, he's practically on call 24/7.

He remembers having it in the labs earlier that day when he stopped by before his meeting to remind Bozer to come by his house on Friday for the team's new weekly attempt in group-bonding.

After the betrayals that surfaced during the climax of taking down Codex, the team collectively decided to spend more time as a group in hopes of eliminating any lingering doubts. 

They used to hang out all the time before the government dismantled the Phoenix Foundation.

Mac still can't believe that, after everything they had been through, he allowed his friendships to dissipate over the year they had been separate.

Bozer is his childhood best friend, and Riley had become a solid foundation in his life. He didn't have anyone outside his team at Phoenix, and while he deeply cared for Desi, their first relationship was proof that too much time—and too little communication—with each other can do severe damage to one's sanity.

If Russ hadn't brought them back together, would they have tried to reconnect at some point?

Mac wants to say they would have but wouldn't blame them if they didn't; they all lost something they cared about, and each served as a constant reminder of it.

It would've been hard, but part of him feels like living without them is a lot harder.

When he manages to access the lab, flipping his shiny new I.D. card over his fingers and into its place in his wallet, his eyes scan the room. It's empty, which isn't unusual at this time, but years of military training have rewired his brain to notify him of threats, even if there aren't any.

Just like he thought it would be, the device sits untouched a few tables behind Bozer's workspace where Mac had been sitting.

Quickly, because he left the house in a hurry and forgot to leave a note, he scoops up his phone and makes his way towards the exit. There's a couple of missed calls, but it doesn't seem like he missed anything too important.

Not that they would let him. 

At any rate, they would probably show up on his doorstep if they couldn't get a hold of him. With days off so few and far between, that's the kind of interaction he's hoping to avoid. Hence, why he came to pick up his phone when he realized it was missing instead of waiting until the next day.

He's nearly made it to the end of the hall when a light flashes in his peripheral vision, coming from the I.T. department.

His body is tense with apprehension; his mind races with several different kinds of possibilities and outcomes. He slows his pace, his movements fluid, silent, and controlled from years of stealth practice.

The light is soft, he notices, as if only one or two monitors are in use.

When he gets to the doorway and nudges open the door, hands at the ready, his entire body sags in relief to see the dark wavy hair he's come to associate with one of his closest friends.

"Riles?"

The nickname falls from his mouth before he can stop it, and even though the light from the monitor creates a halo above her head, shadowing her features, it's unmistakably her.

She doesn't move. 

It becomes abundantly clear why as Mac moves towards her and notices the monitor's screen filling up with a sequence of letters that look nothing like coding despite his lack of knowledge in programming languages.

Her elbow balances precariously on the edge of the table, her arms creating a makeshift pillow for her head. The weight of her forearm bears down on the keyboard, causing the side of her hand to press down multiple keys at once.

He shakes his head a little, amused by the situation unfolding. 

Her cheek rests comfortably on her hand, a serene expression masking the signs of exhaustion that showed on her face.

Mac's lips curved into a soft smile, seeing Riley in any state that wasn't cloaked in layers of worry or anxious determination always washed away any doubts he might have about working in such a stressful field.

The scars that covered his body, the secrets he has to keep, and the pain he has to endure are so unbelievably worth it as long as she out of harm's way and able to sleep peacefully.

Of course, he couldn't imagine anyone else by his side on a mission, knowing they share the same love and passion for kicking ass and saving lives.

However, he also knows that more lies underneath the surface.

He wouldn't wish the hardships of this job on anyone. Seeing it affect someone he cares about, watching it break them down slowly pulls at his heartstrings and fills him with a knowing sadness. 

When a piece of hair falls into her face, his fingers don't hesitate to gently brush it behind her ear, lightly tracing her cheekbone and caressing her cheek.

Kneeling, his hand drops to her shoulder in an attempt to gently wake her.

After a couple of shakes, the expressive brown eyes he's come to look forward to seeing begin to flutter open and nearly render him speechless.

She blinks a couple of times, inhaling slowly, "Macgyver."

Her voice is full of sleep and breaks from misuse, but the way she says his name—like there's nobody else she'd expect to see when she wakes up —has him grinning from ear to ear.

"Good morning, sleepyhead."

Rising from her position on the table, she scans the room before meeting his eyes and scoffing, "It's hardly the morning."

He laughs softly, holding back the urge to mention that technically it is morning considering its past twelve. Instead, he focuses on the matter at hand, or more likely, the question at hand.

"What are you doing here so late?"

She's more alert now, sitting back in her chair and lifting her arms to stretch out the muscles that stiffened while she slept, glancing at her work on the monitor.

Her face drops into a grimace when she notices her mistake, "Matty and I were talking about updating the foundation's firewall and spyware," she yawns, "I must have been more tired than I realized."

Mac's eyebrows scrunch in thought, remembering something Bozer said earlier about Riley spending quite a few nights this week working late.

Between going over his mother's scientific data, trying to patch up whatever relationship he had left with Desi, and making sure he didn't go off the rails with grief, his effort to check in on everyone decreased significantly.

"Yeah, you've been doing that a lot lately," his hand returned to her shoulder to emphasize his point, "Everything okay?"

She waves him off, "There's too much work that needs to be done around here before we can get things running the way they used to."

Riley doesn't lie to him—if you overlook the whole situation with her ex, Aubrey, that is, but the movements she's making indicate otherwise.

Her eyes refuse to meet his, flickering down and to the right. When she talks, her head shakes lightly, and she purses her lips in an attempt to give off a careless impression. Maybe someone who doesn't know her or didn't train to pick up on it would believe her, but he knew better.

She was definitely hiding something from him.

Part of him understands that if she wanted to talk about it, she would. However, his instincts urge him to press harder, locate the problem, and bring back her contagious smile that always seems to fill him with warmth.

As much as he doesn't want to admit it, you can't patch some things together by sheer will and sellotape, so instead, he stands up and drops his hand from her shoulder.

"Let's get you home."

[affiliateboosterplugin]

5 Best Books to Improve Your Affiliate Marketing Skills

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The book was written in 1923 – it's almost a century old. But the insights Claude Hopkins supplies still are very relevant, in fact, more so after internet marketing became an opportunity .

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Chances are, you’ve heard of this book before.

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What you'll Learn

The 300-page book teaches you the six universal principles of influence, all of which are backed by research.

#5 Dotcom Secrets

One of my friends recommended this book to me in 2017.

I ordered it immediately and began getting myself immersed within the learning.

Russell’s fundmentals are billion dollar fundamentals. The way he explained the funnels, the steps, the psychology of buyers, everything during this book may be a complete game-changer.

In fact, I even have made my very own funnels by getting the ideas from this book.

Russell Brunson is an online marketing expert and therefore the co-founder of ClickFunnels. In Dotcom Secrets, he touches on how you'll drive more traffic to your website and goes into detail about how you'll make more sales.

The book first explains the importance of getting a longtime value ladder for your site and teaches you ways to create an efficient sales funnel.

Russell also explains which email you ought to send at what stage of the funnel. He even gives you his scripts to assist you maximize conversion.

The third chapter of the book is crammed with details about funnels – including the various types, and details about which funnel works best in what circumstances.

Every marketer realizes how important offers and discounts are to conversion. Russell sheds light on the various sorts of offers and supplies expertly crafted email scripts that you simply can use in conjunction with discounts to extend conversion.

The last chapter of the book is insightful, but many readers report that since Russell explains the workings of Click Funnels in it, the book finishes up feeling sort of a sales talk within the end.

But is that a nasty thing? i feel not.

What you'll Learn

You will learn to spice up traffic and sales on your affiliate marketing website using funnels, value ladders, and email marketing.

[ladyknight33]

Hero of Numbani: A Review

So I finally got around to reading this book. In short it is cute. Written for grade school children much like Efi, age 12. A lovely dip into the Overwatch world for fans of the game by bringing in in-game interactions and voice lines. If you play the game you immediately get the characters’s voices in your head because of them. Also prolific use of current lore, mainly by way of the Overwatch Cookbook. The favorite foods of the characters liberally referred to throughout the pages.

The protagonist Efi is adorable in trying to balance the life of a genius with life as a child. The story is as much about this struggle as it is about the building of Orisa. The transformation and teaching of an OR-15 “Idina” is the catalyst for Efi’s growth as an individual. Without spoiling too much of the plot, Efi and her friends navigate the struggles of relationships, both with family and friends. The lessons learned are important for young people to learn early and this book allows its readers to experience such turmoil and joy across its pages.

Forewarning, I’m going to get a little critical here on out. 

While I enjoyed the attempt to expand Overwatch Lore and develop their characters with a backstory, it generally felt stilted. My initial takeaway thoughts were on why the Overwatch animated shorts and comics felt approachable to all ages but the Overwatch prose/short stories felt limited to school age children. 

My personal opinion, probably from reading too much epic fantasy by Robert Jordan and Elizabeth Haydon, was that the world Drayden wrote for Numbani relies heavily on the reader having played the game and experienced the Numbani map. Very little description is given to fill in the non Overwatch fan of this world 

Perhaps my favorite piece of description was for Efi’s iconic look. Drayden took the time to try to put into words the African clothing for us non-African readers. Trying to describe ethnic clothing for people who have never seen it before and have no idea what the items of dress are called is complicated and time consuming. I appreciate the effort and it will take me a few more readings to really understand what the items of dress actually look like. But for Efi, Drayden did more than that. She explained the personal history of each item Efi wears in the above picture. It gives the reader a clear sense Efi’s personality and what’s important to her. This is all for a purpose within the plot, but I felt these descriptions were among her best in the story.

Perhaps the most complicated part of writing is the pacing of the plot and warring with character development. Obviously Efi and Orisa are the protagonists and it is their growth that is most important to the story. The side characters such as Efi’s friends felt more like a list of names. While reading the story, I did not get a good sense of their personality or even their physical description. Efi’s cousin Dayo got the most attention of the group for his use of a cane and spectacular costume sense. Yet as a three demential character even he seems lacking.

This is easily justified by the story length and target audience. I’m clearly not part of the target audience. I read in-depth and get discouraged when reading works I cannot get lost in. For the target audience, this is appropriate but not challenging in its use of English. Again, I’m comparing my childhood favorites of Brian Jacques and Mickey Zucker Reichert to a totally different genre. Do not let it detract from the enjoyment of the Drayden’s story.

Another difficulty is making “baby” characters interesting. Both Efi and Orisa are children. They do not have the long complicated backstories that most of the Overwatch characters have. We’re reading their adventures as they happen. Nor do they fall easily into a hero trope. They do not have a lot of experience to draw upon, so we get to read about their mistakes and lessons learned. Some instances don’t seem plausible, but I had to remind myself that this is a future world and Efi is a genius so the power of the suspension of disbelief must be strong. 

The most troubling issue for me within this story, is how Efi does not seem to have a mentor. No guiding light beyond the collective memory of Gabrielle Adawe and the idealization of Overwatch. Efi sets out on her robotic misadventures without an elder to ask questions of. Sure this would make some of the misadventures impossible, but it also would make the world more believable. 

While building Orisa, Efi’s priorities seem scattered with no real plan. This leads to multiple failures. Efi takes on an insurmountable task for anyone much less a 12 year old. It would stand to reason one lesson to be learned is not to be afraid to ask for help. I don’t think this is conveyed through this story as there are many instances where Efi assumes full responsibility for problems beyond her control or capability. Again, I’m not the author so I do not know Drayden’s decisions beyond this might not be the story she wanted to tell.

Now we cannot have a story without discussing the antagonist. In some respects the obstacles Efi overcomes is her own family’s expectations and limitations. The clear conflict comes from Doomfist. His act of stealing back his Gauntlet and destroying the OR-15s is the beginning of Efi’s story. Everything before was setting the stage.

Doomfist does not receive much “screen time” within the book. He is a background threat. He shows up, causes chaos, and remains a haunting threat into the future. Drayden tries to set up his terror by comparing it to the previous Doomfist: The Scourge and to the Omnic Crisis. All of this through Efi’s view point of the scant memories she has of her family.

The Reader may not get a true sense of the threat and danger, but Drayden does well to describe it around the lens of a child who had been shielded during the worst of the terror.

Doomfist himself is a flat character within this story. The reader knows his story from his character release, not from Drayden’s The Hero of Numbani story. Efi and her friends mention the jail break, but there is little context to it. He serves only as the grand obstacle and test of Orisa’s abilities. 

Let’s not forget Lucio. 

He’s like the prize inside the cereal box. 

If Efi were ever to have a mentor, Lucio is a great fit. She idolizes him. Drayden wonderfully gets inside the mind of a “tween” to show how captivated she is about the music icon. He is the voice of reason and encouragement Efi needed through this whole story.

Lucio shows up much like a guest star. We get a greater sense of his character and personality through his interactions with Efi. Yet we are still left to develop out sense of him from the gameplay.

His purpose within this story is that of a “fairy-godmother.” To give the protagonists exactly what they need at exactly the right moment. This is a very useful tool in writing. Here I do not feel like it was well disguised at all. Time constraints or author’s choice; it is not a bad placement or use of character. Just not my preferred. 

If you have made it this far, thank you.

In short this story is cute and an easy summer read. It has all the charm of a child’s cartoon show. (Netflix, if you’re listening, this would be an excellent addition to your animated line of shows. I’d love to see it in the vein of the animated short for Doomfist’s reveal.) The dynamic of these over the top characters are perfect for the small screen. The brightly colored and exquisite atmosphere of Numani deserves center stage. 

Even with the heavy use of in-game dialogue and voice interactions rather than new developments, this story was worth the read. Not the masterpiece or lore rich epic I’m hoping for. Stylistically cute. A shout out to fans, but not a gateway to non-fans. If you read this book, you must have prior knowledge of the characters and setting from the game and character releases. 

All that said, I do hope there are more stories. The listing of The Hero of Numabi as Overwatch #1 gives me hope. I would love to see more lore rich stories that can stand alone without relying heavily on game play, where every other sentence seems like it is borrowed from the game.

Efi and Orisa may seem like periphery characters now, but they hold promise to boost the Overwatch world. 

Side note: I love the original Overwatch cast. But reading this story has made me want to see more Lucio in the future. Lucio feels like he could be the leader Overwatch needs and deserves in order to bring it back into respectful prominence. 

[skvaderarts]

Hiraeth Chapter 22: Proposition

Masterlist can be found Here!

Chapter Twenty-Two: Proposition

Note: This entire chapter feels like a shitpost, and I love it. Also, dear god have I been busy working on things for a physical release of the fic! You’ll hear more about that next week on Wednesday, but if you are interested in beta reading, I have left a form below. Doing it myself is tricky, and there is a free copy in it for you bound in your choice of type (hardback, paperback, hardback with a paper cover, etc) and you will receive credit because I’m not a monster XD. 

I think I want to do it as a charity thing, so suggest charities the proceeds should be donated to in the form below even if you’re not interested in being a beta reader! The size of the charity is irrelevant. They just have to be credible (IE not a nightmare like Autism Speaks or the Salvation Army, or PETA, not to get judgy or upset anyone. They just have a very bad rep.) Anyway, enough of that! Back to the story!

(-~-)

By all accounts, the initial plan had been simple enough. They were going to eat dinner and then see where the evening took them. The only issue was that not a single one of them had really thought the plan through. That was typical enough, all things considered, but none of them really considered the fact that accomplishing that goal might be a little bit harder than they had originally expected it to be. Namely because of one major problem.

While Sirrus’s intentions had been pure enough when he had offered to cook, and V’s had been equally so when he had agreed to allow him to do so, the execution of those plans had left much to be desired. Making plans without knowing the full extent of their impact seemed to be something that ran in the Sparda family, regardless of the context of the plan, and while this was a minor occurrence in a sea of what had otherwise been huge high stakes situations, that didn’t change the fact that it was literally impossible to cook without food. And if it wasn’t, no one present wanted to know how that was done.

“Correct me if I’m wrong, but it seems that you might be a little short on… everything at the moment.” Sirrus said as politely as he could, clearly amused by the utter emptiness that he was presented with when he opened the cabinet door. “Am I getting my hopes up by assuming that you have something in the refrigerator, or are we just going to have to make a run to the store? I mean, we’re probably going to have to for what I had in mind, but still.”

V felt himself die a little inside at his companion’s polite yet ruthless assessment of his current living situation. Sirrus was entirely correct, it was too much to hope for. He hadn’t really been home much recently, if at all since he had acquired the place, and as such, grocery shopping had been very low on his list of priorities. It had been easier to just grab something and call it a day in the two days that he had actually been in the house so far. He only wished that he had thought of that before he’d offered to allow Sirrus to cook! He could have saved himself a lot of unneeded embarrassment.

Was this what it felt like to be Dante? Because if it was, that was a tragedy. The only upside to his current situation was that Lucia, Nico, and Nero were in the next room talking, so they were not able to experience his deep loathing and shame first hand, not to mention the verbal beatdown that he had just suffered at Sirrus’s hands. Or should he say vocal cords? Either way, the point still stood that he did indeed need to procure food because the only thing available to consume in the house was peeling wallpaper, dried-out paint, and dust. And knowing V’s luck, Shadow had probably already consumed those already when he wasn’t looking. That was absolutely something she would do.

“I would say the latter is the most true, given the options at hand. That is not to say that the second option is not correct, as it absolutely is… but that’s not the type of narrative I’d like to weave at this juncture.” V “But the thankful receiver bears a plentiful harvest, so it is probably best that I simply accompany you to the store so I can see to it that my cabinets are not as bare as Dante’s office is dark.”

Sirrus nodded as he closed a stary cabinet door, turning to fully face the slightly frazzled young man. “That seems agreeable enough. Hopefully my matter of fact, no-nonsense way of stating the obvious wasn’t as abrasive as it seems now that I am able to look back on it. Hindsight is 2020, as they say.” He straightened out his long shirt, adjusting his shoulders as he allowed his head to pull from side to side. He was slightly uncomfortable as, for the first time, he stepped close enough to V to notice that they were largely the same size and stature. What an eye-opening realization. “I’m sarcastic, some would even sardonic, but I like to think I’m not unfeeling. I’ve yet to lose my grip on the reality of the world around me and start to view the rest of the world with a sort of cold dissonance like so many around me have. What do people call that now? Being edgy? Somehow I am under the impression that that might not be the proper use of that term.”

V brushed him off, taking a step to the side instead of taking a step back. He wasn’t intimidated by the tall redhead despite the fact that he was sure that he probably had ample reason to be. There was a certain mysterious quality to him that was carefully outlined with a certain measure of involuntary menace that he couldn’t quite place, and his prior comments didn’t help in that regard. There was just something… feral about him, some sort of wild strength that he knew that his guest could reach into if he wished to do so and bring to bear against those he considered deserving of it. It was something that he could just feel in the pit of his stomach, a sort of primordial sense of strength and power that reminded him of his own family, but it was notably different in a way that was hard to describe. Was it darker somehow? Was that the right way to put it? 

But that wondering was enough to keep him grounded in a situation like this. He seemed trustworthy, but he would still keep his guard up until he was absolutely sure, even if he wasn’t actively trying to do so. It was simply instinct, and going with his gut had kept him alive this long, so he was going to continue doing so. If it wasn’t broken, then he wasn’t going to fix it. “Think nothing of it. I take no offense to you stating the obvious. I don’t think that there has been food in this house in at least a decade.”

“Probably longer than that, if I remember correctly. This place has been empty for about fifteen years. After the will was read, Magnolia’s side of the family cleaned the place out as quickly as they could before they went their separate ways. Quite a lot of bad blood between them, from what I could tell. It was a shame how that all played out, but grief brings out the worst in people, especially when the root cause of that grief is so… unexpected.” The man with the long red hair peered out of the back door for a moment as though he were expecting something or perhaps had heard a commotion of some sort. He seemed to study the bushes against the back wall for a long moment before continuing. “As per your request… that is more than fine by me. I won’t, then. I shall pretend that we never mentioned the food in the first place.”

“You say that as though you were personally there to see it. You seem too young to have witnessed something of that nature, but you have first-hand knowledge of it from a viewpoint that would suggest that you were a neutral party witnessing it from within the inner circle of what was going on.” V was admittedly curious as to how Sirrus would explain something like that in a way that made sense. Or would it make sense at all? Who was to say. He would simply have to wait and find out. “I had assumed that we were quite close in age. But then again, everyone knows what they say about assuming things. I should have known better than to think that I know everything about someone that I barely know. My mistake.”

“Looks can be deceiving, as I’m sure you know first hand. Your family is quite literally living proof of that concept. I assure you however that I was present. I just seem younger than…” He stopped, catching himself as though he were about to say something that he didn’t mean to, waiving off both his near mistake and V’s apology casually. V was clever, something that he had pegged about him from the very first moment that they had made eye contact. It was something intrinsic in the way that he held himself, and every time that he had opened his mouth since then had only served to strengthen that notion. But now his keen intellect was becoming troublesome, not that it changed anything in the end either way. ”That quote from before about the harvest… William Blake, if I remember correctly? I’m quite fond of his works, especially the illustrations. Quite the brilliant man.” He stopped for a moment, seemingly considering something before looking over at the doorway. He then nodded quietly to himself before redirecting his attention towards V once more, finding his companion’s silence interesting. He seemed to be waiting for him to continue. “Personally, Mary Shelly is my all-time favorite. Frankenstein and all that. I have a more contemporary favorite as of late, but telling you that might say more about me than I mean for it to, so I’ll keep it to myself for now.

Now V had more questions than answers. Sirrus was a walking mystery, and the more that he spoke, the more V questioned his own perception and his impression of him changed. It was as fascinating as it was confounding, but he couldn’t say that he disliked it. There was just something captivating about not being able to read him, regardless of how hard he tried. A part of him wondered if anyone else in his family had this issue. He would ask them when presented with the chance to do so. Well then, back to what we were discussing before.”

“We were discussing something before? I can’t say that I remember anything. But I do recall you saying to “think nothing of it.” The playfully smug, all-knowing tone of voice that he spoke in was enough to make V shake his head and roll his eyes, but he resisted. It was a welcome juxtaposition to the conversation that they had just indulged in, and they were both somehow simultaneously relieved that they didn’t have to indulge in it any longer.

He couldn’t help but snicker somewhat at that response. Sirrus was endearingly hatstand, wasn’t he? Despite the unintentionally tense conversation that they had just indulged in, the white-haired summoner couldn’t help but be amused. It was complicated, and yet so very simple. “Let’s go to the store, Sirrus. I’ll tell the others that we will return shortly. You may accompany me if you’d like.”

Sirrus nodded politely, using both hands to signal to him that he was to walk first as he bowed lower than what was needed and stepped back out of his companion’s way. V scoffed in amusement but went along with his slightly antiquated gesture, admittedly entertained by it. Yes, this had to be what other people felt like when they met him for the first time. He understood why they looked at him like that now. Slowly but surely, it was all coming together.

(-~-)

From what they could tell, the store was mostly empty. It was nearly 9 o’clock at night, and it seemed that everyone who wanted to buy groceries had done so by then. While it was understandable that most people in the city wouldn’t want to start cooking this late, it was still a little bit surreal to see just how few people were willing to make a midnight dash to the supermarket to stock up on general goods and necessities. One could only imagine that recent events in the region had made people more than a little bit jumpy, but this was an entirely new level of silent unrest that made an already somewhat eerie environment that much more uncomfortable.

As the absentmindedly browsed the shelves in relative silence, V shifted in discomfort. He couldn’t shake the persistent feeling that something simply wasn’t right, and that he should go with his gut and leave this place before something happened. Although it was basically impossible to predict something like that, V was convinced that the persistent feeling of unrecognizable dread that he felt brewing in the very pit of his stomach was something more substantial than he was allowing himself to believe. And under the guise of trying not to seem silently panicked, he couldn’t help but feel a nameless terror overtake him. This feeling that he felt was familiar in the worst way possible. It reminded him of the train ride back in Lucia’s homeland, the strange subconscious sensation that he was no longer in the driver’s seat in regards to his own cognitive feedback. And the idea that his enemy might be trying to do something, anything at all, was not good. He needed to do something fast.

“I apologize if my being around you alone is subconsciously offputting. I get the impression that you are disturbed, and you probably aren’t sure what that is just yet. Let me assure you that it is in fact, me, and that I am not doing so intentionally.” Sirrus casually reached up and took a can down from a shelf, turning it over in his hands absentmindedly as he studied it to see if it was something that he could use. “But the disturbance that you feel is most certainly tangible. I recognized your specific gifts and aptitudes a while back. You have a heightened sensitivity to certain things. Very useful if utilized correctly.” 

He paused for a moment to look at V, seemingly waiting for him to respond in some way. As he realized that his companion wasn’t speaking, he sighed with bated breath, looking slowly from side to side as he checked to make sure that no one was around them. Not that he needed his eyes to do that. It was more for V’s benefit than his own, in any case. “To someone with a trained eye, abilities like that stick out like a sore thumb, especially when the person in possession of them doesn’t yet know how to control them. But that is not to say that you don’t have amazing potential if only someone were to educate you as to how to do deliberately what already comes to you so naturally.”

“Gifts? What are you…” V paused as he considered what he wanted to say next. Sirrus could see something about him that the rest of the people he knew couldn’t? That was alarming to him for reasons that he couldn’t quite place at the moment. Was he that obvious? What else had he been doing that he just hadn’t noticed was a dead giveaway in regards to his true nature? Could anyone else tell, or was that something specific to Sirrus?

“Your grandfather is the Dark Knight Sparda, yes? I couldn’t help but notice your surname. He was a good man. And he was very powerful. I see things in both you and your brother that I do not see in your older relatives.” He seemed to be speaking carefully as he headed to the center aisle in his search for… whatever it was that he was looking for to cook dinner with. He seemed to notice V’s quiet, well-concealed panic, but the atmosphere had changed notably in the air around them. There was a certain latent hostility to V’s demeanor that hadn’t been there before, and for the first time since he’d arrived in town to carry out his mission, he felt genuinely threatened by someone. While he had indeed encountered resistance, nothing so far had felt so pure, so dynamic in its ability to utterly destroy him, and he got the impression that neither V nor himself truly knew what the young man with the white hair was capable of at that moment. And as exhilarating as that might be under most circumstances, this was far from the case at this moment in time. 

It was time to start explaining himself.

“... Sometimes things skip a generation, carried in latent genes by your forebears. This may be one of those cases. That’s what makes me as powerful as I am in some regards. And it is why we have what I like to call Dry Generations; instances in which nothing particularly interesting happens.” The hostility level didn’t decrease much, and Sirrus took a mental note of that, preparing himself should the worst happen. And he hoped with every fiber of his being that it wouldn’t. Something told him that if he had to resort to that, Vergil wouldn’t appreciate him having to explain it after the fact, and the last thing he wanted to have to do was pry Yamato out of his own chest. Vergil had quite the throwing arm. And as fast as he was, he wasn’t sure he was quite that fast. “But when more interesting individuals are born, well, they are most certainly more… intriguing. You and Nero seem to fit that bill nicely.”

“Are you threatening me?” V asked point-blank, his posture slightly more straight than it had been a moment before. Perhaps without thinking it, V had shifted into a readied stance, unwilling to be taken off guard by any kind of sudden attack. Resorting to this kind of public display of power had to be against some code of ethics or something, but he wasn’t going to stand there and take something like that laying down if it came to it. He needed to make that clear, even if Magnolia probably wouldn’t appreciate him bringing Sirrus to her in the middle of the night filled with puncture wounds from Shadow and several broken bones from a trip off of a local roof, courtesy of Griffon. He just hoped that he wouldn’t need to do that. And although he was somewhat sure that he wouldn’t need to, that didn’t change the fact that he might still need to defend himself.

In a moment of self-awareness, Sirrus shook his head, stepping back slightly as he allowed his head to rest on the edge of the center bin that he stood next to. There was some kind of meat inside of it with a sale sign next to it, but that would only become relevant if they made it out of this encounter in one piece. What a fascinating reaction. I would have never thought that he was capable of actually being overtly aggressive considering his physical state and general disposition. He normally has such a mild mentality.” He thought to himself as he let his arms fall to his sides, wanting to demonstrate as clearly as possible that he was not trying to intimidate V or cause him any harm. One could only imagine what he had been through in his young life, and he wasn’t going to add to that pain and suffering if he could help it. 

Maybe it was simply the demon side of him showing itself a little in that moment as a natural defense mechanism? He knew that they were not entirely human, after all, and he had no idea how much demonic blood ran through his veins. It mattered very little if he was being truthful with himself. His pedigree alone ensured that he was powerful, And that was something he could deeply sympathize with on an extremely personal level. He too carried his own darkness locked away deep within himself, even if it was a different form of it. He couldn’t judge him for the one time he slipped up. Hell, he’d give him a hug if he wasn’t so sure it would get him stabbed through the gut with V’s cane.

“Oh, perish the thought. Not even slightly. I wouldn’t dare. Though I do admit that it probably seems that way.” He watched V relax slightly, at least physically, sliding back into the comfortable leaning position that he was accustomed to associating with him. It made him wonder what the young summoner had been through that had made him this way, or if perhaps it was a one-off fluke reaction to this exact situation. Maybe he could ask him another time when he calmed all the way down. It seemed that he had at least a little bit of his father in him after all. “Quite the opposite though. I am extending an invitation. I would like to help you with that. Now, were you thinking fin or fang in regards to protein for this meal? It seems we have simpler choices to make this time around. But something tells me it won’t always be that way. Darkness looms on the horizon, and I have the feeling that something sinister might be readying itself just out of view.”

V gave him an apprehensive look, unsure as to what to really say to that. This entire conversation had certainly changed his outlook on a few things, to say nothing of how it had nearly taken a turn for the worst. He needed ample time to think things through. He was used to being the logical, level-headed one in situations like this. Something about that conversation had severely taken him out of his element, But at least a few of his questions had been answered, even if more now lingered in the back of his mind. And more importantly, there hadn’t been a public display of supernatural violence that could have destroyed both of them and the building along with them. 

Sighing gently as if to physically rid himself of the toxic experience he had just suffered through, V looked at Sirrus, the both of them somehow knowing that the other regretted what had almost just happened even without saying it. It was best to leave things alone for now and just leave this store. Maybe the building itself was driving them both insane. “Fang.”

(-~-)

Gosh, writing this chapter makes me want to work on the story that I’ve been wanting to write for so long now. But not yet! I don’t pick projects up easily after I walk away from them, so for now, I will wait. There is still much to be done with this AU, but gosh writing Sirrus gets me in the mood for that. Let’s just say he doesn’t originate from this AU universe.

Here is the link to the form! It’s only 4 questions and should take about two minutes to answer. Thank you! You’re a big help to me. I want it to be clear that I’m not making anything from this fic, I just want to do something neat for charity and give you something cool in return.

https://docs.google.com/forms/d/1jD0AKYiX3EfLjt-M_Rk8CapJ0GdzVqB-9oDMhV3SG2A/edit?usp=sharing

Sorry for my rambling this week! I’m just excited, I guess! Also, a special thank you to the like 2 people on Tumblr that like my chapters every week. I like your energy =^~^=

[gastrobrack]

Brave New World 2020 review from probably the biggest fan of the book you’ll meet in your life

(Mostly Spoiler Free) Okay so. I’ve been waiting for this show for a really long time because I absolutely love the book and it means a lot to me. My standards were admittedly pretty low because it can’t get worse than the 1998 movie, so I didn’t really mind when I saw the trailers and stuff where other people were complaining. 

TL;DR I thought the show was actually pretty enjoyable, but you have to read the book first in my opinion, or else it seems like it would be hard to follow at times. Where the show really screwed up royally was Mond’s storyline, which felt completely out of place and confusing, and when it ended up dominating the end of the final episode it just kinda ruined the story for me. The show is definitely more focused on the setting and characters than the societal predictions and themes of the novel, and for me that’s okay because we have the book to tell it better anyways.  I’d say watch it if you liked the book or are curious about it, but I don’t think it would really be enjoyable for the average viewer.

Side note: I watched this in the wee hours of the morning and some of the praise might just be the special interest talking, I’m just happy to be here and get more content

That being said, I think this show is like the Riverdale of Brave New World. However, in its defense it’s at least got the energy of the parts of Riverdale like the “epic highs and lows of high school football” and the “serial killer gene”, so it’s at least pretty funny. Personally, I knew that they would have to change a lot both to adjust for the longer runtime (around 9 hours) and to make the book enjoyable to a TV audience, because of course in the book you can have 2 chapters of exposition at the beginning and that’s not as enjoyable for a TV experience. So, let’s get into the pros and cons of the show!

PROS

-I really liked Bernard! In the book he means a lot to me personally (hell, I’m writing this while listening to my Bernard playlist) so I was of course kinda worried they might screw him up again like they did in the ‘98 movie, but I was pleasantly surprised! They did change him and divide his original personality between John and Lenina, but somehow they managed to create a new Bernard that both kept me on my toes and at the same time felt authentic and likeable! 

-Honestly, almost all the characters were done very well. They were all expanded upon in an interesting way while also staying generally pretty accurate to their book counterparts. I generally felt the same about them as I did with the novel, so I think that means they did a job well done. I think that John and Lenina were very different, but they still ultimately had the same general motivations. A lot of the cast’s interactions felt very natural, and I liked that they expanded upon Lenina and Fanny’s (or Frannie as she’s called here) friendship. 

-The show looked great, I know a lot of people really didn’t like the look of it because it wasn’t what they thought it would be when they read it, but for me that’s basically exactly what I imagined it would be. The costume designer clearly had fun making a bunch of outlandish outfits for everyone to wear and it’s all very pleasant to look at. 

-I think they did a good job fixing some of the problematic elements of the book without actually damaging the integrity of the things they were changing. For example, in the book, the savage reservation is quite literally just a native reservation, written in a way that clearly suggests Huxley didn’t really put a lot of thought into his depiction of real people. In the show, it’s a theme park where British people get to immerse themselves in the cultures of the old world, with the savages themselves being poor theme park workers reenacting events to shock and mystify the Brits. Now, admittedly, I think this makes a lot more sense as it ties into the consumerism that runs deep within their society. I know some people are mad about this because they think it’s cancel culture or something but honestly it’s not a big deal to me.

-This one might not be as important to some people, but I liked that the cast was pretty diverse, and the fact that John is the only straight one honestly made sense to me considering it would be in the World State’s best interest to encourage bisexuality amongst its citizens. Some of the characters (Helmholtz and Mond) are being played by women, and some people are kinda upset about that but I don’t really think it changed too much, although to me it is funny to think the showrunner thought he was doing something by “casting women of color to play white male characters” considering everyone I know who read the book didn’t picture either of them as white. 

-Honestly, I think the show did humor very well. It was very funny in a sort of dry way, and never felt forced or out of place. It all seemed like it naturally stemmed from the characters’ awkwardness and culture shock (on both sides) and it made me really happy as someone who loves all these characters to see them make me laugh.

CONS

-Now, I’m not usually one to complain about this too much, seeing as I love the book in a non thematic and academic context, but the message kinda got lost in all of it. I think the issues they brought up certainly were there, and could lend themselves very well to being good. The writers just focused on the entirely wrong things in the last episode, and that misguided focus completely changes the lens in which the rest of the show is retroactively viewed for me. 

-Mustapha Mond was just, where do I even begin. In the book, Mond doesn’t show up much except to provide exposition, and his position as an authoritative figure ultimately moves the plot towards the end of the novel. In the show, Mond gets this weird AI plotline that makes no sense, as in this version they have a sort of internet contact lens type system that allows them to connect to everyone else, and it is powered by said AI. The system itself doesn’t bother me as much as how poorly handled this plotline was. Not only was it completely random and was the only plotline in the show not to have some sort of roots in the events of the book, but it was extremely confusing to me. This leads into my next point, which is:

-The ending. Oh my God the ending. Now, look. I’m not gonna say much because I want this to be as spoiler free as possible, but the ending just honestly was a dumpster fire. The writers chose to focus the whole ending on the aforementioned AI plotline, despite the book providing a much more solid framework for an ending that they already seemed to be setting up. This shift in focus comes very late into the final episode, and it honestly doesn’t make any sense why the writers would really want to go this route. It feels like they were just adding things that didn’t fit into the story, and I can’t really discern why except for the possibility of setting up an unnecessary second season. I love the book, it’s my special interest, but I think I speak for everyone when I say we do not need a second season especially if its gonna be full of plotlines that make no sense and serve no purpose.  This heavily changed ending not only undermines the whole thematic purpose of the novel but honestly kind of goes actively against everything the book was trying to say in the first place. 

-They really don’t set up any of the world building, and although I caught on very quickly due to my familiarity with the book, it seems like it might get confusing for unfamiliar watchers. In the book, they explain their process for birthing and then conditioning children into their social body very in depth before they get into the actual plot and characters, and I think this show could have used some of that. Here, they talk a lot about conditioning but don’t actually explain what the conditioning is or why they have the caste system in the first place. 

-This is a minor disappointment more than anything and I didn’t actually notice till about the second episode, but there’s no more Ford talk, which is kinda disappointing cause it was pretty fun in the book. 

-Obviously it goes without saying that there’s sex in this, I mean it IS Brave New World. However, in this one, it just feels excessive and kinda just like it’s there for shock value more than anything. 

-This isn’t really a con so much as it is just a disclaimer, I know a lot of people are excited for Demi Moore as Linda and Joseph Morgan as the new character CJack60, but don’t get your hopes up too much, they don’t get to do much. If you read the book, you’d know that about Linda but I’ve seen reviewers get upset that she wasn’t in it more when she was one of the big names attached to the project. (FWIW she did a great job and I loved Linda in this whereas I didn’t in the book) As for CJack, he spends a lot of time just standing there and looking at things and doesn’t get to do much until the last 2 episodes or so. 

CONCLUSION

As someone who really loves the book’s setting and characters sometimes even more than the actual messages and predictions, I’ve always wanted an adaptation that focuses more on those elements, especially since that would make for an easier transition to the screen. Seeing this was a very nice breath of fresh air, because it embraces the inherently satirical and dare I say funny aspect of the story, as well as the characters’ individual quirks and distinct personalities. Obviously it’s not as hard hitting and important as the book, but I think those messages were better left in book form anyway. For someone like me, who loves the book with all my heart, this show honestly gave me most everything I wanted and it felt the most true to the spirit of the book’s world and characters out of any of the adaptations. I would say check out the show if you’re interested in it or enjoyed the book, but you should definitely be familiar with the book before you watch this.